Radio France | JAZZ /OTRAS MUSICAS (1 CD)

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16,95 €

Jiuta & Kotouta

REF.: C583069
EAN 13: 3415820000173

Refinadas piezas para canto, laúd, cítara y flauta, escritas en el siglo XIX y a principios del XX, son interpretadas aquí por el Ensemble Yonin no Kaï de Tokio, fundado en 1957, uno de los más emblemáticos conjuntos tradicionales japoneses. 


Ensemble Yonin no Kaï
Kôzan Kitahara : shakuhachi.
Sumiko Goto : chant, koto et shamisen.
Mitoko Takahata : koto.
Setsuko Kakui : chant et koto basse.

Jiuta & Kotouta
Cantos con acompañamiento de shamisen y koto

01 ? Yaegoromo
02 ? Shin-kinuta
03 ? Akikaze no kyoku
04 ? Kôgetsu chô

1 CD - DDD - 56:59

RESEÑA (La Quinta de Mahler)

The history of traditional Japanese music extends from its origins in the 2nd century B.C. up to the present, encompassing five main periods: prehistoric, ancient, mediaeval, modern and contemporary. During each of these periods, specific forms of music developed, some of which are still extant today.

The prehistoric period (2nd century B.C.-7th century A.D.) comprises the indigenous music forms that had appeared prior to any contact with continental Chinese music. The ancient period, corresponding to the Nara (645-794) and the Heian (794-1185) eras, is characterised by the introduction and assimilation of continental music, particularly of Gagaku (instrumental art music, also involving either dance or singing) and of Shômyô (Buddhist liturgic chanting).

Japanese music, as we know it today, was born during the mediaeval period, with the appearance of Wasan (Buddhist chant performed in Japanese), of Heikyoku (Heike epics, sung and recited with accompaniment on the biwa lute), and of Nô (theater plays involving dialogues, mime and dance).

The modern period, stretching from the beginning of the Momoyama period (1573) to the Meiji Restoration (1868), saw the blossoming of urban music, represented by pieces written for koto (a 13-stringed zither), for shakuhachi (a 5-holes end-blown bamboo flute), for voice with biwa accompaniment, and for voice with shamisen (a 3-stringed lute) accompaniment, such as Gidaiyû, Kiyomoto, Tokiwazu, Nagauta, Kouta and Jiuta.

In the contemporary period, from the Meiji Restoration onwards, Japanese music experienced a second metamorphosis through its contact with Western music: Japanese musicians borrowed Western musical techniques that they have now thoroughly assimilated. Present day composers thus bring in Western instruments among the traditional Japanese instruments to express realities or feelings that are typical to their own culture, and even though they have not yet succeeded in developing a new method of composing, their attempt has created a revival of traditional Japanese music, both in Japan and abroad.

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