im钱包下载后删除|koto

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im钱包下载后删除|koto

作者： im钱包下载后删除

2024-03-07 19:32:37

日本筝_百度百科

百度百科网页新闻贴吧知道网盘图片视频地图文库资讯采购百科百度首页登录注册进入词条全站搜索帮助首页秒懂百科特色百科知识专题加入百科百科团队权威合作下载百科APP个人中心日本筝播报讨论上传视频拨奏弦鸣乐器收藏查看我的收藏0有用+10日本筝（koto），拨奏弦鸣乐器。8世纪初，中国唐代十三弦筝传入日本，先后演变为乐筝、筑筝、俗筝等日本传统乐器。三者构造基本相同：桐木制长方形音箱面上张弦13根，每根弦用 1柱支撑。弦名从远至近分别称为一、二、三、四、五、六、七、八、九、十、斗、为、巾。琴身笔直。自古将筝比作“龙”，并依此为各部件命名。中文名日本筝外文名Japanese Koto别名十三弦古筝分类拨奏弦鸣乐器乐器介绍日本筝乐筝又名雅乐筝，曾在宫廷贵族间流行，迄今仍在雅乐的管弦乐合奏曲中使用。乐筝的弦比较粗；定弦按绝对音高。现代雅乐常用的调弦法有壱越调、双调、大食调、平调、黄钟调、盘涉调共 6种。如按壱越调定弦，第一弦即D。另外区别于西洋乐的A=440Hz，雅乐中A=430Hz，故严格说其音较洋乐略低。筑筝又名筑紫筝，16世纪末主要作为歌曲伴奏乐器，现已趋于消亡。俗筝始于17世纪，盲人八桥检校(1614～1685)在江户（现在的东京）习得筑紫流筝曲后，到京都将其改编增补，并作筝组歌、分段曲等，因而成为俗筝及其筝曲的创始人。筝的传统演奏方法是右手拇、食、中指套上义甲弹拨，左手按弦。1921年宫城道雄创制17弦筝，已被广泛采用。俗筝演奏的筝曲多为声乐曲，也有据传为八桥检校所作的《六段》等器乐曲。宫城道雄创作的筝与尺八的二重奏曲《春之海》，成为现代名曲。20世纪60年代后，三木稔等作曲家为俗筝创作了为数众多的筝曲。新手上路成长任务编辑入门编辑规则本人编辑我有疑问内容质疑在线客服官方贴吧意见反馈投诉建议举报不良信息未通过词条申诉投诉侵权信息封禁查询与解封©2024 Baidu 使用百度前必读 | 百科协议 | 隐私政策 | 百度百科合作平台 | 京ICP证030173号京公网安备110000020000

Koto | Japanese, 13-string, zither | Britannica

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koto_百度百科

_百度百科网页新闻贴吧知道网盘图片视频地图文库资讯采购百科百度首页登录注册进入词条全站搜索帮助首页秒懂百科特色百科知识专题加入百科百科团队权威合作下载百科APP个人中心收藏查看我的收藏0有用+10koto播报讨论上传视频英语单词koto，英语单词，主要用作名词，作名词时译为“(Koto)人名；(马达)库图”。 [1]外文名koto词性名词英式发音['kəʊtəʊ]美式发音['koto]目录1单词用法2短语搭配单词用法播报编辑柯林斯英汉双解大词典koto /ˈkəʊtəʊ/1.N a Japanese stringed instrument, consisting of a rectangular wooden body over which are stretched silk strings, which are plucked with plectrums or a nail-like device 日本筝 [1]短语搭配播报编辑sasameki koto 轻声密语Saki Koto 琴早妃 ; 琴Koto Amemiya 雨宫琴 ; 雨琴 ; 雨宫琴子Hikaru Koto 古都光Itoji Koto 琴纟路Yuzu Koto 古藤Koto Remix 小林幸子Mitsuhashi Koto 贵风 [1]新手上路成长任务编辑入门编辑规则本人编辑我有疑问内容质疑在线客服官方贴吧意见反馈投诉建议举报不良信息未通过词条申诉投诉侵权信息封禁查询与解封©2024 Baidu 使用百度前必读 | 百科协议 | 隐私政策 | 百度百科合作平台 | 京ICP证030173号京公网安备110000020000

