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Shamisen used for traditional genres of Japanese music, such as jiuta, kouta, and nagauta, adhere to very strict standards. Purists of these genres demand that the shamisen be made of the correct wood, the correct skin, and are played with the correct bachi , with little room for variation.
Shamisen – a banjo-like lute with three strings; brought to Japan from China in the 16th century. Popular in Edo's pleasure districts, the shamisen is often used in kabuki theater. Made from red sandalwood and ranging from 1.1 to 1.4 metres (3 ft 7 in to 4 ft 7 in) long, the shamisen has ivory pegs, strings made from twisted silk, and a belly ...
Traditionally, the sanshin was covered with the skin of the Burmese python, but today, due to CITES regulations, the skin of the reticulated python is also used. Python skin is used for the skin of the body of the instrument, in contrast to the cat or dogskin used traditionally on the shamisen.
The biwa (Japanese: 琵琶) is a Japanese short-necked wooden lute traditionally used in narrative storytelling. The biwa is a plucked string instrument that first gained popularity in China before spreading throughout East Asia, eventually reaching Japan sometime during the Nara period (710–794).
Regardless of the neck size or strings, all yueqin are tuned around the same treble pitch level. A common technique in performance is "snapping" the pick on the string (similar to Japanese shamisen.) Yueqin is the loudest member of the plucked lute family of Chinese instruments; one instrument can easily be heard over a full Chinese orchestra.
Video, bamboo-tube zither with bamboo strings, played as drum, and plucked with thumb. West Sumatra. Celempung reteng ensemble, with a row of parallel-string celempung retengs (and slit drums as part of that row) and a pair of celempungs with bass string.) Video, Cambodia, bamboo-tube zither with wire strings and gourd resonator.
The koto (箏 or 琴) is a Japanese plucked half-tube zither instrument, and the national instrument of Japan. It is derived from the Chinese zheng and se, and similar to the Mongolian yatga, the Korean gayageum and ajaeng, the Vietnamese đàn tranh, the Sundanese kacapi and the Kazakh jetigen. [1]
His 1987 book, "Method for the Baroque Lute" (Munich: Tree Editions) is widely used. [3] He has been actively composing, and performing and recording his compositions since 1981, including two CDs for Channel Classics. In 2000 he became the president of LGS-Japan (Lute & Early Guitar Society of Japan) and LGS-Europe.