1044:
2047:
1339:
34:
142:
3934:
1885:
1766:, G, G, c, g, or G, G, d, g for contemporary compositions, among other tunings, but these are only examples as the instrument is tuned to match the key of the player's voice. The first and second strings are generally tuned to the same note, with the 4th (or doubled 4th) string is tuned one octave higher.
1954:
and b, and the five string instrument can be tuned to C, G, C, d and g. For the five string version, the first and third strings are tuned the same note, the second string three steps down, the fifth string an octave higher than the second string, and the fourth string a step down from the fifth. So
2709:
players no longer enjoyed special privileges and were forced to support themselves. At the beginning of the Meiji period, it was estimated that there were at least one hundred traditional court musicians in Tokyo; however, by the 1930s, this number had reduced to just 46 in Tokyo, and a quarter of
1842:
These works present a radical departure from the compositional languages usually employed for such an instrument. Also, thanks to the possibility of relying on a level of virtuosity never before attempted in this specific repertory, the composer has sought the renewal of the acoustic and aesthetic
1947:
that are slightly wider and/or longer than those used by women or children. The body of the instrument is never struck with the plectrum during play, and the five string instrument is played upright, while the four string is played held on its side. The instrument is tuned to match the key of the
1740:, or buzzing drone. Its boxwood plectrum is much wider than others, often reaching widths of 25 cm (9.8 in) or more. Its size and construction influences the sound of the instrument as the curved body is often struck percussively with the plectrum during play.
2079:, considered one of Japan's principal traditional instruments, has both influenced and been influenced by other traditional instruments and compositions throughout its long history; as such, a number of different musical styles played with the
2797:
in Japan almost entirely consisted in
Western theory and instruction. Beginning in the late 1960s, these musicians and composers began to incorporate Japanese music and Japanese instruments into their compositions; for example, one composer,
1849:, bringing out the huge potential in the sound material: attacks and resonance, tempo (conceived not only in the chronometrical but also deliberately empathetical sense), chords, balance and dialogue (with the occasional use of two
1791:
often has five strings (although it is essentially a 4-string instrument as the 5th string is a doubled 4th that are always played together) and five or more frets, and the construction of the tuning head and frets vary slightly.
1930:
with four strings and four frets or five strings and five frets, was popularised in the Meiji period by
Tachibana Satosada. Most contemporary performers use the five string version. Its plectrum is much smaller than that of the
2144:
ensembles were composed of string, wind, and percussion instruments, where string and wind instruments were more respected and percussion instruments were considered lesser instruments. Among the string instruments, the
535:
Typically 60 centimetres (24 in) to 106 centimetres (42 in) in length, the instrument is constructed of a water drop–shaped body with a short neck, typically with four (though sometimes five) strings.
1502:; however, it was removed with the reforms and standardization made to the court orchestra during the late 10th century. It is assumed that the performance traditions died out by the 10th or 11th century (
2863:
tradition until his death in 1996. Beginning in the late 1960s to the late 1980s, composers and historians from all over the world visited
Yamashika and recorded many of his songs; before this time, the
2751:
players, who were quite popular in the early 20th century, may no longer have a direct means of studying oral composition, as the bearers of the tradition have either died or are no longer able to play.
1757:
are sometimes used in its construction. Due to the slow growth of the
Japanese mulberry, the wood must be taken from a tree at least 120 years old and dried for 10 years before construction can begin.
2046:
3193:
2939:
is one of the oldest
Japanese traditional music genres, originating in the 13th century. It is a semi-classical bardic tradition, not unlike the troubadour music of medieval Europe.
1043:
1569:, but with a much more narrow body. Its plectrum varies in both size and materials. The four fret type is tuned to E, B, E and A, and the five fret type is tuned to B, e, f
756:, a thoroughly Japanese tradition, was nearly completely abandoned for Western instruments. However, thanks to collaborative efforts by Japanese musicians, interest in the
1040:
was used by
Buddhist monks visiting private residences to perform memorial services, not only for Buddhist rites, but also to accompany the telling of stories and news.
1216:
By the middle of the Meiji period, improvements had been made to the instruments and easily understandable songs were composed in quantity. In the beginning of the
2550:. What the plectrum is made of also changes the texture, with ivory and plastic plectrums creating a more resilient texture to the wooden plectrum's twangy hum.
3186:
1937:, usually about 13 cm (5.1 in) in width, although its size, shape, and weight depends on the sex of the player. The plectrum is usually made from
1514:
harp, has been revived for historically informed performances and historical reconstructions. Not to be confused with the five-stringed variants of modern
579:
2499:
performances allows for a broad flexibility of pulse. Songs are not always metered, although more modern collaborations are metered. Notes played on the
1732:
are raised 4 centimetres (1.6 in) from the neck allowing notes to be bent several steps higher, each one producing the instrument's characteristic
3179:
1941:
with boxwood or ivory tips for plucking the strings. The instrument itself also varies in size, depending on the player. Male players typically play
2505:
usually begin slow and thin and progress through gradual accelerations, increasing and decreasing tempo throughout the performance. The texture of
3161:
2733:
between 1900 and the 1930s), the cycle of tutelage was broken yet again by the war. In the present day, there are no direct means of studying the
2109:, musical instruments usually serve as accompaniments to vocal performances, which dominate the musical style, with the overwhelming majority of
945:
Through the next several centuries, players of both traditions intersected frequently and developed new music styles and new instruments. By the
1980:
1793:
3534:
2594:
3321:
3202:
1284:
nearly became extinct during the Meiji period following the introduction of
Western music and instruments, until players such as
762:
is being revived. Japanese and foreign musicians alike have begun embracing traditional
Japanese instruments, particularly the
3956:
1675:
minstrels, and its small size lent it to indoor play and improved portability. Its tuning is A, c, e, a or A, c-sharp, e, a.
1726:
used for contemporary compositions often have five or more frets, and some have a doubled fourth string. The frets of the
3971:
3966:
2789:
Japan, many
Japanese composers and musicians found ways to revitalize interest in it. They recognized that studies in
3921:
158:
117:
2857:, preserved scores of songs that were almost lost forever. Yamashika, born in the late Meiji period, continued the
98:
70:
2676:
music with them. The Edo period proved to be one of the most prolific and artistically creative periods for the
921:. Seeing its relative convenience and portability, the monks combined these features with their large and heavy
3623:
55:
1506:). This instrument also disappeared in the Chinese court orchestras. Recently, this instrument, much like the
720:
77:
2245:
3121:
Ferranti, Relations between Music and Text in "Higo Biwa", The "Nagashi" Pattern as a Text-MusicSystem 150
2851:
Other musicians, such as
Yamashika Yoshiyuki, considered by most ethnomusicologists to be the last of the
3961:
3911:
1288:
and others revitalized the genre with modern playing styles and collaborations with Western composers.