Koto Music | FSI

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Koto Music

Anne PrescottJune 2004 available in PDF format ( 142.97 KB )ContentsPhysical description of the koto History of the koto Traditional Forms Modern koto playing How to Listen to Koto Music Resources The koto is one of the most popular traditional instruments in Japan and one of the best known outside of that country. Although many people think of it as an ancient instrument whose music has not changed for generations, in fact it is a vibrant, living tradition. The koto repertoire has a wealth of compositions from 17th-century classics to innovative contemporary works. This Digest introduces the instrument, its history and music. Physical description of the kotoThe standard koto is a zither (an instrument with strings stretched the length of the sound box) with 13 strings. It is about 6 feet long, 10 inches wide and 2 inches thick. When the player sits on the floor in the traditional manner the playing end is slightly elevated by a short stand (about 4-6 inches high) or by attaching two short feet. Today performers often sit on chairs, and then the koto rests on a stand called a rissodai.The koto is constructed of two pieces: a hollowed-out top piece, which often has an intricate pattern carved on the underside for a better tone quality, and a flat bottom piece. There is a sound hole on the underside of the playing end and another hole for the strings to pass through on the opposite end. The koto is made from paulownia (kiri in Japanese) wood, which is very common in Asia but not indigenous to the United States. This wood is naturally very light brown in color, but to bring out the beauty of the wood grain, the kotokoto maker scorches the surface with a hot iron. The wood grain pattern (tightness and uniformity of the rings, direction of the wood grain pattern) helps the buyer of a new know if it will have a good sound or not. The carving on the underside of the top piece and how the two pieces are attached to each other also help to determine if it is a good instrument.The strings of the koto are all the same thickness, although individual players may use slightly different thicknesses. Originally, koto strings were made of silk, but silk breaks easily, and most performers today use synthetic strings. A few professional koto players still use silk strings, particularly when they perform the traditional (pre-20th century) repertoire. Silk strings have a slightly softer, subtler sound than synthetic strings, and this sound is preferred for the older repertoire.Under each string there is a moveable bridge which is used to tune the instrument. These bridges were originally ivory or wood tipped with ivory, but today nearly all players use plastic bridges. (Professional performers still use ivory bridges in performances.) The bridges are moved to tune the koto to one of a number of named pentatonic tunings.Koto strings are strung very tightly, and when the bridges are removed to store or transport the koto, the strings lay flat along the surface of the instrument. Strings most often break near the playing end, so the extra length of string, which is coiled at the opposite end, is pulled down and the string is retied. Although advanced koto players can do this, they prefer to leave it to a professional koto shop technician, who routinely changes and tightens koto strings and is used to stretching them to the right tension quickly and easily.Koto strings are plucked with plectra (picks) on the thumb and first two fingers of the right hand. The plectra are made of ivory or plastic and are attached to the fingers with leather or paper bands. There are two types of picks: Ikuta-ryû (school) picks, which are square, and Yamada-ryû picks, which are rounded (fingernail shaped). History of the kotoChinese musicians brought the koto to Japan from China in the Nara Period (710-794) as one instrument of the gagaku (court music) ensemble. By the mid-17th century the kotogagaku ensemble as a solo instrument to accompany songs. Until the 20th century, nearly all music for the koto was vocal music sung and accompanied by a single performer. The lyrics are from a variety of sources, including classic literature and poetry, and many famous tales are recounted in koto music. was more commonly used outside of theThe koto music performed today can be traced back to the mid-17th century and to Yatsuhashi Kengyô (?-1685), the father of modern koto music. Kengyô is an honorific title given to blind male koto masters, who were the professional teachers and performers in the Edo period (1600-1867). The majority of the students, however, were young middle- or upper-class women, because learning to play the koto was considered to be good training for becoming a proper wife. The oldest koto piece known today is Rokudan no Shirabe (1) (usually known simply as Rokudan), but it is not typical of koto pieces prior to the 20th century because it is for solo koto with no vocal part. Rokudan, like many other koto works, can be played in various forms: solo koto (the melody written by Yatsuhashi Kengyô), koto duet, koto and shamisen2) duet, koto and shakuhachi(3) duet, or rarely, trio for koto, shakuhachi, or shamisen. One of the interesting things about this is that each part was usually written by a different composer, often at a different time. Even today, composers are writing new melodies for koto and other instruments to be played with Yatsuhashi Kengyô's original solo version of Rokudan (4). (A koto master named Ikuta Kengyô (1656-1715) started his own school (style) of kotoryû. Yamada Kengyô (1757-1817) developed a flashier style of koto playing, and this is known as the Yamada-ryû. Each school developed its own repertoire, and even today Ikuta school and Yamada school players rarely learn repertoire from the other school. As mentioned above, the two schools use picks of different shapes, which influences how some musical patterns are played. playing called the Ikuta-Traditional FormsThere are three forms used in traditional koto compositions. The danmono form consists of a number of sections (dan) and each dan usually has 104 beats. Because each dan has the same number of beats, different