431:
222:
25:
372:
Nitabō had multiple blind students, such as Kinobo and Chōsakubo, who contributed to the development of the style. Nitabō's last student, Shirakawa
Gunpachirō, performed outside of the Tsugaru region as a part of a folk performance troupe. Gunpachirō also performed in professional settings, such as
1076:
solo versions have no doubt themselves been somewhat transformed from what they were many decades ago (and they of course were never an entirely uniform to begin with), it remains certain that the "old", "middle", and "new" versions are differentiated not merely stylistically but also historically.
368:
held upright, included the area around the bridge as the playing area, and incorporated beating and slapping the strings in contrast to exclusive use of the plectrum. However, other scholars, such as Gerald
Groemer, argue that due to a lack of documentation, the account advanced by Kazuo may not be
1046:
accompaniments were composed or arranged by such performers as
Takahashi Chikuzan (Takahashi 1976:142). Somewhat earlier there had been a nationwide movement to produce "new folk songs" (see Hughes 1985:144-54, 281–309; Kojima 1970), resulting in the songs listed in Group E. More recently still,
1063:
repertoire is what might be termed its cumulative nature. As can be seen from the listing of songs in Group B, newer variants of songs tend to coexist alongside older versions, rather than replacing them. Although the older songs and their
1053:
versions of the songs of Group D have been arranged. Solo versions of the older songs have become the center of the repertoire, leading to the development of long solo improvisations (Group F) and ensemble playing (Group G).
69:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge.
332:
called
Tsugaru. In addition, some researchers have conjectured on the style's origins based on available evidence. There is some consensus that the style was developed by homeless and blind individuals called
55:
1747:
The new edition includes a good deal of newly discovered historical information and brings the volume up to date. Currently only available from amazon.co.jp, it remains the most detailed study of
1181:
322:
are not known with certainty, largely because written records of its development were not kept nor was it ever formally recognized by the
Japanese government. What is known is that
995:(and, in time, other performers) tended to concentrate their efforts on some five favorite songs (Group C). By the middle of the 20th century three songs (Group B) and their
79:
510:
and recordings issued by stars of the past allow one to produce the following table. Most of the titles given below exist in two versions: in song form (a vocal line with
1091:
1151:
1136:
977:
Group A presents songs that are only rarely heard today, though they were once the mainstay of the repertoire of itinerant, often blind, musician-beggars known as
1221:
1106:
539:
484:
quality (the plectrum striking the body of the instrument on each stroke) and the lilt of the rhythms performed. Unlike most other
Japanese music, some
1531:
Halliwell, Patrick (2001). "Review: The Spirit of
Tsugaru: Blind Musicians, Tsugaru-jamisen, and the Folk Music of Northern Japan by Gerald Groemer".
1186:
1126:
1101:
89:
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
1156:
1121:
832:
507:
1211:
1171:
1166:
1111:
409:
1176:
1201:
1191:
957:. They use only left index and ring finger traditionally, and the scale is basically pentatonic (do re mi sol la). A technique unique to the
1243:
1161:
1238:
607:
1667:
1606:
Peluse, Michael S. (2005). "Not Your
Grandfather's Music: Tsugaru Shamisen Blurs the Lines between "Folk," "Traditional," and "Pop"".
536:
playing styles or motives with jazz, rock, and other forms of more commercial music. With the exception of arrangements classified as
1794:
1780:
348:
named Nitabō on the basis of interviews of musicians and their families. According to his research, Nitabō acquired and modified a
284:
and the instrument it is performed with. It is performed throughout Japan, though associations with the
Tsugaru remain strong.
927:; sometimes other songs of groups B to E above; occasionally newly composed pieces or free improvisation on standard patterns.)
1949:
74:
866:: potentially all songs of B, C, D, and E (most commonly B), as well as free improvisation, freely entitled by performers.
1954:
1022:
The songs of group D—though no less traditional than those of groups A, B, and C—were not, it seems, a major part of the
1571:
1477:
430:
97:
1583:
Ogawa, Yoko; Yoshitomi, Katunobu (1999). "Preference for
Bouncing Rhythm in Japanese Folk Songs by Young Generation".
412:
in Tokyo in 1959. As a result of this mass exposure to the genre, younger practitioners of the genre began to emerge.