84:
2409:
players use to produce short glissandi throughout the performance. The style of singing accompanying
517:
3800:
190:
2310:, the second string is the thickest, with the fourth and fifth strings being the same thickness on
1060:
from roughly the 16th century to the mid-19th century. What is known is that three main streams of
3166:
2718:
was difficult, and many musicians abandoned their music in favor of more sustainable livelihoods.
2524:
music. Different sized plectrums produced different textures; for example, the plectrum used on a
2469:
pieces were generally performed for small groups, singers did not need to project their voices as
2304:
range in thickness, with the first string being thickest and the fourth string being thinnest; on
3774:
2965:
2876:
tutelage died with him, but the music and genius of that era continues thanks to his recordings.
2027:
1248:
886:
66:
44:
3937:
1417:, it is played held on its side, similar to a guitar, with the player sitting cross-legged. In
644:), which arrived in Japan in two forms; following its introduction to Japan, varieties of the
2906:
2489:
contains five notes. This scale sometimes includes supplementary notes, but the core remains
1031:
568:
51:
22:
3560:
2870:
tradition had been a completely oral tradition. When Yamashika died in 1996, the era of the
2375:
emphasis throughout the performance. These monophonic do not follow a set harmony. Instead,
277:
3916:
3820:
3406:
3171:
1338:
2536:, producing a harsher, more vigorous sound. The plectrum is also critical to creating the
2463:
performers also vary the volume of their voice between barely audible to very loud. Since
8:
1797:
3401:
3734:
3616:
3449:
2824:
and sparked a series of collaborative efforts by other musician in genres ranging from
2802:, collaborated with Western composers and compositions to include the distinctly Asian
2637:
2599:
performers. As a result, younger musicians turned to other instruments and interest in
1403:. Its plectrum is small and thin, often rounded, and made from a hard material such as
1252:
383:
179:
170:
2758:
still retains a significant number of professional and amateur practitioners, but the
1054:
Though formerly popular, little was written about the performance and practice of the
911:
employed at the court were faced with the court's reconstruction and sought asylum in
3570:
3233:
2794:
2690:
2394:
1906:
1717:
1313:
497:
259:
165:
2799:
1213:
and, similarly, relies on an oral narrative tradition focusing on wars and legends.
3890:
2584:
2490:
2482:
2348:
1709:
1050:(Goddess of Music and Good Fortune) playing a biwa, 1832 woodblock print (surimono)
845:
ensembles and became the most commonly known type. However, another variant of the
437:
1217:
91:
3885:
3253:
2886:
2633:
1807:
1754:
1750:
1503:
1404:
946:
783:, many performers continue to use the instrument in traditional and modern ways.
732:
583:
1916:
1180:
3875:
3486:
2809:
2715:
2588:
2567:. Outside influence, internal pressures, and socio-political turmoil redefined
2336:
1776:
1285:
1027:
797:
arrived in Japan in the 7th century, having evolved from the Chinese bent-neck
706:, and continues to this day. This overlap resulted in a rapid evolution of the
316:
1760:
The strings are made of wound silk. Its tuning is A, E, A, B, for traditional
1496:, can be seen in paintings of court orchestras and was used in the context of
3950:
3674:
3609:
3491:
2664:
players and other musicians found it financially beneficial to switch to the
2485:(sometimes referred to as a five-tone or five-note scale), meaning that each
2344:
933:, which, as indicated by its namesake, was used primarily for recitations of
729:
teaching and decreased the number of proficient users. With the abolition of
311:
218:
915:
temples. There, they assumed the role of Buddhist monks and encountered the
659:
606:
3830:
2790:
2711:
2686:
2564:
2357:
singers often stagger their entry and often sing through non-synchronized,
2340:
1708:
with four strings and four frets, was popularized during the Edo period in
1487:
1302:, characterised by number of strings, sounds it could produce, the type of
1258:
1160:
738:
21:
This article is about the Japanese musical instrument. For other uses, see
3565:
3539:
3512:
3481:
3476:
3464:
3307:
2786:
2358:
2232:
are rooted in Buddhist rituals and traditions. Before arriving in Japan,
2162:
2138:
was usually patronized by the imperial court or the shrines and temples.
1164:
901:, found employment and patronage. However, following the collapse of the
529:
268:
3459:
2580:
1779:, who developed her own version of the instrument, which she called the
1232:, which became popular among female players at the time. With this, the
902:
716:
712:
and its usage and made it one of the most popular instruments in Japan.
3522:
3379:
3265:
3228:
2629:
2372:
2368:
2209:
337:
3346:
2960:
2016:
with five strings and five frets, was popularised by the 20th-century
236:
3527:
3369:
3326:
2450:
2433:
1713:
1047:
822:
525:
419:
204:
3724:
870:
region. Though its origins are unclear, this thinner variant of the
447:
33:
3805:
3759:
3709:
3507:
3374:
3351:
3260:
2614:
2515:
2418:
2415:
tends to be nasal, particularly when singing vowels, the consonant
1938:
1303:
1271:
974:
955:
had emerged as a more popular instrument, a cross between both the
912:
410:
349:
252:
245:
227:
197:
3286:
2381:
singers tend to sing with a flexible pitch without distinguishing
1800:, two of Tsuruta's students, continue the tradition of the modern
1141:
From these styles also emerged the two principal survivors of the
860:
3880:
3870:
3845:
3840:
3825:
3744:
3739:
3699:
3590:
3469:
3422:
3356:
3336:
3331:
3270:
3243:
3238:
2818:
with Western orchestral performance, revitalized interest in the
2694:
2382:
1509:
1023:
470:
454:
365:
344:
3895:
3865:
3835:
3784:
3769:
3729:
3689:
3517:
3341:
3248:
2539:
2486:
2323:
2151:
seems to have been the most important instrument in orchestral
1967:, c, d. Asahikai and Tachibanakai are the two major schools of
1948:
singer. An example tuning of the four string version is B, e, f
1884:
1735:
1560:
1238:
entered a period of popularity, with songs reflecting not just
867:
840:
556:
428:
323:
286:
141:
1201:
remains a style almost solely performed by blind persons. The
885:
became known as an instrument commonly played at the Japanese
3815:
3810:
3779:
3764:
3754:
3749:
3704:
3694:
3658:
3544:
3454:
2825:
2685:
In 1868, the Tokugawa shogunate collapsed, giving way to the
2470:
2390:
2054:
Gaku-biwa, chikuzen-biwa, heike-biwa, mōsō-biwa, satsuma-biwa
1663:, but the instrument itself is much smaller, comparable to a
1408:
1189:
was created and gained popularity. Of the remaining post-war
548:
521:
477:
461:
401:
392:
304:
295:
211:
3201:
3719:
3679:
3653:
3632:
2913:
2831:
2386:
800:
633:
507:
374:
330:
2658:) by financing them and allowing them special privileges.