dan can be played simultaneously in a form known as dan-awase. The kumiuta form is a collection of songs. Tegotomono are vocal works consisting of a vocal section followed by an instrumental interlude (tegoto) and concluding with another vocal section. The tegoto itself may be in the danmono form. In both the kumiuta and tegotomono forms, the lyrics for the vocal sections may be by different authors or from different literary works, but they are always on related themes. Prior to the 20th century very few koto works are in other forms, and even today composers sometimes utilize these traditional forms.Modern koto playingJapan was isolated from much of the outside world from the beginning of the Edo period (1603) until the Meiji Restoration of 1868. During this time, most Japanese people did not have the opportunity to hear new music from China or other countries. In addition, the musical culture encouraged imitation rather than innovation, so their music did not change much. Therefore, most koto music from this time sounds alike, with only subtle differences.The end of the 19th century was a time of great modernization (Westernization) in Japan, and one of the changes was the introduction of Western music into the school curriculum. This had a great impact on koto music. By the 1920s people began to prefer the music they learned at school and fewer people listened to and learned traditional music.With the decline in the number of people interested in traditional instruments in the 20th century, composers for those instruments tried to change the music to make it more attractive to the average person. The most influential of those composers was Michio Miyagi(5) (1894-1956). Miyagi composed more than 500 pieces in his lifetime, and his works incorporate new playing techniques, musical forms, and new instruments. Many of his new ideas came from Western music, and this made his compositions more accessible to ordinary Japanese. One of Miyagi's most visible changes to koto music was his invention of the 17-string bass koto called the jûshichigen. He also composed many works for children to attract them to playing the koto. Miyagi's Haru no Umi (Spring Sea), for kotoshakuhachi (1929) has become synonymous with the New Year's holiday in Japan, and during that time it is commonly heard on television, radio and as background music. It is heard around the world in its original version as well as in transcriptions for violin, piano, orchestra, Chinese erhu (a 2-string bowed fiddle), Korean kayagum (a 12-string zither), and other instruments. andSince the end of World War II there have been many radical changes to koto music. Composers from within the traditional Japanese music world (such as Shin'ichi Yuize, Tadao Sawai, Hozan Yamamoto, Shuretsu Miyashita, Shin Miyashita, Seiho Kineya and Kin'ichi Nakanoshima, Minoru Miki and Yutaka Makino) have created a great body of contemporary literature for the koto.Tadao Sawai (1937-1997) was one of the most prolific, innovative, influential and best-known composers in the late 20th century. He composed works for both koto and shamisen in traditional forms as well as avant-garde works using new playing techniques and manipulating the koto in new ways. He also wrote many works for beginning and intermediate players, and his compositions are popular among young koto players.Nihon Ongaku Shudan (Pro Musica Nipponia) was founded in 1964 by a group of performers on and composers for traditional instruments. This large-group ensemble broke with tradition by performing works for non-traditional combinations of instruments, including large ensemble works using many different instruments. In 1969 Pro Musica Nipponia members, composer Minoru Miki and koto master Keiko Nosaka, invented the nijûgen, a 20-string koto which has the same range as the 13-string koto. Pro Musica Nipponia often tours outside of Japan. How to Listen to Koto MusicListeners of Western music listen for vertical alignments, such as chords, or for interactions between musical lines. Late 20th-century koto compositions usually require Western listening strategies, but listeners of traditional koto music must ignore vertical alignments and listen to each line individually. In Western music, if two or more notes are played together, we hear the harmony produced, and we focus our attention on that harmonic movement. However, in traditional Japanese music when two or more notes are sounded at the same time, they are not meant to be heard as belonging together. Trained Japanese listeners perceive each musical line as a linear flow which is harmonically unrelated to the other musical lines occurring at the same time. Developing new listening strategies is important to appreciating koto music.Notes1. Rokudan no Shirabe is found on Splendour of the Koto.2. The shamisen is a three-string lute.3. The shakuhachi is an end-blown flute with five finger holes.4. The recording of Rokudan on Splendour of the Koto is for koto and shamisen.5. Japanese names are given in Western order (Michio Miyagi) rather than Japanese order (Miyagi Michio).ResourcesBooksDe Ferranti, Hugh, Japanese Musical Instruments, New York Oxford University Press, 2000.Malm, William, Traditional Japanese Music and Musical Instruments, New York: Kodansha International, 2000.RecordingsTegoto: Japanese Koto Music; Tomoko Sunazaki, FortunaTadao Sawai Plays Michio Miyagi, Playa SoundSplendor of the Koto, Various Artists, Playa SoundWeb SitesInformation on the koto: http://koto.home.att.net Instructions for kids to make their own koto at http://www.kotoworld.com/kids.htmlPlay the koto on the Internet athttp://www.genkienglish.net/genkijapan/koto.htm or at http://web-japan.org/kidsweb/virtual/koto/virtual-koto.html(a "kid-friendly" site)Mackay-Smith, Alexander, IV. "The Lost-and-Found Koto ofYatsuhashi" http://www.asiasound.com/pages/learn/articles/lost.htmMichio Miyagi: http://www.miyagikai.gr.jp (Japanese only)Anne Prescott is an outreach coordinator at the East Asian Studies Center at Indiana University. Before coming to IU, she taught koto, East Asian music and Japanese culture at Augustana College in Illinois. She received her Ph.D. in ethnomusicology from Kent State University.

