Characteristics and styles of Indian songs, music and Japanese songs, music

First

Noh music, traditional court type

such as cherry blossoms

Second, folk songs

such as

La net ditties

No accompaniment, rely entirely on the voice

Third, pop

Electronic style is strong

Nowadays, all kinds of song styles have been

Nowadays, all kinds of music styles are developing very fast

Of course, there are also blue,jazz types, but not many

Pop music is mainly dance music

Bonhomie

PS: In my high school music class, my teacher said that the characteristic of Japanese traditional bonhomie is that it does not have the common tones "do re mi fa so la xi do The teacher in high school music class said that the characteristic of Japanese traditional bongo is that there is no "re" and "so" in the common tones of "do re" and "so". A typical example is "Sakura".

Bangaku generally refers to Japanese music in general. It is usually used as a symmetrical term for Western music, referring to all traditional Japanese music except Western music. Depending on the type of instrument used, the following categorization can be made:

Yagura: Ceremonial music played during ceremonies at court, imported from China and Korea in ancient times, and which can be said to have preserved the oldest style of Japanese music.

Statement: Ceremonial music of Buddhism, a kind of vocal music. It was introduced at the same time as Buddhism and later brought a great influence to Japanese music.

Biwa music: After the Warring States period, it was developed as a kind of music to narrate war stories with the accompaniment of the biwa, a vocal piece played by strumming and singing.

Zheng music: In addition to the guqin, zheng music also refers to the ensemble of guqin, sanxian, and xiao. The koto is a plucked string instrument with 13 strings, and was developed in the Edo period in conjunction with the shamisen. Michio Miyagi, who left many famous songs from the Taisho period to the early Showa period, had a great influence on the koto music world.

Blowpipe: The blowpipe was created in the Kamakura period, and was used as a substitute for chanting sutras by the monks who played it. It is also known as "shakuhachi" because it is one foot eight inches (about 55 centimeters) long.

Sanshin music: The sanshin, with its **** sound box covered with a cat or dog skin, is a representative instrument of Japan. Widely used in the Edo period as theater music for kabuki, doll joruri, etc., and also as an accompaniment to many ballad music, the sanchin is still widely used today.

Ballads: Songs and music inherited from local singing. Among them, there are many labor songs, and the most familiar one, "The Ditty of Pulling Nets", is one of the best of such songs.

Compared with Western music, which has 7 scales, modern music has only 5 scales (which are supposed to be inherited from China's "Gong, Shang, Angle, Levy and Feather"). Most of the rhythms are 2-beat and 4-beat even-numbered beats, and there are almost no 3-beat beats. There are mostly ballads, but fewer purely instrumental pieces. Instruments are often used as vocal accompaniment, but there is a subtle, inconsistent and complex disconnect with the vocal performance process. In addition, the combination of instruments formed by the sanchin, koto and xiao creates elements of murmur, and these are nevertheless loved as the complex timbres of bonhomie.

When Western music came in during the Meiji period, it became the mainstay of Japanese music, and bongos were gradually overwhelmed by it (nowadays, when you think of Japanese singers, most of them are the best of the best in the pop world such as Ayumi Hamasaki and Kinki Kid, and there are very few traditional musicians left). However, in recent years bonhomie has regained prominence and enthusiasts are on the rise.

Japanese music has always been divided into two categories, bon-music and yagura, and while people enjoy Western classical music, they also y appreciate the joys of traditional Japanese music through yagura. Recently, some Japanese have introduced Western musical techniques into Bangle. Western composers are also looking to the Japanese for subject matter, and the barrier between Bon music and Western music seems to have been dismantled. The music of the future will be beautiful music that incorporates the strengths of both sides. Satomi Natsukawa is one of the top performers in modern Japanese Bonhomme music. Her beautiful, melodic compositions have gained considerable popularity both within Japan and elsewhere in Asia

The existence of a plausible Western music in a purely Japanese atmosphere is the result of the interplay between two contrasting East and West cultures over the years: while Japanese musicians have borrowed heavily from American popular music, they have been able to calmly recreate this music in their own way. recreate that music in their own way.