2591:(15th–17th centuries) disrupted the cycle of tutelage for
1367:
with four strings and four frets, is used exclusively for
3714:
3112:
Garfias, Gradual Modifications of the Gagaku Tradition 18
3022:
Garfias, Gradual Modifications of the Gagaku Tradition 16
1072:(the lowest level of the state-controlled guild of blind
356:
1179:
were popular across Japan, and, at the beginning of the
621:
as musical accompaniment when reading scriptural texts.
3601:
2646:
music and became a major patron, helping to strengthen
468:
2934:
2871:
2865:
2858:
2852:
2843:
2837:
2829:
2819:
2813:
2803:
2780:
2771:
2765:
2759:
2753:
2746:
2740:
2734:
2728:
2722:
2704:
2698:
2677:
2671:
2665:
2659:
2653:
2647:
2641:
2623:
2612:
2606:
2600:
2592:
2574:
2568:
2558:
2545:
2537:
2531:
2525:
2519:
2506:
2500:
2494:
2476:
2464:
2458:
2410:
2404:
2398:
2376:
2362:
2352:
2330:
2317:
2311:
2305:
2299:
2293:
2287:
2281:
2271:
2261:
2255:
2249:
2239:
2233:
2227:
2221:
2215:
2207:
2201:
2195:
2189:
2183:
2177:
2152:
2146:
2139:
2133:
2110:
2104:
2080:
2074:
2064:
2052:
2035:
2017:
2011:
1987:
1974:
1968:
1955:
the previously mentioned tuning can be tuned down to B
1942:
1932:
1925:
1895:
1889:
1876:
1867:
1850:
1844:
1833:
1801:
1786:
1780:
1770:
1761:
1744:
1733:
1727:
1721:
1703:
1679:
1670:
1664:
1658:
1652:
1643:
1619:
1610:
1564:
1554:
1530:
1521:
1515:
1497:
1491:
1475:
1442:
1418:
1412:
1368:
1362:
1330:
1321:
1316:
tuning, pitches are approximated to the nearest note.
1307:
1297:
1279:
1264:
1256:
1242:
1233:
1227:
1221:
1208:
1202:
1196:
1190:
1184:
1174:
1168:
1154:
1148:
1142:
1133:
1127:
1106:
1085:
1079:
1073:
1067:
1061:
1055:
1035:
1017:
1011:
1005:
999:
990:
984:
978:
968:
962:
956:
950:
937:
928:
922:
916:
906:
896:
890:
880:
871:
866:– also found its way to Japan, first appearing in the
858:
852:
846:
838:
832:
826:
792:
778:
772:
763:
757:
751:
742:
730:
724:
707:
699:
677:
671:
665:
657:
651:
645:
625:
616:
590:
572:
562:
554:
546:
540:
511:
147:
131:
1507:
816:
798:
631:
459:
445:
435:
426:
399:
390:
381:
372:
321:
302:
293:
266:
216:
202:
2911:
354:
284:
1657:. Its plectrum is slightly larger than that of the
676:performances overlapped with performances by other
417:
408:
363:
243:
225:
58:. Unsourced material may be challenged and removed.
1648:with four strings and five frets, is used to play
553:instead of the fingers, and is often used to play
510:traditionally used in narrative storytelling. The
2397:roles. This singing style is complemented by the
2322:. The varying string thickness creates different
3948:
2034:. Its plectrum is the same as that used for the
1411:. It is not used to accompany singing. Like the
528:, eventually reaching Japan sometime during the
275:
2441:
2424:
2270:
2160:
2118:
2089:
1996:
1904:
1688:
1628:
1539:
1451:
1424:
1389:
1374:
1347:
1112:
1091:
821:itself was derived from similar instruments in
683:
604:
488:
2890:
2611:transitioned to other instruments such as the
2563:usage in Japan has declined greatly since the
2448:
2431:
2416:
2169:
2125:
2096:
2025:
2003:
1914:
1827:
1815:
1695:
1635:
1546:
1458:
1431:
1396:
1381:
1354:
1119:
1111:accompaniment – and formed the foundation for
1098:
690:
598:
3617:
3187:
1856:
1821:
1669:in size. It was originally used by traveling
639:
335:
257:
234:
2423:, and syllables beginning with "g", such as
1559:with four strings, is used to play Buddhist
876:was used in ceremonies and religious rites.
188:
2544:sound, which is particularly utilized with
1832:) were both written for performance on the
1464:
670:musical development for hundreds of years.
3624:
3610:
3194:
3180:
2808:. His well-received compositions, such as
1034:, and later for general performances. The
1022:was used for moral and mental training by
2347:can fluctuate up or down entire steps or
1563:and songs. It is similar in shape to the
118:Learn how and when to remove this message
3203:Traditional Japanese musical instruments
2511:singing is often described as "sparse".
2473:singers did in Western music tradition.
2326:when stroked from different directions.
2298:may have five strings. The strings on a
1883:
1337:
1042:
2727:flourished in the early 1900s (such as
2361:accompaniment. In solo performances, a
2062:
1090:(urban style). These styles emphasized
589:In previous centuries, the predominant
3949:
2553:
2260:, was the principal instrument of the
1608:
3605:
3175:
967:, retaining the rounded shape of the
595:musicians would have been blind monks
3933:
2530:was much larger than that used on a
1753:, although other hard woods such as
567:'s most famous uses is for reciting
56:adding citations to reliable sources
27:
2518:also contributes to the texture of
1296:There are more than seven types of
1066:practice emerged during this time:
13:
2636:unified Japan and established the
2266:, who were blind Buddhist priests.
506:is a Japanese short-necked wooden
14:
3983:
3167:Picture of Biwa school about 1900
3155:
2907:History and evolution of the lute
2286:have four strings, though modern
2238:was used in Indian Buddhism. The
1581:. The six fret type is tuned to B
995:, was used for similar purposes.
3932:
2961:"Biwa | musical instrument"
2573:patronage and the image of the
2045:
1875:
1838:designed by Tsuruta and Tanaka.
715:In spite of its popularity, the
520:that first gained popularity in
140:
32:
3142:
3133:
3124:
3115:
3106:
3097:
3088:
3079:
3070:
3061:
3052:
2928:
2587:(1338–1573) and the subsequent
2040:. Its tuning is C, G, c, g, g.
