EAST ASIAN FOLK MUSIC

CHINA , JAPAN,KOREA Click to edit Master subtitle style 4/28/12

Folk music is an English term encompassing both traditional folk music and contemporary folk music. The term originated in the 19th century. The term is further derived from the German expression Volk, in the sense of "the people as a whole" as applied to popular and national music by Johann Gottfried Herder and the German Romantics over half a century earlier
4/28/12

Traditional folk music has been defined in several ways: as music transmitted by mouth, as music of the lower classes, as music with unknown composers. It has been contrasted with commercial and classical styles. This music is also referred to as traditional music and, in US, as "roots music".
4/28/12

Chinese traditional music Chinese Music started at the dawn of Chinese civilization with documents and artifacts providing evidence of a welldeveloped musical culture as early as the Zhou Dynasty (1122 BC 256 BC). Today, the music continues a rich traditional heritage in one aspect, while emerging into a more contemporary form at the same time.
4/28/12

Types of traditional music

1. 2. 3. 4.

Instrumental Ethnic Han Music Chinese Opera Folk music

4/28/12

Instrumental music
Traditional music in China is played on solo instruments or in small ensembles of plucked and bowed stringed instruments, flutes, and various cymbals, gongs, and drums. The scale is pentatonic. (Tonal element) Bamboo pipes and qin are among the oldest known musical instruments from China; instruments are traditionally divided into categories based on their material of composition: animal skins, gourd, bamboo, wood, silk, earth/clay, metal, and stone. Chinese orchestras traditionally consist of bowed strings, woodwinds, plucked strings and percussion. (timbral element)
4/28/12

Yayue ,literally "elegant music", Wade-Giles ya-yeh; was originally a form of Chinese classical music that was performed 4/28/12 at imperial courts.

Back row instrumentalists: At left, a bass bell ringer holds his striker, another bell ringer is behind the bell set near the first ringer, and a third is behind the set near the center. Below the standing drum is a percussionist and a stone chime player is to the far right. Front row instrumentalists: At left and right are ancient versions of the guzheng, a member of the zither family. At second from left, it is not clear what instrument this man is playing. At third from left, this gentleman played a sheng, which is a cylindrical mouth organ with many bamboo pipes, each with a metal free reed. Fourth from left is the erhu, a two-string bowed instrument. Fifth from left is a lady with a pipa, while on the table in front of her is (possibly) guqin Sixth from left is another lute-like instrument, likely a zhongruan.

4/28/12

The guzheng, also spelled gu zheng or gu-zheng ( Chinese: ; pinyin: gzhng, pronounced [kt], with gu meaning "ancient"); and also called zheng ( ) is a Chinese plucked zither. It has 18-23 strings and movable bridges.

4/28/12

techniques used in the playing of the guzheng, including basic plucking actions (right or both hands) at the right portion and pressing actions at the left portion (by the left hand to produce pitch ornamentations and vibrato) as well as tremolo (right hand)
4/28/12

The Chinese sheng ( Chinese: ; Pinyin shng) is a mouthblown free reed instrument consisting essentially of vertical pipes.

4/28/12

The sheng is played by alternately blowing and inhaling, and a player can produce a continuous sound without pause. The traditional performance style is to sound two or three notes at the same time by adding a fifth and/or octave above the main melody note.

4/28/12

The erhu ( ; pinyin: rh, [x]) is a two-stringed bowed musical instrument, more specifically a spike fiddle, which may also be called a "southern fiddle", and sometimes known in the Western world as the "Chinese violin" or a "Chinese two-stringed fiddle"

4/28/12

Playing technique

Tuning The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. Position The erhu is played sitting down, with the sound box placed on the top of the left thigh and the neck held vertically. Right hand The bow is held with an underhand grip. The bow hair is adjusted so it is slightly loose. Tension is provided by the fingers of the right hand. The bow hair is placed in between the two strings and both sides of the bow hair are used to produce sound, the player pushes the bow away from the body when bowing the A string (the outside string), and pulls it inwards when bowing the "inside" D string. Aside from the usual bowing technique used for most pieces, the erhu can also be plucked, usually using the second finger of the right hand. This produces a dry, muted tone (if either of the open strings is plucked, the sound is somewhat more resonant) which is sometimes desired in 4/28/12 contemporary pieces. Left hand

Front Tang Dynasty fivestringed pipa

Back of a Tang Dynasty fivestringed pipa

The pipa is a four-stringed Chinese musical instrument, belonging to the plucked category of instruments.Sometimes called the Chinese lute, the instrument has a pear-shaped wooden body with a varying number of frets ranging from 1226.
4/28/12

[1] pipa (preTang Dynasty)

[2] Tang pipa (straight neck)

[3] Tang pipa (bent neck)

[4] modern pipa

4/28/12

The guqin; pronounced [kt n ] ( listen); literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family.

