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| major relgion in japan; scholars often speak similarly of emptiness, the void achieved when meditation takes one beyond sensory experience to a deeper, wordless truth. monks play the shakuhachi |
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| japanese art principle, which describes the quality of of necessary emptiness within a space |
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| indigenous religion of Japan; tradition of prayer and ritual associated with an ancient body of music also connected with Buddhism |
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| name for shinto music; most visible forms take place in the colorful colk festivals held for various occasions, espeically in the harvest season. |
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| small japanese folk ensemble that accompany the kagura; may include takebue (transverse flutes), taiko drums, o-daiko drum etc. |
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| style of drumming that includes precise coreography of the drummer's movements; created in 1970; drum troop met on island and meditated and rehearsed drumming |
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| buddhist chants that were imported from china and korea |
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| giant cylindrical bell that announces the shomyo services; rung with hammer and a log that is hung on a rope |
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| japanese modes of muisc; modeled on Chinese modes lacking semitones; distinguished by basic scale and by range, tones emphasized, and melodic contours; ryo, ritsu, yo, in... |
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| an ancient orchestral court music of Japan; oldest form of orchestral music in the world; |
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| the graceful and controlled dances that sometimes accompany gagaku |
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| small japanese transeverse flutes used in kagura |
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| vertical bamboo flute; associated with court music; also played by buddhist monks |
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| collection of 17 single-reed pipes connected to an air chamber; both inhaling and exhaling |
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| small cylindrical-bore double reed instrument; very loud |
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| transverse bamboo flute used in the gagaku |
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| flute that accompanies noh theater |
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| zither; imported from china as part of the gagaku court orchestra; became better known when it moved down to the middle-class people; accompanies women who sing kumiuta song cylces |
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| four-string, fretted, pear-shaped lute; held horizontally and constructed so that the relatively loose strings rattle againse the neck; used to accompany songs and played in gagaku orchestra |
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| fretless long-necked lute; plays important part in kabuki theater and bunraku puppet theater |
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| small shallow drums in kagura music |
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| very large barrel drum wth riveted heads used in kagura music |
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| small double-headed cylindrical drum; conductor of the gagaku orchestra; played with two mallets; rests on stand etc. |
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| large vertically suspended bass drum with an elaboartely painted drum head |
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| smallest and most important drum in the noh ensemble; ropes laced through the heads are held in the player's left hand and allow the player to control the drums pitch; player also uses small pieces of paper attached to the back of the drum to change the tone |
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| small metal disc hung vertically from a stand; player strikes it on the concave side with two metal tipped mallets |
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| chamber ensemble made up of shamisen, koto, and shakuhachi |
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| classical repertorie for the shakuhachi; very slow, non-pulsitile rhythm that arises out of long phrases |
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| new compositions for the shakuhachi that began to appera int he 20th century; introduced new scales and non-traditional techniques |
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| song cycles that are accompanied by the koto; sung by women; |
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| highly refined, stylized, and reserved form of theater; props and settings, reflecting the ma principle, are represented only symbolically, if at all; slow, weightless movements of the actors |
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| musical ensemble that accompanies the noh theater; four instruments: nohkan, and three small drums |
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| type of theater that became widely popular in the 18th century; very acrobatic; form of classical theater; |
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| the core of kabuki music; made up of four to eight shamisen players and a chours of male singers |
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| ensemble in kabuki theater; uses the standard noh ensemble of nohkan flute, o-tsuzumi, ko-tsuzumi, and taiko; along with a chorus and the occasional flute |
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