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About KotoHome » About Koto

Koto is Japan’s traditional string instrument

Possessing a long instrumental body which symbolizes one of the most sacred creatures in Chinese myths and legends, the koto and the dragon are in many ways inextricably linked. Moreover, since the instrument itself is made in the image of the dragon and embodies much of the sacredness of this creature, the parts of a koto are thus called “ryūtō / ryūzu” (竜頭) / dragon-head, “ryūbi” (竜尾) / dragon-tail, and “ryūzetsu” (竜舌) / dragon-tongue, etc.

History

Instrument

School

History

Possessing a long and storied pedigree, the koto was first introduced to Japan during the 7th and 8th century from China. When the koto was first imported to Japan, it was used only by the Japanese court music called “gagaku” (雅楽). The koto used in gagaku is called “gakuso” (楽箏). Over time, it came to be used not only as an ensemble instrument but also as an accompaniment instrument for the singer.

Around the 16th century, the monk “Kenjun” (賢順) of Kyushu created “Tsukushiryu sokyoku” (筑紫流箏曲), the Tsukushi school of koto music.

Undeterred by his blindness, “Yatsuhashi Kengyo” (八橋検校) (who studied this Tsukushi style koto in the 17th century) would go on to create the koto methodology, which became the basis of what now comprises present-day koto music. At that time, the hemitonic pentatonic scale referred to as the “miyakobushi onkai” (都節音階) was prevalent among the common people and was already adopted in shamisen music. As one of the reforms, Yatsuhashi Kengyo created a new tuning called “hirajōshi” (平調子). Since Yatsuhashi Kengyo was originally a master of the “jiuta shamisen” (地歌三味線), he used this pentatonic scale to derive the hirajōshi scale, which remarkably is still used today as the formative tuning for the koto instrument.

During this period, a guild for blind men called “tōdō” (当道) was prevalent. Given Yatsuhashi Kengyo’s stature as one of the esteemed members of this hierarchically structured organization, the word “kengyo” (検校) hence became referred to as the highest-ranking member of the tōdō. This tōdō, in turn, received protection from the shogunate and, moreover, was granted various exclusive rights as professional music performers. Consequently, the koto was initially (a proprietary patent) performed solely by the blind artist guild, and as such barred ordinary civilians from becoming professional koto performers. As the blind musicians of tōdō started teaching koto to civilians, the instrument’s infectious beauty gradually spread among the general public.

It should be noted that there are two historically significant koto schools that developed in Japan: the “Ikuta-ryu” (生田流) / Ikuta school and the “Yamada-ryu” (山田流) / Yamada school. A member of the tōdō named “Ikuta Kengyo” (生田検校) founded the Ikuta-ryu / Ikuta school based in the Kansai region (ie. Osaka, Kyoto). Ikuta Kengyo made a historic contribution by combining the koto with juita shamisen, which was previously only deemed a solo instrument to accompany one’s singing. In order for the koto to accompany the shamisen, it was only inevitable that new techniques and tone production for the instrument would further develop during this period.

