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Solmisation
Solmization is a system of attributing a distinct syllable to each note of a musical scale. Various forms of solmization are in use and have been used throughout the world, but solfège is the most common convention in countries of Western culture. Overview The seven syllables normally used for this practice in English-speaking countries are: do, re, mi, fa, sol, la, and ti (with sharpened notes of di, ri, fi, si, li and flattened notes of te, le, se, me, ra). The system for other Western countries is similar, though si is often used as the final syllable rather than ti. Guido of Arezzo is thought likely to have originated the modern Western system of solmization by introducing the ut–re–mi–fa–so–la syllables, which derived from the initial syllables of each of the first six half-lines of the first stanza of the hymn ''Ut queant laxis''. Giovanni Battista Doni is known for having changed the name of note "Ut" (C), renaming it "Do" (in the "Do Re Mi ..." sequence known ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Solfège
In music, solfège (, ) or solfeggio (; ), also called sol-fa, solfa, solfeo, among many names, is a music education method used to teach aural skills, Pitch (music), pitch and sight-reading of Western classical music, Western music. Solfège is a form of solmization, though the two terms are sometimes used interchangeably. Syllables are assigned to the notes of the Scale (music), scale and enable the musician to Gordon music learning theory#Audiation, audiate, or mentally hear, the pitches of a piece of music being seen for the first time and then to sing them aloud. Through the Renaissance music, Renaissance (and much later in some shapenote publications) various interlocking 4, 5 and 6-note systems were employed to cover the octave. The tonic sol-fa method popularized the seven syllables commonly used in English-speaking countries: ''do'' (or ''doh'' in tonic sol-fa),''Oxford English Dictionary'' 2nd Ed. (1998) ''re'', ''mi'', ''fa'', ''so(l)'', ''la'', and ''ti'' (or ''si'') ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Solfège
In music, solfège (, ) or solfeggio (; ), also called sol-fa, solfa, solfeo, among many names, is a music education method used to teach aural skills, Pitch (music), pitch and sight-reading of Western classical music, Western music. Solfège is a form of solmization, though the two terms are sometimes used interchangeably. Syllables are assigned to the notes of the Scale (music), scale and enable the musician to Gordon music learning theory#Audiation, audiate, or mentally hear, the pitches of a piece of music being seen for the first time and then to sing them aloud. Through the Renaissance music, Renaissance (and much later in some shapenote publications) various interlocking 4, 5 and 6-note systems were employed to cover the octave. The tonic sol-fa method popularized the seven syllables commonly used in English-speaking countries: ''do'' (or ''doh'' in tonic sol-fa),''Oxford English Dictionary'' 2nd Ed. (1998) ''re'', ''mi'', ''fa'', ''so(l)'', ''la'', and ''ti'' (or ''si'') ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vedic Texts
upright=1.2, The Vedas are ancient Sanskrit texts of Hinduism. Above: A page from the '' Atharvaveda''. The Vedas (, , ) are a large body of religious texts originating in ancient India. Composed in Vedic Sanskrit, the texts constitute the oldest layer of Sanskrit literature and the oldest scriptures of Hinduism. There are four Vedas: the Rigveda, the Yajurveda, the Samaveda and the Atharvaveda. Each Veda has four subdivisions – the Samhitas (mantras and benedictions), the Aranyakas (text on rituals, ceremonies, sacrifices and symbolic-sacrifices), the Brahmanas (commentaries on rituals, ceremonies and sacrifices), and the Upanishads (texts discussing meditation, philosophy and spiritual knowledge).Gavin Flood (1996), ''An Introduction to Hinduism'', Cambridge University Press, , pp. 35–39A Bhattacharya (2006), ''Hindu Dharma: Introduction to Scriptures and Theology'', , pp. 8–14; George M. Williams (2003), Handbook of Hindu Mythology, Oxford University Press, , p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Slendro