2022:player and composer Suitō Kinjō
1986:
1678:
1319:
777:singers no longer dominate the
630:'s Chinese predecessor was the
43:needs additional citations for
3043:
3034:
3025:
3016:
3007:
2998:
2989:
2980:
2953:
2776:styles have all but died out.
2710:these musicians later died in
2682:in its long history in Japan.
1865:
1769:The most eminent 20th century
1329:
811:
747:players lost their patronage.
650:quadrupled. Guilds supporting
1:
3162:Introduction to the Hei-kyoku
2946:
2896:/ ALM Records ALCD-76 (2008).
2879:
2697:class was abolished, and the
2101:, Japanese traditional music)
1618:
1441:
3957:Japanese musical instruments
2351:. When singing in a chorus,
1529:
1278:However, the playing of the
578:, a children's fable of the
524:before spreading throughout
7:
2935:
2912:
2900:
2872:
2866:
2859:
2853:
2844:
2838:
2830:
2820:
2814:
2804:
2781:
2772:
2766:
2760:
2754:
2747:
2741:
2735:
2729:
2723:
2705:
2699:
2678:
2672:
2666:
2660:
2654:
2648:
2642:
2624:
2613:
2607:
2601:
2593:
2575:
2569:
2559:
2546:
2538:
2532:
2526:
2520:
2507:
2501:
2495:
2477:
2465:
2459:
2442:
2425:
2411:
2405:
2399:
2377:
2363:
2353:
2331:
2318:
2312:
2306:
2300:
2294:
2288:
2282:
2272:
2262:
2256:
2250:
2240:
2234:
2228:
2222:
2216:
2208:
2202:
2196:
2194:singing is closely tied to
2190:
2184:
2178:
2161:
2153:
2147:
2140:
2134:
2119:
2111:
2105:
2090:
2081:
2075:
2065:
2053:
2036:
2018:
2012:
1997:
1988:
1975:
1973:. Popularly used by female
1969:
1943:
1933:
1926:
1905:
1896:
1890:
1877:
1868:
1851:
1845:
1834:
1802:
1787:
1781:
1771:
1762:
1749:is traditionally made from
1745:
1734:
1728:
1722:
1704:
1689:
1680:
1671:
1665:
1659:
1653:
1644:
1629:
1620:
1611:
1565:
1555:
1540:
1531:
1522:
1516:
1508:
1498:
1492:
1476:
1452:
1443:
1425:
1419:
1413:
1390:
1375:
1369:
1363:
1348:
1331:
1322:
1308:
1298:
1280:
1265:
1257:
1243:
1234:
1228:
1222:
1209:
1203:
1197:
1191:
1185:
1175:
1169:
1155:
1149:
1143:
1134:
1128:
1126:styles of playing, such as
1113:
1107:
1092:
1086:
1080:
1074:
1068:
1062:
1056:
1036:
1018:
1012:
1006:
1000:
991:
985:
979:
969:
963:
957:
951:
938:
929:
923:
917:
907:
897:
891:
881:
872:
859:
853:
847:
839:
833:
827:
817:
799:
793:
779:
773:
764:
758:
752:
743:
731:
725:
708:
700:
684:
678:
672:
666:
658:
652:
646:
632:
626:
617:
605:
591:
573:
563:
555:
547:
545:is generally played with a
541:
512:
489:
469:
460:
446:
436:
427:
418:
409:
400:
391:
382:
373:
364:
355:
322:
303:
294:
285:
267:
244:
226:
217:
203:
148:
132:
10:
3988:
3972:Japanese words and phrases
3967:Sacred musical instruments
2605:music decreased. Even the
2254:, as a predecessor to the
1373:. It produces distinctive
1207:is closely related to the
786:
768:, in their compositions.
682:players many years before
656:players, particularly the
20:
16:Japanese short necked lute
3930:
3904:
3858:
3793:
3667:
3646:
3639:
3583:
3553:
3500:
3442:
3435:
3415:
3392:
3365:
3317:
3306:
3299:
3279:
3216:
3209:
2891:
2670:, bringing new styles of
2619:(a three-stringed lute).
2449:
2432:
2417:
2170:
2126:
2115:compositions being vocal.
2097:
2026:
2004:
1915:
1828:
1816:
1696:
1636:
1547:
1459:
1432:
1397:
1382:
1355:
1120:
1099:
1010:both originated from the
806:
691:
640:
599:
518:plucked string instrument
501:
185:
178:
157:
139:
3631:
2921:
1306:, and their use. As the
1291:
973:and played with a large
2966:Encyclopedia Britannica
2785:music declined in post-
2628:was revived during the
2276:construction and tuning
2130:, Japanese court music)
1861:), dynamics and colour.
750:By the late 1940s, the
2703:lost their patronage.
2339:is not fixed. General
1900:
1863:
1858:Nuove Musiche per Biwa
1857:
1823:Nuove Musiche per Biwa
1822:
1343:
1226:was modified into the
1163:(1868–1912) until the
1051:
336:
276:
258:
235:
189:
2812:, which incorporated
2721:While many styles of
2589:Warring States period
1887:
1840:
1423:, it is known as the
1341:
1255:, with songs such as
1084:(samurai style), and
1046:
1032:Warring States period
721:Warring States Period
664:, helped proliferate
23:Biwa (disambiguation)
2481:music is based on a
2280:Generally speaking,
2174:, Buddhist chanting)
1361:, a large and heavy
1275:gaining popularity.