4/28/12

The guqin is a very quiet instrument, with a range of about four octaves, and its open strings are tuned in the bass register. Its lowest pitch is about two octaves below middle C, or the lowest note on the cello.
4/28/12

The zhongruan (or zhong ruan, , literally means "medium ruan"), is a Chinese plucked string instrument. In English, it is sometimes called a moon guitar, because it has a round sound box. The zhongruan has a straight neck with 24 frets on the fingerboard and 4 strings
4/28/12

It is usually played with a plectrum (guitar pick). It can also be played with fingers (index finger and thumb with acrylic nails), which is similar to the way of playing the pipa ( ). The zhongruan is a tenorranged instrument in the family of ruan ( ). In ancient China, the ruan was called Qin pipa

4/28/12

4/28/12

Vocal music
Chinese vocal music has traditionally been sung in a thin, non resonant voice or in falsetto and is usually solo rather than choral. All traditional Chinese music is melodic rather than harmonic. Chinese vocal music probably developed from sung poems and verses with music. Instrumental pieces played on an erhu or dizi are popular, and are often available outside of China, but the pipa and zheng music, which are more traditional, are more popular in China itself. The qin is perhaps the most revered instrument in China, even though very few people know what it is or seen and heard one being played. The zheng, a form of zither, is most popular in Henan, Chaozhou, Hakka and Shandong. The pipa, a kind of lute, believed to have been introduced from the Arabian Peninsula area during the 6th century and adopted to suit Chinese tastes, is most popular in Shanghai and surrounding areas.
4/28/12

Ethnic han music

Ethnic Han music consists of heterophonic music, in which the musicians play versions of a single melodic line. Percussion accompanies most music, dance,talks, and opera. Han Chinese Folk Music had many aspects to it regarding its meaning, feelings, and tonality. This genre of music, in a sense, is similar to the Chinese language. This relationship is made by tones, sliding from higher tones to lower tones, or lower to higher tones, or a combination of both. These similarities mean that the instrument is a very important part in mastering technique with both left and right hands (left hand is used to create tonality on the string, right hand is for plucking or strumming the string), particularly for the classical (literati) tradition. Sometimes, singing can be put into the music to create a harmony or a melody accompanying the instrument. Han Chinese Folk's feelings are displayed in its poetry-like feeling to it with slow soothing tempos that express feelings that connect with the audience or whoever is playing the piece. Han Chinese Folk is delivered in a way, using silences that alter its meaning, this also creates a sound similar to poetry. 4/28/12

Mo li hua (The Jasmine flower)

4/28/12

4/28/12

Folk Song is a form of music through which the working classes have traditionally expressed their emotions and feelings. It is inspired by, and is an integral part of, everyday life of the Chinese working classes and is passed down and elaborated from generation to generation. Folk music features simple language and, vivid imagery, and has many genres and forms, such as labor songs, mountain songs, major aria, minor aria, and part singing.

Folk song

4/28/12

Han folk music thrives at weddings and funerals and usually includes a form of oboe called a suona and percussive ensembles called chuigushou. Ensembles consisting of mouth organs (sheng), shawms (suona), flutes (dizi) and percussion instruments (especially yunluo gongs) are popular in northern villages; their music is descended from the imperial temple music of Beijing, Xi'an, Wutai shan and Tianjin. Xi'an drum music consisting of wind and percussive instruments is popular around Xi'an, and has received some popularity outside China in a highly-commercialized form.
4/28/12

Another important instrument is the sheng, pipes, which is an ancient instrument that is an ancestor of all Western free reed instruments, such as the accordion. Parades led by Western-type brass bands are common, often competing in volume with a shawm/chuigushou band.
4/28/12

In southern Fujian and Taiwan, Nanyin or Nanguan is a genre of traditional ballads. They are sung by a woman accompanied by a xiao and a pipa and other traditional instruments. The music is generally sorrowful and mourning and typically deals with love-stricken women. Further south, in Shantou, Hakka and Chaozhou, erxian and 4/28/12 zheng ensembles are popular.

