JI on Music Theory Print

Jiangnan sizhu

Mon, 01 Jan 0001 00:00:00 +0000

Name#

The name Jiangnan sizhu () is made up of two parts. Jiangnan is the traditional name for the area south of the lower reaches of the Yangtze river in southern Jiangsu, Shanghai, and northern Zhejiang. Sizhu, literally “silk and bamboo”, refers to string and wind musical instruments, silk being the traditional material from which strings have historically been made in China, and bamboo being the material from which the Chinese flutes such as the dizi and xiao are made. The term sizhu by extension also came to refer to instrumental music in general, especially that played indoors. Other sizhu traditions also exist, particularly along China’s southeastern coastal regions of Fujian and Guangdong.

Jig

Mon, 01 Jan 0001 00:00:00 +0000

Origins#

The term jig was probably derived from the French giguer, meaning ’to jump’ or the Italian giga. The use of ‘jig’ in Irish dance derives from the Irish jigeánnai, itself borrowed from the Old English giga meaning ‘old dance’. It was known as a dance in 16th-century England, often in time, and the term was used for a post-play entertainment featuring dance in early modern England, but which ‘probably employed a great variety of dances, solo (suitable for jigs), paired, round, country or courtly’; in Playford’s Dancing Master (1651) ’the dance game in “Kemps Jegg” is a typical scenario from a dramatic jig and it is likely that the combination of dance metre for steps and non-metrical passages for pantomime indicates how a solo or ensemble jig might have been danced by stage players.’ Later the dance began to be associated with music particularly in time, and with slip jigs time.

Jing ping

Mon, 01 Jan 0001 00:00:00 +0000

Origin#

The Dominican quadrille generally has four figures, the pastouwèl, lapoul, lété and latrinitez. Some regions of Dominica, such as Petite Savanne, are home to local variants such as the caristo. Many quadrilles are found across Dominica under a wide variety of names. In addition to the standard quadrille, the lancer is also an important Dominican dance. Accompaniment for the quadrille is provided by a four instrument ensemble called a jing ping band. Jing ping bands are made up of a boumboum (boom pipe), syak or gwaj (scraper-rattle), tambal or tanbou (tambourine) and accordion. The double bass, violin, banjo and guitar are also sometimes used. Bamboo flutes led the jing ping ensembles before the 1940s, when accordions were introduced. The Dominican flute tradition declined as a result, despite their additional use in serenades, until being revived after the National Independence Competitions.

Jingle

Mon, 01 Jan 0001 00:00:00 +0000

History#

The first radio commercial jingle aired in December 1926, for Wheaties cereal. The Wheaties advertisement, with its lyrical hooks, was seen by its owners as extremely successful. According to one account, General Mills had seriously planned to end production of Wheaties in 1929 on the basis of poor sales. Soon after the song “Have you tried Wheaties?” aired in Minnesota, however, sales spiked there. Of the 53,000 cases of Wheaties breakfast cereal sold, 40,000 were sold in the Twin Cities market. After advertising manager Samuel Chester Gale pointed out that this was the only location where “Have You Tried Wheaties?” was being aired at the time, the success of the jingle was accepted by the company. Encouraged by the results of this new method of advertising, General Mills changed its brand strategy. Instead of dropping the cereal, it purchased nationwide commercial time for the advertisement. The resultant climb in sales single-handedly established the “Wheaties” brand nationwide. After General Mills’ success, other companies began to investigate this new method of advertisement. Initially, the jingle circumvented the ban on direct advertising that the National Broadcasting Company, the dominant broadcasting chain, was trying to maintain at the time. A jingle, it was discovered, could get a brand’s name embedded in the heads of potential customers, despite not fitting into the traditional definition of “advertisement” accepted in the late 1920s. In this sense, the rise of the jingle marks a critical milestone in the development of comprehensive marketing, which would become the inclusive interdisciplinary term for the field. A host of American companies—mostly small local businesses—recognized the potential of jingles and began turning to the general public as a means of outsourcing their own jingle development via mail-in contests in the 1950s and, to a lesser extent, in the 1960s. Individuals who emerged triumphant from these contests won prizes of all sizes and varieties, usually dominated by items that the sponsoring company had ready access to provide (e.g. a three-year supply of Ivory soap, a car, etc.). Submissions would be collected (always accompanied by proof of purchase), scrutinized, scored, presented to controlling boards, and then a winner would be declared. Contesting developed as a form of side gig for a small but notable number of lyrical and sharp-witted American housewives, bringing with it an understated brand of feminism that harmonized so well with the housewife vocation that it remained largely unnoticed and undocumented. In The Prize Winner of Defiance, Ohio, author Terri Ryan chronicles the adult life of her late mother, virtuosic contester and jingle-writer Evelyn Ryan, who used the winnings from hundreds of such contests to effectively support her family of twelve as their primary breadwinner without shortchanging the domestic responsibilities impressed on her by wider society at the time. The art of the jingle reached its peak around the economic boom of the 1950s. The jingle was used in the advertising of branded products such as breakfast cereals, candy, snacks, soda pop, tobacco, and beer. Various franchises and products aimed at the consumers’ self-image, such as automobiles, personal hygiene products (including deodorants, mouthwash, shampoo, and toothpaste), and household cleaning products, especially detergent, also used jingles.

Jit

Mon, 01 Jan 0001 00:00:00 +0000

Jiuta

Mon, 01 Jan 0001 00:00:00 +0000

Introduction of the and origin of#

It can be regarded that introduction of the and the birth of occurred at the almost same time; therefore, has the longest history amongst varieties of music. The (Chinese lute) arrived in Japan at Sakai, Osaka via Ryukyu near the end of the Sengoku period. Blind musicians known as at Tōdōza improved the instrument and created what would be the . They used the plectrum of the Japanese to play the , thus creating the beginning of as music. Ishimura-Kengyo is particularly regarded as originator of music. After that, musicians, mainly at Tōdōza, performed, composed and handed down . The existing oldest piece is considered as a work of the early years of Edo period.