1105:– vocalisation with
837:, was later used in
152:in a Japanese museum
52:improve this article
3859:Related instruments
3004:ALM Records ALCD-76
2693:, during which the
2579:; for example, the
2554:Use in modern music
2244:was also rooted in
1159:. From roughly the
989:, smaller than the
180:Related instruments
136:
3067:Morton Feldman 181
2638:Tokugawa shogunate
2632:(1600–1868), when
1901:
1344:
1253:Russo-Japanese War
1052:
895:players, known as
580:Princess Biwa Breb
171:String instruments
130:
3962:Necked bowl lutes
3944:
3943:
3854:
3853:
3599:
3598:
3579:
3578:
3431:
3430:
3388:
3387:
3295:
3294:
2795:music composition
2745:traditions. Even
2691:Meiji Restoration
2640:. Ieyasu favored
2057:and their plectra
1751:Japanese mulberry
1718:Shimazu Tadayoshi
1312:does not play in
1249:Sino-Japanese War
1220:(1912–1926), the
1195:traditions, only
1183:(1925–1989), the
998:While the modern
949:(1185–1333), the
485:
484:
260:Chitarra Italiana
166:Necked bowl lutes
128:
127:
120:
102:
3979:
3936:
3935:
3891:Guitarra morisca
3644:
3643:
3626:
3619:
3612:
3603:
3602:
3440:
3439:
3315:
3314:
3304:
3303:
3214:
3213:
3196:
3189:
3182:
3173:
3172:
3149:
3146:
3140:
3137:
3131:
3128:
3122:
3119:
3113:
3110:
3104:
3101:
3095:
3092:
3086:
3083:
3077:
3074:
3068:
3065:
3059:
3056:
3050:
3047:
3041:
3038:
3032:
3029:
3023:
3020:
3014:
3011:
3005:
3002:
2996:
2993:
2987:
2986:Allan Marett 103
2984:
2978:
2977:
2975:
2973:
2957:
2940:
2938:
2932:
2917:
2894:
2893:
2875:
2869:
2862:
2856:
2847:
2841:
2835:
2823:
2817:
2807:
2784:
2775:
2769:
2763:
2757:
2750:
2744:
2738:
2732:
2726:
2708:
2702:
2681:
2675:
2669:
2663:
2657:
2651:
2645:
2627:
2622:Interest in the
2618:
2610:
2604:
2598:
2585:Muromachi period
2578:
2572:
2562:
2549:
2543:
2535:
2529:
2523:
2510:
2504:
2498:
2493:. The rhythm in
2483:pentatonic scale
2480:
2468:
2462:
2456:
2454:
2453:
2445:
2439:
2437:
2436:
2428:
2422:
2421:
2414:
2408:
2402:
2380:
2367:performer sings
2366:
2356:
2334:
2321:
2315:
2309:
2303:
2297:
2291:
2285:
2275:
2265:
2259:
2253:
2243:
2237:
2231:
2225:
2219:
2213:
2205:
2199:
2193:
2187:
2182:was not used in
2181:
2175:
2173:
2172:
2166:
2156:
2150:
2143:
2137:
2131:
2129:
2128:
2122:
2114:
2108:
2102:
2100:
2099:
2093:
2084:
2078:
2068:
2056:
2049:
2039:
2033:
2031:
2030:
2021:
2015:
2009:
2007:
2006:
2000:
1991:
1979:players such as
1978:
1972:
1966:
1965:
1960:
1959:
1953:
1952:
1946:
1936:
1929:
1923:
1921:
1920:
1911:
1899:
1893:
1888:Plectra for the
1880:
1871:
1860:
1854:
1848:
1837:
1831:
1830:
1825:
1819:
1818:
1810:'s compositions
1805:
1790:
1784:
1774:
1765:
1755:Japanese zelkova
1748:
1739:
1731:
1725:
1710:Satsuma Province
1707:
1701:
1699:
1698:
1692:
1683:
1674:
1668:
1662:
1656:
1647:
1641:
1639:
1638:
1632:
1623:
1614:
1604:
1603:
1598:
1597:
1592:
1591:
1586:
1585:
1580:
1579:
1574:
1573:
1568:
1558:
1552:
1550:
1549:
1543:
1534:
1525:
1519:
1513:
1501:
1495:
1485:
1483:
1480:
1479:
1472:
1469:
1466:
1462:
1461:
1455:
1446:
1437:
1435:
1434:
1428:
1422:
1416:
1402:
1400:
1399:
1393:
1387:
1385:
1384:
1378:
1372:
1366:
1360:
1358:
1357:
1351:
1334:
1325:
1311:
1301:
1283:
1268:
1262:
1246:
1237:
1231:
1225:
1212:
1206:
1200:
1194:
1188:
1178:
1172:
1158:
1152:
1146:
1137:
1131:
1125:
1123:
1122:
1116:
1110:
1104:
1102:
1101:
1095:
1089:
1083:
1077:
1071:
1065:
1059:
1039:
1021:
1015:
1009:
1003:
994:
988:
982:
972:
966:
960:
954:
941:
932:
926:
920:
910:
900:
894:
884:
875:
865:
856:
850:
844:
836:
830:
820:
813:
808:
804:
796:
782:
776:
767:
761:
755:
746:
736:
728:
711:
705:
703:
694:
693:
687:
681:
675:
669:
663:
655:
649:
643:
642:
637:
629:
620:
614:
613:
610:
602:
601:
594:
576:
566:
560:
552:
544:
515:
505:
503:
494:
474:
465:
451:
441:
432:
423:
414:
405:
396:
387:
378:
369:
360:
341:
327:
308:
299:
290:
281:
272:
263:
249:
240:
231:
222:
208:
194:
151:
144:
137:
135:
129:
123:
116:
112:
109:
103:
101:
60:
36:
28:
3987:
3986:
3982:
3981:
3980:
3978:
3977:
3976:
3947:
3946:
3945:
3940:
3926:
3900:
3886:Guitarra latina
3850:
3789:
3663:
3640:Types by region
3635:
3630:
3600:
3595:
3575:
3549:
3496:
3427:
3411:
3394:
3384:
3361:
3309:
3291:
3275:
3205:
3200:
3158:
3153:
3152:
3147:
3143:
3138:
3134:
3129:
3125:
3120:
3116:
3111:
3107:
3102:
3098:
3093:
3089:
3084:
3080:
3075:
3071:
3066:
3062:
3057:
3053:
3048:
3044:
3039:
3035:
3030:
3026:
3021:
3017:
3012:
3008:
3003:
2999:
2994:
2990:
2985:
2981:
2971:
2969:
2959:
2958:
2954:
2949:
2944:
2943:
2933:
2929:
2924:
2903:
2887:Silenziosa Luna
2882:
2652:guilds (called
2634:Tokugawa Ieyasu
2556:
2446:
2429:
2278:
2246:Indian Buddhism
2188:, the style of
2167:
2123:
2094:
2071:
2058:
2050:
2023:
2001:
1993:
1963:
1962:
1957:
1956:
1950:
1949:
1912:
1882:
1873:
1843:profile of the
1808:Carlo Forlivesi