Sizhu ensembles use flutes and bowed or plucked string instruments to make harmonious and melodious music that has become popular in the West among some listeners. These are popular in Nanjing and Hangzhou, as well as elsewhere along the southern Yangtze area. Sizhu has been secularized in cities but remains spiritual in rural areas.
4/28/12

Jiangnan Sizhu (silk and bamboo music from Jiangnan) is a style of instrumental music, often played by amateur musicians in teahouses in Shanghai, that has become widely known outside of its place of origin. Guangdong Music or Cantonese Music is instrumental music from Guangzhou and surrounding areas. It is based on Yueju (Cantonese Opera) music, together with new compositions from the 1920s onwards. Many pieces have influences from jazz and Western music, using syncopation and triple time. This music tells stories and myths maybe legends. One of the most popular folk songs of China is Mo Li Hua (Beautiful Jasmine).
4/28/12

4/28/12

4/28/12

Chinese opera
Chinese opera has been hugely popular for centuries, especially the Beijing opera. The music is often guttural with high-pitched vocals, usually accompanied by suona, jinghu, other kinds of string instruments, and percussion. Other types of opera include clapper opera, Pingju, Cantonese opera, puppet opera, Kunqu, Sichuan opera, Qinqiang, ritual masked opera and Huangmei xi.

4/28/12

References (Chinese Music) Jones, Steven. "The East Is Red... And White"". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp. 3443. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0. Lee, Joanna. "Cantopop and Protest Singers". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp. 4959. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0. Lee Yuan-Yuan and Shen, Sinyan. Chinese Musical Instruments (Chinese Music Monograph Series). 1999. Chinese Music Society of North America Press. ISBN 1-880464-03-9. Rees, Helen with Zingrong, Zhang and Wei, Li. "Sounds of the Frontiers". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 4448. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0. Shen, Sinyan. Chinese Music in the 20th Century (Chinese Music Monograph Series). 2001. Chinese Music Society of North America Press. ISBN 1-880464-04-7. Trewin, Mark. "Raising the Roof". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp. 25461. Rough Guides Ltd, Penguin Books. ISBN 185828636025. 4/28/12

Japan

4/28/12

Japan traditional music

The music of Japan includes a wide array of performers in distinct styles both traditional and modern. The word for music in Japanese is (ongaku), combining the kanji ("on" sound) with the kanji ("gaku" fun, comfort).[1][2] Local music often appears at karaoke venues, which is on lease from the record labels. Traditional Japanese music has no specific beat, and is calm. In 1873, a British traveller claimed that Japanese music, "exasperate[s] beyond all endurance the European breast."

4/28/12

Types of Traditional japanese music

2.1 Kabuki 2.2 Noh 2.3 Gagaku 2.4 Shmy 2.5 Jruri 2.6 Nagauta 2.7 Shakuhachi music 2.8 Skyoku

4/28/12

Kabuki Kabuki ( ?) is a type of Japanese theatre. The music of kabuki can be divided into three parts: Gidayubushi largely identical to jruri. Shimoza ongaku music is played in kuromisu, the lower seats below the stage. Debayashi incidental music, played on the Kabuki stage; also known as degatari. Noh Noh ( ?) or ngaku ( ?) is another type of theatrical music. Noh music is played by the hayashi-kata ( ?). The instruments used are the taiko ( ?), tsuzumi ( ?), kotsuzumi ( ?), and fue ( ?).

4/28/12

Gagaku
Gagaku ( , literally "elegant music") is a type of Japanese classical music that has been performed at the Imperial Court in Kyoto for several centuries. It consists of three primary repertoires: Native Shinto religious music and folk songs and dance, called kuniburi no utamai A Goguryeo and Manchurian form, called komagaku (named for Koma, one of the Three Kingdoms) A Chinese and South Asia form (specifically Tang Dynasty), called togaku. Gagaku, like shomyo, employs the Yo scale, a pentatonic scale with ascending intervals of two, three, two, two, and three semitones between the five scale tones.[1]

4/28/12

Gagaku ( ?) is court music, and is the oldest traditional music in Japan. Gagaku music includes songs, dances, and a mixture of other Asian music. Gagaku has two styles; these are instrumental music kigaku ( ?) and vocal music seigaku ( ?). Instrumental Music Kangen ( ?) - basically, a Chinese form of music. Bugaku ( ?) - influenced by Chinese and Korean music. Vocal Music Kumeuta ( ?) Kagurauta ( ?) Azumaasobi ( ?) Saibara ( ?) Rei ( ?)

