Kinuta
砧
[Genre] | Sokyoku - Jiuta |
[Estilo] | Kinuta mono |
[Compuesto] | Sayama Kengyō - Koto |
Kinuta aparece en los siguientes álbumes
Álbum | Artista | |
Kimio Eto - Koto Master |
Koto : Etō Kimio | |
The Sound of Water While living in Korea, Miyagi often went to the river where the Korean women were washing their clothes and beating them on boards. Hearing the different rhythms of the beating, Miyagi composed this piece. composed about 30 years ago. | ||
Musical Cosmos of Yonekawa Toshiko 1 |
Shamisen : Yonekawa Toshiko Koto : Yonekawa Toshiko II | |
Fulling block A duet for sangen (another name of shamisen as used in the context of jiuta and sokyoku). Kinuta is a tool for beating and softening cloth to bring out its luster and the piece itself has, for a long time, been appreciated for its associations with autumn. The beating of the kinuta is expressed instrumentally on the koto and sangen. From this, a group of instrumental pieces called kinuta mono was formed and these fall within the categories of jiuta and sokyoku. The origins of these pieces perhaps derive from the sangen piece Kinuta by SAYAMA kengyo and the koto Kinuta by IKUTA kengyo though neither exists today and their influence is unclear. Nevertheless, attempts have been made to use these as the bases for various arrangements, and different regional traditions of kinuta mono have emerged. Common features include the form consisting of four dan (sections); the basic tune is more or less the same; at the end of each dan, there is a special melody; the repetition of the same note (in terms of length and pitch) in an even rhythm which represents the beating of the kinuta itself; timbral and rhythmical changes added to the basic pattern are interwoven; and a melody full of various instrumental devices is unfolded. The number of beats in each dan is not fixed and so there is not the same degree of uniformity as in dan mono. Consequently, in the absence of this restriction, it was possible for the composer to develop variations freely from the basic melody. All present-day Kinuta pieces are duets. However, in terms of performance method, there are examples of: 1) equal emphasis being placed on both voices; and 2) one voice leads while the other follows. However, in the Kinuta recorded here, there is neither. The sangen performer is in the tradition of YONEKAWA Kin'o and the piece is derived directly from Osaka Kinuta (ginuta) which is current in the Okayama area. It is made up of four dan though in fact the second dan of Osaka Kinuta is omitted - the first dan becomes the second section and is counted as the second dan. The circumstances surrounding this omission and details of the arranger are unclear. In Osaka Kinuta, the sangen leads and the koto follows. By contrast, Kin'o added a completely new koto part and, as a result delicate timbral shades and playing techniques are skillfully brought about in both the koto and the sangen. There is a sense of a modern duet with skillfully produced subtle textures. The sangen is tuned in hon tyosi while the koto is expressed in kumoi tyosi [zyosi]. In the 2nd dan, the 13th string is raised a minor third and in the 3rd dan, the 1st string is lowered a major second. | ||
Sokyoku Jiuta Taikei 09 |
Shamisen : Yonekawa Toshiko Koto : Satō Chikaki |