1693:
1685:
1650:The Tale of the
1633:
1625:
1616:
1609:Middle and Edo
1601:
1600:
1595:
1594:
1589:
1588:
1583:
1582:
1577:
1576:
1571:
1570:
1544:
1536:
1504:William P. Malm
1481:
1473:
1470:
1467:
1456:
1448:
1429:
1394:
1379:
1352:
1336:
1327:
1294:
1247:, but also the
1240:The Tale of the
1117:
1096:
947:Kamakura period
935:The Tale of the
851:– known as the
831:, known as the
825:. This type of
789:
719:and subsequent
697:The Tale of the
688:
615:, who used the
611:
596:
584:Kamakura period
570:The Tale of the
495:
153:
146:A selection of
124:
113:
107:
104:
61:
59:
49:
37:
26:
17:
12:
11:
5:
3985:
3975:
3974:
3969:
3964:
3959:
3942:
3941:
3931:
3928:
3927:
3925:
3924:
3919:
3914:
3908:
3906:
3902:
3901:
3899:
3898:
3893:
3888:
3883:
3878:
3876:English guitar
3873:
3868:
3862:
3860:
3856:
3855:
3852:
3851:
3849:
3848:
3843:
3838:
3833:
3828:
3823:
3818:
3813:
3808:
3803:
3797:
3795:
3791:
3790:
3788:
3787:
3782:
3777:
3772:
3767:
3762:
3757:
3752:
3747:
3742:
3737:
3732:
3727:
3722:
3717:
3712:
3707:
3702:
3697:
3692:
3687:
3682:
3677:
3671:
3669:
3665:
3664:
3662:
3661:
3656:
3650:
3648:
3641:
3637:
3636:
3629:
3628:
3621:
3614:
3606:
3597:
3596:
3594:
3593:
3587:
3585:
3581:
3580:
3577:
3576:
3574:
3573:
3568:
3563:
3557:
3555:
3551:
3550:
3548:
3547:
3542:
3537:
3532:
3531:
3530:
3525:
3515:
3510:
3504:
3502:
3498:
3497:
3495:
3494:
3489:
3487:San-no-tsuzumi
3484:
3479:
3474:
3473:
3472:
3467:
3462:
3452:
3446:
3444:
3437:
3433:
3432:
3429:
3428:
3426:
3425:
3419:
3417:
3413:
3412:
3410:
3409:
3404:
3398:
3396:
3390:
3389:
3386:
3385:
3383:
3382:
3377:
3372:
3366:
3363:
3362:
3360:
3359:
3354:
3349:
3344:
3339:
3334:
3329:
3324:
3318:
3312:
3301:
3297:
3296:
3293:
3292:
3290:
3289:
3283:
3281:
3277:
3276:
3274:
3273:
3268:
3263:
3258:
3257:
3256:
3251:
3241:
3236:
3231:
3226:
3220:
3218:
3211:
3207:
3206:
3199:
3198:
3191:
3184:
3176:
3170:
3169:
3164:
3157:
3156:External links
3154:
3151:
3150:
3141:
3132:
3123:
3114:
3105:
3096:
3087:
3078:
3069:
3060:
3051:
3042:
3040:Minoru Miki 75
3033:
3024:
3015:
3006:
2997:
2988:
2979:
2951:
2950:
2948:
2945:
2942:
2941:
2926:
2925:
2923:
2920:
2919:
2918:
2909:
2902:
2899:
2898:
2897:
2881:
2878:
2810:November Steps
2800:Tōru Takemitsu
2716:post-war Japan
2555:
2552:
2369:monophonically
2277:
2269:
2268:
2267:
2220:singing. Both
2158:
2116:
2070:
2061:
2060:
2059:
2051:
2044:
1992:
1985:
1881:
1874:
1872:
1864:
1777:Tsuruta Kinshi
1775:performer was
1684:
1677:
1624:
1617:
1615:
1607:
1535:
1528:
1474:five-stringed
1447:
1440:
1335:
1328:
1326:
1318:
1293:
1290:
1286:Tsuruta Kinshi
1028:Satsuma Domain
927:to create the
887:Imperial court
788:
785:
586:(1185–1333).
539:In Japan, the
483:
482:
481:
480:
475:
466:
457:
452:
443:
433:
424:
415:
406:
397:
388:
379:
370:
361:
352:
347:
342:
333:
328:
319:
317:Irish bouzouki
314:
309:
300:
291:
282:
273:
264:
255:
250:
241:
232:
223:
214:
209:
200:
195:
183:
182:
176:
175:
174:
173:
168:
161:
159:Classification
155:
154:
145:
126:
125:
40:
38:
31:
15:
9:
6:
4:
3:
2:
3984:
3973:
3970:
3968:
3965:
3963:
3960:
3958:
3955:
3954:
3952:
3939:
3929:
3923:
3920:
3918:
3917:Manufacturers
3915:
3913:
3910:
3909:
3907:
3903:
3897:
3894:
3892:
3889:
3887:
3884:
3882:
3879:
3877:
3874:
3872:
3869:
3867:
3864:
3863:
3861:
3857:
3847:
3844:
3842:
3839:
3837:
3834:
3832:
3829:
3827:
3824:
3822:
3819:
3817:
3814:
3812:
3809:
3807:
3804:
3802:
3799:
3798:
3796:
3792:
3786:
3783:
3781:
3778:
3776:
3773:
3771:
3768:
3766:
3763:
3761:
3758:
3756:
3753:
3751:
3748:
3746:
3743:
3741:
3738:
3736:
3733:
3731:
3728:
3726:
3723:
3721:
3718:
3716:
3713:
3711:
3708:
3706:
3703:
3701:
3698:
3696:
3693:
3691:
3688:
3686:
3683:
3681:
3678:
3676:
3673:
3672:
3670:
3666:
3660:
3657:
3655:
3652:
3651:
3649:
3645:
3642:
3638:
3634:
3627:
3622:
3620:
3615:
3613:
3608:
3607:
3604:
3592:
3589:
3588:
3586:
3582:
3572:
3569:
3567:
3564:
3562:
3559:
3558:
3556:
3552:
3546:
3543:
3541:
3538:
3536:
3533:
3529:
3526:
3524:
3521:
3520:
3519:
3516:
3514:
3511:
3509:
3506:
3505:
3503:
3499:
3493:
3492:Den-den daiko
3490:
3488:
3485:
3483:
3480:
3478:
3475:
3471:
3468:
3466:
3463:
3461:
3458:
3457:
3456:
3453:
3451:
3448:
3447:
3445:
3441:
3438:
3434:
3424:
3421:
3420:
3418:
3414:
3408:
3405:
3403:
3400:
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2815:biwa heikyoku
2811:
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2333:
2327:
2325:
2320:
2314:
2308:
2307:chikuzen-biwa
2302:
2296:
2295:chikuzen-biwa
2290:
2284:
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2264:
2258:
2252:
2247:
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2218:
2212:
2211:
2204:
2200:, especially
2198:
2192:
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2164:
2159:
2157:performances.
