TS on Music Theory Print

Tsapiky

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

Festivals#

Tsapiky festivals primarily occur in urban centers, such as Toliara. These festivals last for several days to a week, and consist of several concerts played for hours, supposedly inducing trance-like states from audience members. Typically, entire families come along, bearing gifts.

Tsugaru-jamisen

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

History#

While it is clear that the originated from China through Okinawa in the 16th century CE, the specific developers of are not known with certainty, largely because written records of its development were not kept, nor did the Japanese government formally recognize it. What is known is that originated from a small peninsula due west of present-day Aomori Prefecture called Tsugaru. In addition, some researchers have conjectured the style’s origins based on available evidence. Some consensus is that the style was developed by homeless and blind individuals called . One scholar, Daijō Kazuo, proposed that the genre originated from a named Nitabō based on interviews with musicians and their families. According to his research, Nitabō acquired and modified a in 1877, for which he adopted a different playing style. Nitabō rounded off the plectrum of the instrument such that it was shaped like a rice paddle. In addition, he adopted a playing style with the held upright, included the area around the bridge as the playing area, and incorporated beating and slapping the strings in contrast to exclusive use of the plectrum. However, other scholars, such as Gerald Groemer, argue that the account advanced by Kazuo may not be entirely accurate due to a lack of documentation. Nitabō had multiple blind students, such as Kinobo and Chōsakubo, who contributed to the development of the style. Nitabō’s last student, Shirakawa Gunpachirō, performed outside of the Tsugaru region as a part of a folk performance troupe. Gunpachirō also performed in professional settings, such as in concert halls in Tokyo. As a result of his successes, became popular in the 1920s, but its popularity waned with the onset of the Second Sino-Japanese War later in the decade. During 1955–1965, a number of genre performers moved to urban centers in Japan, such as Tokyo. This migration was part of a larger movement due to a boom in the traditional arts in Japan. enjoyed another bout of popularity when Gunpachirō performed with star Michiya Mihashi at the Nihon Theater in Tokyo in 1959. As a result of this mass exposure to the genre, younger practitioners emerged. Takahashi Chikuzan, also a , was a highly regarded practitioner of the genre and began touring Japan in 1964.

Tswana music

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

Classification of music#

Tswana people classify their vocal music as ‘dipina’ (songs) according to their function within various social institutions for instance, music produced during initiation ceremonies is known as ‘moamo’. The performance of much of the Tswana traditional music is related to the agricultural season of the year. The seasons are as follows: *Letlhafula (Autumn):meaning ’to renew life’, a time of hoeing songs and work-party songs; *Mariga (Winter): meaning ‘shade’, a time for children’s fireside story songs; *Dikgakologo (Spring): meaning ’to melt away’, a time when women and children chase crops by singing in the fields; *Selemo (Summer): meaning ’to salvage fallen crops from loose soil’, a time for beer-brewing, beer-songs and beer-dances.

TS on Music Theory Print

Tsapiky

Festivals#

See also and further reading#

Tsugaru-jamisen

History#

Tswana music

Classification of music#