Despite the fact that much of Japanese popular music is in the same vein as American music, there is a national uniqueness that permeates Japanese music-making. In addition to that perceptible ethnicity, Japanese music is a product of the cultural interaction between the two countries, and it is this interaction that produces the synthesis that characterizes Japanese music. It is true that American music has had a considerable influence on Japanese music, but at least within Japan, the creativity of Japanese musicians has had a much greater influence on American music.

The composition of the Indian scale is called Swara (Swara Western Note), the seven notes of Indian music: sa,re,ga,ma.pa.dha,ni, the basic notes that make up the intervals. According to Indian music mythology, the seven basic notes of the scale come from the calls of birds and animals and evoke a sense of particular colors.

The names of the following tones are: (followed by the calls of the birds and animals with which they are associated and the various colors to which they are attributed)

Sa , the call of the peacock, is the green color of the lotus leaf.

Ri sound Re , the call of the lark, is red.

Ga , the goat's call, is orange-red.

Ma , the call of the crane, is white lotus color.

Pa , the call of the nightingale or cuckoo, is black.

Ta Yin Dha , the call of the horse or snake, is yellow.

Ni Yin Ni , the call of the elephant, is a combination of all colors.

The main structure of Indian music is the melodic system called Raga, and the extremely complex rhythmic system called Tala.

"Raga" (Sanskrit "raga", meaning passion.) is known as the soul of Indian classical music. It is known as the soul of Indian Classical Music and is the basic Tune of Indian Classical Music, which can also be said to be the seed of melody. It is a melodic framework. There are many kinds of it, and each raga has its own peculiar scales, intervals, and melodic fragments and expresses a particular flavor (Rasa), but the raga itself is only a framework, which is enriched and perfected by the improvisation of the musicians.

The original meaning of raga is color or passion, so raga attempts to lead the listener's emotions and feelings through the melody of a specific combination of notes, with the basic melody consisting of five to seven notes, freely varied. This kind of melodic type (Raga) formulated by the ancestors, there are 300 kinds in North India, but many of them have been lost, there are more than 80 kinds of Ragas that can be traced, and nowadays there are about 60 kinds of Ragas in common use. Traditionally, whether you are singing or playing, the ragas you choose are based on the time of day, the season, the mood, morning, noon, evening, spring, summer, fall, winter, sadness, joy, or worship of the gods, and so on, and are not to be confused. Ragas are not just fixed melodic patterns, but because of the addition of time, the addition of more detailed and other abstract emotional appeal of the situation and improvisation techniques, playing length, speed control, so the performer is also a creator, with the ability to compose, to be considered a competent and competent musician in India. Tala is derived from the Sanskrit word Ta, which is the cosmic dance of Taandava and Siva, symbolizing the rhythm of the universe. La (La) refers to Shiva God Consort Parbadi (Parbadi) of the dancers Lashia (Lashia), collectively referred to as Tala (Tala), Tala is similar to the Western beat, Tala in India is a fixed beat in the Rhythmic Cycle Containing a Fixed number of beats) Indian hitchhiker's pull (Rhythmic Cycle) is very complex. The Indian Tara (beat) is very complex, not according to how many unit beats in each bar, first of all, we have to distinguish how many unit beats in each sentence, from 6 beats (3+3), 7 beats (3+4), 8 beats (4+4), or 10 beats (2+3+2+3), 12 beats (6+6), and the most common 16 beats (4+4+4+4), which can be combined with hundreds of thousands of variations. The Indian hala can be distinguished as equal or unequal.

The Tala provides the basis for the precise melodic structure of the Raga; thus the Tala and the Raga are two indispensable pillars of Indian music. Tala and raga are two indispensable pillars of Indian music, and one cannot experience Indian music without knowing them.