2155:
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2029:
2020:
2014:
1999:
1990:
1984:
1982:
1977:
1971:
1970:chikuzen-biwa
1945:
1940:
1935:
1928:
1918:
1910:
1908:
1898:
1892:
1891:chikuzen-biwa
1886:
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1878:Chikuzen-biwa
1870:
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1730:
1724:
1719:
1715:
1712:(present-day
1711:
1706:
1691:
1682:
1676:
1673:
1667:
1666:chikuzen-biwa
1661:
1655:
1651:
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1613:
1606:
1567:
1566:chikuzen-biwa
1562:
1557:
1542:
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1527:
1524:
1523:chikuzen-biwa
1518:
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1505:
1500:
1494:
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1218:Taishō period
1214:
1211:
1205:
1199:
1193:
1187:
1182:
1177:
1176:chikuzen-biwa
1171:
1166:
1162:
1157:
1156:chikuzen-biwa
1151:
1145:
1139:
1136:
1130:
1115:
1109:
1094:
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1082:
1076:
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1064:
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1037:chikuzen-biwa
1033:
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1007:chikuzen-biwa
1002:
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981:
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835:
829:
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819:
815:), while the
814:
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593:
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581:
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575:
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565:
561:. One of the
559:
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312:Electric pipa
310:
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111:
108:December 2020
100:
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90:
86:
83:
79:
76:
72:
69: –
68:
64:
63:Find sources:
57:
53:
47:
46:
41:This article
39:
35:
30:
29:
24:
19:
3905:Other topics
3831:Swedish lute
3684:
3223:
3144:
3135:
3126:
3117:
3108:
3099:
3090:
3081:
3072:
3063:
3054:
3045:
3036:
3027:
3018:
3009:
3000:
2991:
2982:
2970:. Retrieved
2964:
2955:
2930:
2885:
2850:
2839:shin-hougaku
2791:music theory
2778:
2720:
2712:World War II
2687:Meiji period
2684:
2621:
2565:Heian period
2557:
2547:satsuma-biwa
2513:
2475:
2328:
2319:satsuma-biwa
2279:
2072:
2037:satsuma-biwa
2032:, 1911–1973)
1998:nishiki-biwa
1994:
1989:Nishiki-biwa
1934:satsuma-biwa
1902:
1897:satsuma-biwa
1841:
1835:satsuma-biwa
1811:
1803:satsuma-biwa
1798:Tanaka Yukio
1782:tsuruta-biwa
1772:satsuma-biwa
1768:
1759:
1746:satsuma-biwa
1742:
1729:satsuma-biwa
1690:satsuma-biwa
1686:
1681:Satsuma-biwa
1649:
1626:
1537:
1449:
1376:ichikotsuchō
1345:
1295:
1277:
1270:
1259:Takeo Hirose
1239:
1229:nishiki-biwa
1223:satsuma-biwa
1215:
1186:nishiki-biwa
1181:Shōwa period
1170:satsuma-biwa
1161:Meiji period
1150:satsuma-biwa
1140:
1053:
1019:satsuma-biwa
1001:satsuma-biwa
997:
944:
934:
878:
812:quxiang pipa
810:
790:
771:While blind
770:
749:
739:Meiji period
714:
696:
623:
588:
569:
538:
534:
532:(710–794).
490:
486:
114:
105:
95:
88:
81:
74:
62:
50:Please help
45:verification
42:
18:
3566:Kagura suzu
3540:Shakubyoshi
3477:Tsuri-daiko
3465:Shime-daiko
3085:Rossing 181
3031:Matisoff 36
2787:Pacific War
2755:Kindai-biwa
2730:kindai-biwa
2359:heterophony
2010:, a modern
1981:Uehara Mari
1894:(left) and
1660:gagaku-biwa
1490:variant of
1349:gagaku biwa
1332:Gagaku-biwa
1266:Hitachimaru
1165:Pacific War
1147:tradition:
1030:during the
530:Nara period
269:Daguangxian
228:Baglamadaki
3951:Categories
3523:Ita-sasara
3436:Percussion
3380:Shakuhachi
3308:Flutes and
3266:Yamatogoto
3229:Ichigenkin
2947:References
2880:Recordings
2873:biwa hōshi
2867:biwa hōshi
2860:biwa hōshi
2854:biwa hōshi
2845:gendaigaku
2714:. Life in
2630:Edo period
2608:biwa hōshi
2491:pentatonic
2373:melismatic
2349:microtones
2263:biwa hōshi
2251:heike-biwa
2248:, and the
2063:Styles of
1794:Ueda Junko
1630:heike-biwa
1621:Heike-biwa
1520:, such as
1453:gogen-biwa
1444:Gogen-biwa
1414:heike-biwa
1210:heike-biwa
1078:players),
986:heike-biwa
952:heike-biwa
930:heike-biwa
908:biwa hōshi
898:biwa hōshi
723:disrupted
673:Biwa hōshi
660:biwa hōshi
607:biwa hōshi
338:Mandocello
78:newspapers
3912:Composers
3801:Angélique
3528:Binzasara
3393:Free-reed
3370:Hichiriki
3327:Kagurabue
3130:Tokita 83
3076:Morley 51
2773:moso-biwa
2748:higo-biwa
2533:gaku-biwa
2527:mōsō-biwa
2313:chikuzen-
2257:mōsō-biwa
2241:mōsō-biwa
2229:mōsō-biwa
1720:. Modern
1714:Kagoshima
1541:mōsō-biwa
1532:Mōso-biwa
1426:gaku-biwa
1204:higo-biwa
1198:higo-biwa
1048:Benzaiten
1013:mōsō-biwa
992:mōsō-biwa
980:mōsō-biwa
977:like the
970:gaku-biwa
964:mōsō-biwa
958:gaku-biwa
924:gaku-biwa
918:mōsō-biwa
854:mōsō-biwa
834:gaku-biwa
823:West Asia
582:from the
526:East Asia
442:(Turkish)
420:Tambouras
278:Đàn tỳ bà
205:Balalaika
191:Angélique
3806:Archlute
3760:Shamisen
3710:Kutiyapi
3535:Kokiriko
3508:Hyōshigi
3460:Ōtsuzumi
3375:Hotchiku
3352:Shinobue
3261:Shamisen
3139:Tonai 25
3103:Gish 143
3058:Dean 149
3049:Dean 157
3013:Dean 156
2972:21 April
2936:Heikyoku
2901:See also
2739:in many
2689:and the
2661:Shamisen
2615:shamisen
2595:heikyoku
2581:Ōnin War
2516:plectrum
2403:, which
2289:satsuma-
2176:: While
1964:♭
1958:♭
1951:♯
1939:rosewood
1907:Chikuzen
1829:琵琶のための新曲
1812:Boethius
1602:♭
1596:♭
1590:♭
1584:♭
1578:♯
1572:♯
1342:Gakubiwa
1320:Classic
1314:tempered
1304:plectrum
1272:Hill 203
1251:and the
1093:biwa-uta
975:plectrum
913:Buddhist
903:Ritsuryō
889:, where
717:Ōnin War
685:heikyoku
498:Japanese
411:Surbahar
350:Mandolin
253:Charango
246:Bouzouki
198:Archlute
3938:Commons
3922:Players
3881:Gittern
3871:Cittern
3846:Vihuela
3841:Theorbo
3826:Mandora
3821:Mandore
3745:Sanxian
3740:Sanshin
3700:Dramyin
3591:Mukkuri
3513:Mokugyo
3470:Tsuzumi
3423:Horagai
3357:Yokobue
3347:Ryūteki
3337:Minteki
3332:Komabue
3322:Gakubue
3271:Tonkori
3254:Kankara
3244:Sanshin
3217:Plucked
3094:Malm 21
2695:samurai
2583:of the
2383:soprano
2371:, with
2345:pitches
2324:timbres
2085:exist.