110:
Content in this edit is translated from the existing Japanese Knowledge article at ]; see its history for attribution.
1463:
1519:
1498:
949:), improvising is the feature. The player will often strike the strings and skin very hard and fast with the
221:
1939:
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would probably not even recognize—has today become virtually a symbol of the timeless "spirit of Tsugaru".
37:
1944:
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to date in any language. Includes a translation of Takahashi Chikuzan's autobiography (Takahashi 1976)
380:
105:
1741:
The Spirit of Tsugaru: Blind Musicians, Takahashi Chikuzan, and the Folk Music of Northern Japan
1734:
The Spirit of Tsugaru: Blind Musicians, Takahashi Chikuzan, and the Folk Music of Northern Japan
1664:. His writings, often in semi-novelistic form, emphasize that everything originated with one "
390:. This migration was part of a larger movement due to a boom in the traditional arts in Japan.
1865:(Abridged translation of Daijō 1995 and includes some more general anthropological material).
1491:
The Spirit of Tsugaru: Blind Musicians, Tsugáru-jamisen, and the Folk Music of Northern Japan
126:
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piece (see sixth group below). Recently, younger performers have been attempting to combine
119:
8:
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422:, was also a highly regarded practitioner of the genre and began touring Japan in 1964.
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1096:
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413:
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During 1955–1965, many performers of the genre moved to urban centers in Japan such as
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1743:, 2nd revised edition. Hirosaki: Tsugaru Shobō. 369 pp., illust., photographs, biblio.
1959:
1790:
1635:
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repertoire. Instead, they tended to be sung by non-professionals, generally without
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has a large and steadily growing repertory. Interviews with noted performers such as
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281:
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175:
101:
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The Autobiography of Takahashi Chikuzan: Adventures of a Tsugaru-jamisen musician
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with a thicker neck and thicker strings than those used for most other styles.
354:
in 1877 for which he adopted a different playing style. Nitabō rounded off the
209:
943:
is characterized by many distinct phrases and styles. In acrobatic technique (
723:("Five Tsugaru Songs"—the "Three Tsugaru Songs" above, plus the following two)
1933:
1226:
494:, though the three beats are not accentuated in the manner of Western music.
1040:"boom" after World War II, these songs began to receive renewed attention.
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became popular in the 1920s, but its popularity waned with the onset of the
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359:
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Their structural differences contain, as it were, a congealed history.
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108:
to the source of your translation. A model attribution edit summary is
903:, occasionally supplemented by other instruments such as percussion,
1544:
342:
One scholar, Daijō Kazuo, proposed that the genre originated from a
1736:. Warren, Michigan: Harmonie Park Press. 321 pp., illust., biblio.
355:
307:
271:
191:
1899:
greats of the past. Translated in Groemer 1991, 1999, and 2012).
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enjoyed another bout of popularity when Gunpachirō performed with
1672:". Most scholars reject this unilinear derivation of the genre.
963:
style in recent years is the tremolo played with the back of the
1379:
296:
music, and has enjoyed multiple periods of popularity in Japan.
66:
1512:
Tsugaru : regional identity on Japan's northern periphery
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were gradually displaced by shorter non-narrative songs. The
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The Heart's Home Town: Traditional Folk Song in Modern Japan
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Tsugaru-shamisen no tanjo: minzoku geinō no seisei to ryūsei
1403:
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originated from a small peninsula due west of present-day
78:
to this template: there are already 1,140 articles in the
544:, these pieces are usually considered to be traditional.
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in concert halls in Tokyo. As a result of his successes,
1726:
Tsugaru-jamisen ni okeru sokkyō ensōteki yōso no bunseki
1697:(6 cassettes and book). Tokyo: King Records K25H-5274-8.
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Bulletin of the Council for Research in Music Education
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a machine-translated version of the Japanese article.
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316:in the 16th century CE, the specific developers of
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1309:
1847:". Kyōdo-shi Mutsu 1:90–118; 3:115–157; 4:93–112.
1770:(introduction to Japanese folk song in general).
1688:Tsugaru-shamisen no rekishi: sono seishin to fūdo
1643:
1439:
547:
358:of the instrument such that it was shaped like a
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1566:. Rochester, NY: University of Rochester Press.
1652:Daijō has spent most of his life studying The
1007:repertoire, which they remain today. Indeed, "
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104:accompanying your translation by providing an
49:Click for important translation instructions.