Slendro ( jv, ꦱ꧀ꦭꦺꦤ꧀ꦢꦿꦺꦴ, ban, slendro, translit=Sléndro) ( su, salendro, translit=Saléndro) is one of the essential tuning systems used in gamelan instruments that have pentatonic scale. Based on Javanese mythology, the Slendro Gamelan tuning system is older than the ''pélog'' tuning system. Etymology Slendro is a Javanese term for one of the scales in gamelan. It is derived either from "Sailendra", the name of the ruling family in the eighth and ninth centuries when Borobudur was built, or from its earlier being given by the god Sang Hyang Hendra. History The origin of the ''slendro'' scale is unknown. However the name ''slendro'' is derived from Sailendra, the ancient dynasty of Mataram Kingdom in Central Java, and also Srivijaya. The ''slendro'' scale is thought to be brought to Srivijaya by Mahayana Buddhists from Gandhara of India, via Nalanda and Srivijaya from there to Java and Bali. It is similar to scales used in Indian and Chinese music a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pentatonic
A pentatonic scale is a musical scale with five notes per octave, in contrast to the heptatonic scale, which has seven notes per octave (such as the major scale and minor scale). Pentatonic scales were developed independently by many ancient civilizations and are still used in various musical styles to this day. There are two types of pentatonic scales: those with semitones (hemitonic) and those without (anhemitonic). Types Hemitonic and anhemitonic Musicology commonly classifies pentatonic scales as either ''hemitonic'' or ''anhemitonic''. Hemitonic scales contain one or more semitones and anhemitonic scales do not contain semitones. (For example, in Japanese music the anhemitonic ''yo'' scale is contrasted with the hemitonic ''in'' scale.) Hemitonic pentatonic scales are also called "ditonic scales", because the largest interval in them is the ditone (e.g., in the scale C–E–F–G–B–C, the interval found between C–E and G–B). (This should not be con ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Javanese Numerals
The Javanese language has a decimal numeral (linguistics), numeral system with distinct words for the 'tweens' from 21 to 29, called ''likuran''. The basic numerals 1–10 have independent and combining forms, the latter derived via a suffix ''-ng''. The combining forms are used to form the tens, hundreds, thousands, and millions. The numerals 1–5 and 10 have distinct high-Javanese language#Registers, register (''halus'', or in Javanese ''krama'') and low register (''ngoko'') forms. The ''halus'' forms are listed below in italics. (''Dasa'' 10 is derived from Sanskrit ''daśa''.) Like English, Javanese has compound forms for the teens; however, it also has a series of compound 'tweens', 21–29. The teens are based on a root ''-(wə)las'', the tweens on ''-likur'', and the tens are formed by the combining forms. Hyphens are not used in the orthography, but have been added to the table below to clarify their derivation. Final orthographic ''-a'' tends to in many dialects, as do ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kepatihan Notation
Notation plays a relatively minor role in the oral traditions of Indonesian gamelan but, in Java and Bali, several systems of gamelan notation were devised beginning at the end of the 19th century, initially for archival purposes. Kepatihan Kepatihan is a type of cipher musical notation that was devised for notation of the Indonesian gamelan. History The system was devised around 1900 at the ''Kepatihan'' (the Grand Vizier's compound) in Surakarta, and was based upon the Galin-Paris-Chevé system, imported in the nineteenth century by Christian missionaries to allow the notation of hymns. It superseded several other notation systems of Javanese origin devised around the same time. Notation The pitches of the seven-tone pélog tuning system are designated by the numbers 1, 2, 3, 4, 5, 6, and 7; while the five-tone slendro pitches are notated as 1, 2, 3, 5, and 6. The octaves are noted by dots above and below the numbers, as in Chinese jianpu, although of course the pitches ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karawitan
Gamelan () ( jv, ꦒꦩꦼꦭꦤ꧀, su, ᮌᮙᮨᮜᮔ᮪, ban, ᬕᬫᭂᬮᬦ᭄) is the traditional ensemble music of the Javanese, Sundanese, and Balinese peoples of Indonesia, made up predominantly of percussive instruments. The most common instruments used are metallophones played by mallets and a set of hand-played drums called ''kendhang/Kendang'', which register the beat. The kemanak (a banana-shaped idiophone) and gangsa (another metallophone) are commonly used gamelan instruments in Bali. Other instruments include xylophones, bamboo flutes, a bowed instrument called a ''rebab'', a zither-like instrument ''siter'' (in Javanese ensemble) and vocalists named '' sindhen'' (female) or ''gerong'' (male).Sumarsam (1998)''Introduction to Javanese Gamelan'' Middletown. Although the popularity of gamelan has declined since the introduction of pop music, gamelan is still commonly played in many traditional ceremonies and other modern activities in Indonesia, both at f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shakuhachi Musical Notation