1866:Modern
1785:. This
1561:mantras
1510:konghou
1468:
1405:boxwood
1129:shinnai
1114:edo-uta
1026:of the
1024:samurai
905:state,
857:or the
787:History
737:in the
471:Topshur
455:Theorbo
366:Pandura
345:Mandola
237:Bağlama
92:scholar
3866:Citole
3836:Torban
3794:Europe
3785:Yueqin
3770:Tanbur
3730:Qinqin
3725:Qanbūs
3690:Dombra
3675:Barbat
3647:Africa
3584:Others
3518:Sasara
3501:Blocks
3249:Gottan
3210:String
3148:Sanger
2770:, and
2540:sawari
2487:octave
2337:tuning
2235:shōmyō
2223:shōmyō
2214:style
2210:heike-
2197:shōmyō
2185:shōmyō
2163:Shōmyō
2154:gagaku
2141:Gagaku
2135:Gagaku
2120:Gagaku
2112:hōgaku
2106:hōgaku
2091:Hōgaku
1961:, F, B
1820:) and
1817:ボエティウス
1736:sawari
1499:gagaku
1420:gagaku
1370:gagaku
1167:, the
1016:, the
983:. The
868:Kyushu
841:gagaku
557:gagaku
448:Tembûr
438:Tanbur
429:Tanbur
324:Liuqin
287:Dombra
219:Barbat
94:
87:
80:
73:
67:"Biwa"
65:
3816:Kobza
3811:Cobza
3780:Veena
3765:Sitar
3755:Setar
3750:Sapeh
3735:Rubab
3705:Komuz
3695:Dutar
3659:Xalam
3561:Shōko
3554:Gongs
3545:Sanba
3455:Taiko
3450:Kakko
3443:Drums
3416:Horns
3395:pipes
3342:Nōkan
3310:oboes
3287:Kokyū
3280:Bowed
2922:Notes
2826:J-Pop
2767:heike
2471:opera
2393:, or
2391:tenor
2341:tones
2203:mōsō-
2103:: In
2069:music
1909:-biwa
1855:s in
1716:) by
1654:Heike
1599:and b
1575:and f
1409:ivory
1391:hyōjō
1292:Types
1244:Heike
1087:chofu
1081:shifu
939:Heike
863:-biwa
861:kōjin
701:Heike
574:Heike
549:bachi
522:China
516:is a
478:Veena
462:Tiqin
402:Sitar
393:Setar
384:Rubab
305:Dutar
296:Domra
212:Banjo
99:JSTOR
85:books
3896:Laúd
3720:Pipa
3685:Biwa
3680:Bipa
3668:Asia
3654:Goje
3633:Lute
3571:Kane
3482:Ikko
3300:Wind
3239:Kugo
3234:Koto
3224:Biwa
2974:2021
2914:Bipa
2892:沈黙の月
2842:and
2832:enka
2828:and
2821:biwa
2805:biwa
2793:and
2782:biwa
2761:zato
2742:biwa
2736:biwa
2724:biwa
2706:Biwa
2700:Todo
2679:biwa
2673:biwa
2667:biwa
2655:Todo
2649:biwa
2643:biwa
2625:biwa
2602:biwa
2576:biwa
2570:biwa
2560:Biwa
2521:biwa
2514:The
2508:biwa
2502:biwa
2496:biwa
2478:Biwa
2466:biwa
2460:Biwa
2440:and
2412:biwa
2406:biwa
2400:biwa
2395:bass
2387:alto
2378:biwa
2364:biwa
2354:biwa
2343:and
2332:biwa
2316:and
2301:biwa
2292:and
2283:biwa
2273:Biwa
2226:and
2217:biwa
2206:and
2191:biwa
2179:biwa
2148:biwa
2082:biwa
2076:biwa
2073:The
2066:biwa
2028:水藤錦穣
2019:biwa
2013:biwa
1995:The
1976:biwa
1944:biwa
1927:biwa
1924:, a
1903:The
1869:biwa
1852:biwa
1846:biwa
1796:and
1788:biwa
1763:biwa
1743:The
1723:biwa
1705:biwa
1702:, a
1697:薩摩琵琶
1687:The
1672:biwa
1645:biwa
1642:, a
1637:平家琵琶
1627:The
1612:biwa
1556:biwa
1553:, a
1548:盲僧琵琶
1538:The
1517:biwa
1493:biwa
1488:Tang
1486:, a
1477:biwa
1465:lit.
1460:五絃琵琶
1450:The
1388:and
1364:biwa
1356:雅楽琵琶
1346:The
1323:biwa
1309:biwa
1299:biwa
1281:biwa
1269:and
1235:biwa
1192:biwa
1173:and
1153:and
1144:biwa
1135:kota
1132:and
1108:biwa
1075:biwa
1069:zato
1063:biwa
1057:biwa
1004:and
961:and
892:biwa
882:biwa
879:The
873:biwa
848:biwa
828:biwa
818:pipa
807:曲項琵琶
801:pipa
794:biwa
791:The
780:biwa
774:biwa
765:biwa
759:biwa
753:biwa
744:biwa
733:Todo
726:biwa
709:biwa
679:biwa
667:biwa
653:biwa
647:biwa
634:pipa
627:biwa
624:The
618:biwa
600:琵琶法師
592:biwa
564:biwa
542:biwa
513:biwa
508:lute
491:biwa
487:The
375:Pipa
331:Lute
149:biwa
133:Biwa
71:news
3775:Tar
3715:Oud
3402:Shō
2836:to
2779:As
2329:In
2005:錦琵琶
1593:, B
1587:, E
1433:楽琵琶
1407:or
1383:壱越調
1121:江戸歌
1100:琵琶歌
357:Oud
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