36:expand this article with text translated from
1510:Guo, Nanyan, ed. (2005). "Tsugaru Shamisen".
1766:. PhD dissertation, University of Michigan.
1514:. Dunedin, N.Z.: University of Otago Press.
1461:
1385:
983:. At the start of the 20th century, these
290:is considered the most recognized genre of
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1832:(Study of the "new folk song" movement)
1720:. Warren Michigan: Harmonie Park Press.
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220:
1880:(liner notes). Tokyo: CBS Sony SODL 17.
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1349:
1932:
1825:Shin-min'yō undō no ongakushi-teki igi
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1493:. Warren, Mich.: Harmonie Park Press.
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268:refers to both the Japanese genre of
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1001:versions had become the core of the
843:(composed by Narita Unchiku in 1954)
18:
1886:Jiden: Tsugaru-shamisen hitori tabi
1877:Tsugaru-shamisen Takahashi Chikuzan
1859:The Birth of Tsugaru Shamisen Music
1812:(1–24)", Tōō Nippō, Oct.16-Dec.14.
1509:
1462:Dodd, Jan; Richmond, Simon (2011).
1445:
13:
1861:. Aomori: Aomori University Press.
1564:Composing for Japanese Instruments
1182:Shamimaster Shishido(Kouzan Oyama)
1080:
524:drum accompaniment) and as a solo
14:
1971:
1902:
932:
831:(composed in 1932 by the singer
23:
16:Japanese genre of Shamisen music
1852:Suda Naoyuki and Anthony Rausch
1729:." Tōyō ongaku kenkyū 57:41–61.
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1644:References and further reading
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897:(ensemble playing of multiple
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312:originated from China through
114:You may also add the template
1:
1893:(Autobiography of one of the
1249:
1232:
1207:Ki&Ki – Kanami and Hikari
1034:accompaniment. But with the
1950:Japanese musical instruments
1658:and has met many of the old
1254:
1013:"—in a version that the old
973:Discussion of the repertoire
915:, etc., also referred to as
480:is easy to recognize by its
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86:will aid in categorization.
10:
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1955:Japanese words and phrases
1787:: Tradition and diversity.
1422:Ogawa & Yoshitomi 1999
969:without hitting the skin.
299:
61:Machine translation, like
1809:Tsugaru-shamisen no keifu
921:. Most often versions of
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438:performing in concert at
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185:
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38:the corresponding article
1920:Kouzan Oyama: All about
1489:Groemer, Gerald (1999).
1468:(5th ed.). London:
1465:The Rough Guide to Japan
1386:Dodd & Richmond 2011
864:solos and improvisation)
719:Tsugaru (no) itsutsumono
381:Second Sino-Japanese War
1909:Bachido: International
1694:Tsugaru-shamisen taizen
1679:Genkon Tsugaru-shamisen
566:(quasi-narrative songs)
276:music originating from
125:For more guidance, see
116:{{Translated|ja|津軽三味線}}
1828:". Engekigaku 11:1–29.
1789:Leiden/Boston: Brill.
1533:Asian Folklore Studies
591:Tsugaru (no) mitsumono
451:is played on a larger
443:
232:
1620:10.1353/amu.2005.0024
1562:Miki, Minoru (2008).
608:Tsugaru jongara bushi
433:
383:later in the decade.
224:
127:Knowledge:Translation
98:copyright attribution
1889:. Tokyo: Shinshokan.
1706:. Tokyo Shin'yosha.
1412:, pp. 117, 135.
1092:Shirakawa Gunpachirō
874:(Takahashi Chikuzan)
658:Tsugaru yosare bushi
1940:Japanese folk music
1137:Shin'ichi Kinoshita
687:Tsugaru ohara bushi
583:, now rarely played
575:, now rarely played
369:entirely accurate.
186:Typical instruments
1945:String instruments
1869:Takahashi Chikuzan
1844:Tsugaru min'yō-shi
1132:Hiromitsu Agatsuma
1097:Takahashi Chikuzan
1070:accompaniments or
822:("new folk songs")
750:("old folk songs")
736:Tsugaru san-sagari
729:Tsugaru aiya bushi
504:Takahashi Chikuzan
444:
414:Takahashi Chikuzan
233:
106:interlanguage link
1795:978 90 04 18137 3
1364:, pp. 62–63.