Yamada-ryu / Yamada school was started by “Yamada Kengyo” (山田検校) in Edo (current day Tokyo) during the 18th century. Yamada’s school incorporated the music of “joruri” (浄瑠璃), a type of sung narrative or storytelling accompanied by a shamisen. Influenced by the joruri music, Yamada Kengyo embarked upon composing koto music which was focused on singing.

As the “Edo Bakufu” (江戸幕府) era subsided during the 19th century, the tōdō guild found itself abolished, which, in turn, further opened the floodgates for ordinary citizens to pursue professional koto careers. With the dawn of the Meiji era, western music was slowly introduced to Japan during this time.

Amongst the handful of great modern koto performers and composers of the 20th century is “Michio Miyagi” (宮城道雄), who composed a vast instrumental repertoire for the koto. As previously stated, koto music prior to this time frequently accompanied singing. Yet Michio Miyagi, himself a prolific composer, found ways to remarkably incorporate Western music into the classic koto repertoire. As such, he was the first modern composer to create koto concertos while reforming the musical instrument by inventing the 17-string koto / bass koto, whose distinction is highlighted by the fact that it is tuned to a diatonic scale. As a result, today the koto can not only be heard as a solo instrument but can also be performed as an ensemble featuring numerous koto players. Through the 21st century and beyond, the koto continues its traditional music heritage with singing, while also functioning as a versatile instrument capable of enhancing rock, jazz, and pops genres.

Instrument

Construction

The koto is made of Paulownia wood. There are 13 strings stretch over a wooden body of roughly six feet. The inside of the body is hollow with two sound holes on the underside. While the original koto prototype consists of 13 strings, the instrument has adapted over time to include 17-string koto / bass koto, 20-string koto, 25-string koto, and other variations.

Traditionally, koto strings were made from silk, however, more durable materials such as tetron strings are frequently used today. It is difficult for musicians to tighten or change the strings as this is a specialized skill, therefore, the expertise of koto string-tightening craftsmen are called upon when musicians require altering of their koto strings. It should be noted that there are also koto instruments with tuning pins, which more or less gives musicians an option to adjust and tighten the strings on their own.

Tuning

There are thirteen movable bridges called “ji” (柱)/ bridge, placed along the body of the instrument for each string. The koto player can adjust the string pitches by moving these bridges. The tuning of the koto instrument is determined by several factors such as the scale depicted in a particular song, the nature of instrument accompaniment at hand, and the measure and pitch of the singer’s vocal articulation. The grace and precision of the instrument are such that, often times, there are scale changes within the same piece requiring the koto musician to move the bridges throughout the performance.

The traditional koto uses a pentatonic modal scale system. Some of the popular minor pentatonic scales include kumoijoshi, nakazorajoshi, and hirajoshi. Once the tuning of the first string (the tonic note) is determined, one can apply the same intervals by setting the bridges in specific relationships to each other. These modal scales can be performed in all keys.

Technique

The koto is played using three finger picks called “tsume” (爪), which are made out of plastic or ivory, while placed on the thumb, index finger and middle finger of the right hand. The three tsume picks are used to strike the strings in various technical styles. Pizzicato is also used with fingers that do not have the fitted picks to produce sound.

From a functional standpoint, the koto pitch is raised by pressing down on the string on the left side of the “ji” (柱) / bridge, with the left hand. One can lower the pitch by using their left hand, pulling the string toward the bridge and releasing it to its original pitch. Moving the bridge in itself will allow the koto performer to adjust the pitch higher or lower throughout a piece, yet another distinct feature of the remarkable instrument.

School

Ikuta-ryu（生田流）/ Ikuta school

Yamada-ryu（山田流）/ Yamada school

There are two, major koto schools, the “Ikuta-ryu” (生田流) / Ikuta school and the “Yamada-ryu” (山田流) / Yamada school. The schools are distinguished by the shape of their finger picks, “tsume” (爪). Ikuta-ryu uses square tsume to strike the strings using the corners of the tsume, while the Yamada-ryu uses rounded pointed tsume.