Shakuhachi musical notation is a traditional tablature-style method of transcribing shakuhachi music. A number of systems exist for notating shakuhachi music, most of which are based on the ''rotsure'' (ロツレ) and the ''fuho-u'' (フホウ) systems. Traditional solo shakuhachi music (honkyoku) is transmitted as a semi-oral tradition; notation is often used as a mnemonic device. However, the master-disciple relationship is given emphasis within the tradition, and written sources are considered of little value 'without experience of the living tradition of actual training within the school'.Ortolani, Benito. 1969. "Iemoto." Japan Quarterly 16 (3): 301. In contrast to Western staff notation, shakuhachi playing instructions commonly indicate multiple fingerings resulting in various timbres for a given pitch, and microtonal slides between semitones. Solo Kinko school honkyoku ''Honkyoku'' (本曲, "original pieces") are the pieces of shakuhachi music collected in the 18th cen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kana
The term may refer to a number of syllabaries used to write Japanese phonological units, morae. Such syllabaries include (1) the original kana, or , which were Chinese characters (kanji) used phonetically to transcribe Japanese, the most prominent magana system being ; the two descendants of man'yōgana, (2) , and (3) . There are also , which are historical variants of the now-standard hiragana. In current usage, 'kana' can simply mean ''hiragana'' and ''katakana''. Katakana, with a few additions, are also used to write Ainu. A number of systems exist to write the Ryūkyūan languages, in particular Okinawan, in hiragana. Taiwanese kana were used in Taiwanese Hokkien as glosses (ruby text or ''furigana'') for Chinese characters in Taiwan when it was under Japanese rule. Each kana character (syllabogram) corresponds to one sound or whole syllable in the Japanese language, unlike kanji regular script, which corresponds to a meaning (logogram). Apart from the five vowels, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Iroha
The is a Japanese poem. Originally the poem was attributed to the founder of the Shingon Esoteric sect of Buddhism in Japan, Kūkai, but more modern research has found the date of composition to be later in the Heian period (794–1179). The first record of its existence dates from 1079. It is famous because it is a perfect pangram, containing each character of the Japanese syllabary exactly once. Because of this, it is also used as an ordering for the syllabary, in the same way as the ''A'', ''B'', ''C'', ''D''... sequence of the Latin alphabet. Text The first appearance of the Iroha, in was in seven lines: six with seven morae each, and one with five. It was also written in man'yōgana. 以呂波耳本部止 千利奴流乎和加 餘多連曽津祢那 良牟有為能於久 耶万計不己衣天 阿佐伎喩女美之 恵比毛勢須 Structurally, however, the poem follows the standard 7–5 pattern of Japanese poetry (with one hypometric line), and in modern times it is g ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Japan
In Japan, music includes a wide array of distinct genres, both traditional and modern. The word for "music" in Japanese language, Japanese is 音楽 (''ongaku''), combining the kanji 音 ''on'' (sound) with the kanji 楽 ''gaku'' (music, comfort). Japan is the world's largest market for music on physical media and the List of largest recorded music markets, second-largest overall music market, with a retail value of US$2.7 billion in 2017. Traditional and folk music Gagaku, hougaku The oldest forms of traditional Japanese music are: * , or Buddhism, Buddhist chanting * , or orchestral court music both of which date to the Nara period, Nara (710–794) and Heian period, Heian (794–1185) periods. Gagaku classical music has been performed at the Imperial court since the Heian period. Kagura-uta (神楽歌), Azuma-asobi (東遊) and Yamato-uta (大和歌) are indigenous repertories. Tōgaku (唐楽) and komagaku emerged during the Tang dynasty (618–907) via the Korean Peninsula. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