1306:, pp. 61–62.
1270:, pp. 60–62.
1222:Shinobu Kawashima
1107:Fukushi Masakatsu
416:, who was also a
330:Aomori Prefecture
282:Aomori Prefecture
278:Tsugaru Peninsula
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393:Tsugaru-jamisen
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319:tsugaru-jamisen
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287:Tsugaru-jamisen
280:in present-day
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246:津軽三味線, つがるじゃみせん
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1479:978-1405389266
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1434:Halliwell 2001
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34:You can help
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1614:(2): 57–80.
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1456:Bibliography
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1350:Groemer 1999
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1216:Wagakki Band
1177:Yutaka Oyama
1102:Kida Rinshōe
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936:
835:(1888–1974))
791:Tsugaru ondo
708:("old song")
698:("new song")
679:("old song")
669:("new song")
640:("old song")
620:("new song")
572:Suzuki Mondo
562:Kudoki bushi
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440:Webster Hall
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200:Local scenes
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102:edit summary
93:
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43:
35:
1649:Daijō Kazuo
1608:Asian Music
1388:, Hirosaki.
1374:Peluse 2005
1362:Peluse 2005
1338:Peluse 2005
1304:Peluse 2005
1292:Peluse 2005
1280:Peluse 2005
1268:Peluse 2005
1202:Chie Hanawa
1197:Nitta Oyako
1192:Seiyu Oyama
1152:Kyle Abbott
1147:Kevin Kmetz
918:kyoku-awase
906:taishō-goto
840:Ringo bushi
828:Waiha bushi
818:Shin min'yō
805:Tanto Bushi
770:Dodarebachi
540:shin min'yō
492:triple time
426:Composition
360:rice paddle
40:in Japanese
1934:Categories
1521:1877372080
1500:0899900852
1250:References
1244:Sawada Ryu
1233:Main style
1162:Mike Penny
798:Torajōsama
746:Kyū min'yō
694:shin bushi
665:shin bushi
626:naka bushi
616:shin bushi
554:repertoire
482:percussive
1915:Community
1636:194103673
1398:Miki 2008
1319:Miki 2008
1255:Citations
1239:Oyama Ryu
946:kyokubiki
854:Kyokubiki
704:kyū bushi
675:kyū bushi
636:kyū bushi
120:talk page
72:Consider
1960:Shamisen
1912:Shamisen
1784:shamisen
1597:40318997
1446:Guo 2005
1073:shamisen
1067:shamisen
1050:shamisen
1043:Shamisen
1031:shamisen
998:shamisen
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861:shamisen
595:("Three
527:shamisen
513:shamisen
454:shamisen
365:shamisen
356:plectrum
351:shamisen
308:shamisen
293:shamisen
272:shamisen
263:つがるしゃみせん
214:Hirosaki
192:Shamisen
96:provide
1841:1935 "
1822:1970 "
1806:1974 "
1739:2012
1723:1993 "
1700:1995
1685:1986 "
1628:4098516
1553:1178707
1470:Penguin
601:songs")
598:tsugaru
460:futozao
457:called
408:at the
314:Okinawa
300:History
206:Tsugaru
176:Tsugaru
118:to the
100:in the
42:.
1883:1976
1874:1973
1793:
1779:2010
1762:1985
1732:1999
1691:". In
1676:1984
1668:Nitabō
1661:bosama
1634:
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1025:bosama
1016:bosama
992:bosama
986:kudoki
980:bosama
879:Arashi
846:Others
810:Others
419:bosama
345:bosama
336:bosama
231:player
210:Kanagi
160:Min'yō
1857:1998
1716:1991
1632:S2CID
1624:JSTOR
1593:JSTOR
1549:JSTOR
1047:solo
966:bachi
953:bachi
893:Gassō
871:Iwaki
520:taiko
404:star
388:Tokyo
180:Japan
63:DeepL
1791:ISBN
1781:The
1568:ISBN
1516:ISBN
1495:ISBN
1474:ISBN
937:The
912:koto
548:The
516:and
506:and
434:The
400:enka
94:must
92:You
56:View
1616:doi
1589:141
1541:doi
890:G.
851:F.
815:E.
743:D.
716:C.
588:B.
559:A.
251:or
65:or
1936::
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468:太棹
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