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Japanese music - Koto, Traditional, Folk | Britannica

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日本筝 - 搜狗百科

- 搜狗百科日本筝(koto)，拨奏弦鸣乐器。8世纪初，中国唐代十三弦筝传入日本，先后演变为乐筝(乐筝即中国唐筝把它叫做日本筝显然是谬误)、筑筝、俗筝等日本传统乐器。三者构造基本相同：桐木制长方形音箱面上张弦13根，每根弦用 1柱支撑。弦名从远至近分别称为一、二、三、四、五、六、七、八、九、十、斗、为、巾。琴身笔直。自古将筝比作“龙”，并依此为各部件命名。网页微信知乎图片视频医疗汉语问问百科更多»登录帮助首页任务任务中心公益百科积分商城个人中心日本筝编辑词条添加义项同义词收藏分享分享到QQ空间新浪微博日本筝（koto），拨奏弦鸣乐器。8世纪初，中国唐代十三弦筝传入日本，先后演变为乐筝（乐筝即中国唐筝把它叫做日本筝显然是谬误）、筑筝、俗筝等日本传统乐器。三者构造基本相同：桐木制长方形音箱面上张弦13根，每根弦用 1柱支撑。弦名从远至近分别称为一、二、三、四、五、六、七、八、九、十、斗、为、巾。琴身笔直。自古将筝比作“龙”，并依此为各部件命名。中文名日本筝展开分类拨奏弦鸣乐器展开外文名koto展开又名雅乐筝展开词条标签：日本筝日本免责声明搜狗百科词条内容由用户共同创建和维护，不代表搜狗百科立场。如果您需要医学、法律、投资理财等专业领域的建议，我们强烈建议您独自对内容的可信性进行评估，并咨询相关专业人士。词条信息词条浏览：15193次最近更新：22.11.17编辑次数：8次创建者：我爱我侬突出贡献者：新手指引了解百科编辑规范用户体系商城兑换问题解答关于审核关于编辑关于创建常见问题意见反馈及投诉举报与质疑举报非法用户未通过申诉反馈侵权信息对外合作邮件合作任务领取官方微博微信公众号搜索词条编辑词条收藏查看我的收藏分享分享到QQ空间新浪微博投诉登录企业推广免责声明用户协议隐私政策编辑帮助意见反馈及投诉© SOGOU.COM 京ICP备11001839号-1 京公网安备110000020000

Japanese Koto - The Traditional Japanese Harp

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Japanese Koto

The Traditional Japanese Harp

⏱ 3 minutes

Koto is a traditional music instrument played by plucking its string, in the same way as the shamisen. It is a zither with a long body and is usually called the "Japanese harp" due to the melodious sounds it produces. It is a typical musical art of Japan.

Contents

How to play the koto

Koto partition for beginners

The koto was imported from China between the 7th and 8th centuries and was played at the Imperial Court in Nara (710-794). It first performed gagaku, the official musical repertoire of Court music in Japan. Over time, the use of koto democratized, notably thanks to Yatsuhashi Kengyo, a 17th century shamisen musician who became the first to play koto for the general public and is now considered the "Father of Modern Koto". He participated in the composition of Rokudan no shirabe, one of the most iconic koto pieces.

Geishas favor playing koto during entertainment performances for its soft and sensitive musical touch. Nowadays, the Japanese harp is taught in school and is one of the traditional instruments that are the most popular and widely played.

A koto is characterized by the following elements:

Dimensions of about 1,80 meters long and about twenty centimeters wide,

13 silk strings (some types of koto can have up to 32 strings),

A slightly bent body and sounding board, made from Paulownia wood,

High ivory bridges, movable to tune the instrument.

How to play the koto

Traditionally, the musician kneels in the formal sitting position called seiza, while the koto is placed horizontally on the floor. However, since Meiji era (1868) and the introduction of western habits in Japan, koto can now be played seating on a chair with the instrument placed on a stand. Thus, the angle between the musician’s right leg and the instrument is wider by 45 degrees.

To play the koto, the right hand’s thumb, forefinger and middle finger are fitted with ivory plectrums (tsume or "claws"), that will help plucking the strings. The left hand is used to move the bridges and modify the tone of the musical notes. As with many string instruments, left-handed persons must adapt to play the koto as there is no specific version for them.

Koto partition for beginners

The musical scores show the notes, but also the name of the strings to pluck. Strings 1 to 10 are just numbered, and strings 11 to 13 are respectively named斗 to, 為 i and, 巾 kin.

