By Allan Marett

ISBN-10: 0521390508

ISBN-13: 9780521390507

This is often the 6th quantity in a chain of books dedicated to the heritage, documentation, and research of song in Asia. This quantity represents the 1st within the sequence to be devoted to the song of East Asia. even supposing extra narrowly concentrated than prior volumes, the essays within the current quantity proceed the culture confirmed by means of Laurence Picken of publishing experiences of musical records from the sector of Asian song and stories of sound-producing units and musical tools.

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The Japanese musicologist Tsuge Gen'ichi has said that in Japanese music 'there is a deep-seated attitude towards realization of a self-sufficient musical world within the scope of even a single sound' (Tsuge 1981:110). We hope with this study to contribute to an understanding of this important characteristic of Japanese 1 Introduction In Western musicology there is virtually no connection between musical analysis and the acoustical analysis of instrumental sounds. Musical analysis is concerned with the way music is constructed - how it is put together; it is not concerned with individual tones.

11. Unintentional breaks in the sound are indicated with circled numbers above the staff. 12. Short pitches produced by the rapid opening and/or closing of finger holes are indicated with slashes through the beams. Pitches produced with the meri-kari or note-bending technique have no slashes. 31 Downloaded from University Publishing Online. 250 on Thu Jan 26 22:24:36 GMT 2012. 003 3. Instances where a pitch, duration or playing technique is performed, but is not notated in the score. 4. Instances where meanings for symbols are inconsistent.

The notation calls for the player to articulate the second and third notes of the phrase by hitting the second hole (which if executed would produce a grace note F - see example 1). Instead, Chikuho consistently produces, at least in this phrase, the pitches shown in example 2. One of the most common examples in this category occurs in the piece, Honte Choshi, the first honkyoku learned by all students in Chikuho Ryu. Whenever the symbol u ^) - corresponding to the pitch G and produced with a simple open-holed technique - follows the symbol ru s 1/ - producing the pitch A-flat, the pitch G is produced not with the u fingering position, but with the meri or flattening technique combined with the ru fingering position - a kind of A-double flat.

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Musica Asiatica 6 by Allan Marett

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