4/28/12

4/28/12

Mixing the three choirs As shown in Figure 8 the seating arrangement for the kangen orchestra is: Woodwind players sit in the back with the ryteki players on the left, hichirikis in the middle, and the sh players on the right. For each instrument, the seating arrangement of the 3 performers forms a triangle with two players sitting on the back row, and the first chair in front of them. The string players sit in front of the woodwind players with the two koto players on the left and the two biwa players on the right. In both cases, the first chairs are the ones sitting closer to the middle of the stage. Finally the three percussionists occupy the front row with the shko on the left, the taiko in the middle, and lastly the kakko on the right. There is no conductor. The 16 musicians synchronize via the melody. The typical training for a musician of kangen music starts by learning one of the threewoodwind instruments for seven to ten years. Then, the musicians add to their training the study of either a string or a percussion instruments as well as dance or singing. Therefore, all musicians know the melody and how their part fits in relationship with it.

4/28/12

ryuteki
The ryteki ( ?, literally "dragon flute") is a Japanese transverse fue made of bamboo. It is used in gagaku, the Shinto classical music associated with Japan's imperial court. The sound of the ryteki is said to represent the dragons which ascend the skies between the heavenly lights (represented by the sh) and the people of the earth (represented by the hichiriki). The ryteki is one of the three flutes used in gagaku, in particular to play songs of Chinese style. The pitch is lower than that of the komabue and higher than that of the kagurabue. The ryteki is held horizontally, has seven holes, and has a length of 40 centimeters and an inner diameter of 1.3 centimeters. Unlike the western flute, the holes are not covered by the fingertips, rather, the fleshy part of the finger is used. This allows for better control of "half-holing" techniques and chromatic notes, by simply raising the finger slightly above the holes.
4/28/12

The hichiriki ( ?) is a double reed Japanese fue (flute) used as one of two main melodic instruments in Japanese gagaku music, the other being the ryteki. The hichiriki is difficult to play, due in part to its double reed configuration. Although a double reed instrument like the oboe, the hichiriki has a cylindrical bore and thus its sound is similar to that of a clarinet. Pitch and ornamentation (most notably bending tones) are controlled largely with the embouchure. The hichiriki is one of the "sacred" instruments and is often heard being played at Shinto weddings in Japan. Its sound is often described as haunting.[1][2] The hichiriki is the most widely used of all instruments in gagaku and it is used in all forms of music aside from poetry recitation. The hichiriki is derived from the Chinese guan or4/28/12 is also related to the Korean piri. bili, and

hichiriki

sho
The sh ( ?) is a Japanese free reed musical instrument that was introduced from China during the Nara period (AD 710 to 794). It is modeled on the Chinese sheng, although the sh tends to be smaller in size. It consists of 17 slender bamboo pipes, each of which is fitted in its base with a metal free reed. Two of the pipes are silent, although research suggests that they were used in some music during the Heian period. The instrument's sound is said to imitate the call of a phoenix, and it is for this reason that the two silent pipes of the sh are kept - as an aesthetic element, making two symmetrical "wings." Like the Chinese sheng, the pipes are tuned carefully with a drop of wax. As moisture collected in the sh's pipes prevents it from sounding, performers can be seen warming the instrument over a small charcoal brazier when 4/28/12 they are not playing. The instrument produces sound when the player's breath is inhaled or

koto

The koto ( ) is a traditional Japanese stringed musical instrument, similar to the Chinese guzheng. The koto is the national instrument of Japan.[1] Koto are about 180 centimetres (71 in) width, and made from kiri wood (Paulownia tomentosa). They have 13 strings that are strung over 13 movable bridges along the width of the instrument. Players can adjust the string pitches by moving these bridges before playing, and use three finger picks (on thumb, index finger, and middle finger) to pluck the strings. 4/28/12

biwa
The biwa ( ?) is a Japanese short-necked fretted lute, often used in narrative storytelling. The biwa is the chosen instrument of Benten, goddess of music, eloquence, poetry, and education in Japanese Shinto. It arrived in Japan in two forms. Since that time, the number of biwa has more than quadrupled. Guilds supporting biwa players, particularly the biwa hoshi, helped proliferate biwa musical development for hundreds of years. Biwa hoshi performances overlapped with performances by other biwa players many years before heikyoko and continued until today. This overlap resulted in a rapid evolution of the biwa and its usage and made it one of the most popular instruments in Japan.

4/28/12

shoko

4/28/12

KOREA Traditional Classical music Art Vocal 4/28/12 Folk New Composed

Court Instrumental

Court Ask (ritual/ceremonial music) Dang -ak (Chinese -derived banquet music) Hyang ak (Native banquet music) Professional Music (Pansori, Sanjo) The music in between Classical and Folk music
4/28/12

Folk Music Vocal (Fong songs) Instrumental (farmers band music) Religious (shamanism, Buddhism) Theatre Music (Mask Dance)

4/28/12