One of the most played part during a koto introduction is named Sakura . This piece’s score was simplified and includes only strings 3 to 9. Therefore, only the thumb is plucking the strings, while the left hand is resting as no tone modification is necessary.

With a little focus and knowledge of solfeggio, it is possible to play this melody after only thirty minutes of practice, which comes as a nice surprise for the student. The instrument is naturally quite difficult to master, but it is nonetheless rewarding for beginners, who can still feel the beauty of its sounds thanks to a couple of notes.

The video below was shot during an introductory course to koto in Fukuyama City in Hiroshima prefecture. The city is one of the renowned places for the fabrication of this charming traditional instrument.

It is possible to experience learning koto throughout Japan, from ¥4,000 (~US$26.98) per person, depending on the cultural center.

This article was written after a tour sponsored and organized by Hiroshima Prefecture Tourism Association. Kanpai has been invited and guided but keeps a total freedom of editorial content.

By Kanpai

Updated on June 02, 2021

Posted on June 02, 2021

Le Koto japonais

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Koto - Discover The Sound Of An Amazing Traditional Instrument

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The koto is a traditional Japanese instrument with a rich history that enchants music lovers from all around the world with its sound. Learn more about the history of the koto and where you can learn to play it in Japan.

Latest update :

2017.05.04

The koto, also known as "Japanese harp", is a Japanese stringed instrument with a rich and detailed history. Unlike western stringed instruments such as violins and guitars, the koto actually consists of 13 strings that are strung over 13 bridges. There is actually one type of koto that has even 20 strings.

The koto is played with your fingers using plectra on three of the fingers to pluck the strings, while the other fingers will hold down the strings to create the notes. The instrument is placed on the floor and comes in different sizes depending on the number of strings it has.

During a koto performance, the koto player will be seated with the instrument in front of them, often wearing traditional Japanese attire such as a yukata or kimono. Experiencing a koto performance is a beautiful addition to the exploration of Japanese culture, and one of the most relevant cultural experiences when it comes to Japanese traditional music.

History of the Koto

The koto stems from the similar Chinese instrument called zheng and shares many of its features in terms of playing style and sound. The main difference consists in the number of strings.

After the instrument was introduced in Japan in the 7th century, it developed in size and shape reaching the 13-string version which is the standard now. Until the Meiji period, koto music was very popular within aristocratic circles. During and after the Meiji period when western musical styles started to influence Japanese culture, the koto lost some of is popularity.

The Structure of a Koto

The koto is a wooden instrument with strings made of silk or nylon. Depending on the wood type, the quality of the sound and the price of the koto will vary. One of the most common materials for the body of the koto is paulownia wood.

Like a guitar, the strings are strung over bridges, but unlike traditional western instruments, each string of the koto will have its own bridge. Usually, the instrument is about 190 cm long, but the more strings it has, the longer it will be and more space it will require.

Learn to Play the Koto

If you are interested in learning to play or experiencing the koto instrument for yourself, we recommend visiting the local cultural center in the city you are visiting for information on classes. If you are in a major city like Tokyo or Kyoto, several workshops and classes should be available for you to experience and learn about Japanese traditional music.

These workshops can span from one day to a weekend or even to several weeks. The koto is part of traditional Japanese culture, and courses will often cater to visitors from abroad as well. During a one-hour course, you can learn to play a traditional song. Most often these types of classes will be instructed in English are have an English interpreter available.

im钱包下载后删除|koto

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日本筝_百度百科

Koto | Japanese, 13-string, zither | Britannica

koto_百度百科

Koto Music | FSI

About Koto - Japanese Traditional Music

Japanese music - Koto, Traditional, Folk | Britannica

日本筝 - 搜狗百科

Japanese Koto - The Traditional Japanese Harp

JSTOR: Access Check

Koto - Discover The Sound Of An Amazing Traditional Instrument | MATCHA - JAPAN TRAVEL WEB MAGAZINE

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im钱包下载后删除|koto

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日本筝_百度百科

Koto | Japanese, 13-string, zither | Britannica

koto_百度百科

Koto Music | FSI

About Koto - Japanese Traditional Music

Japanese music - Koto, Traditional, Folk | Britannica

日本筝 - 搜狗百科

Japanese Koto - The Traditional Japanese Harp

JSTOR: Access Check

Koto - Discover The Sound Of An Amazing Traditional Instrument | MATCHA - JAPAN TRAVEL WEB MAGAZINE

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