118-608: Ondekoza ( 鬼太鼓座 ) ("demon drum group"), sometimes referred to as " Za Ondekoza ", is a Japanese troupe specializing in taiko drumming. Founded in 1969 by Den Tagayasu , in Sado Island , Japan. Ondekoza was influential in the rise of the kumi-daiko (group taiko) style of taiko. Not a taiko player himself, Tagayasu helped transform taiko from a festival-based music form to a virtuosic performance art performed on stage. Ondekoza's performances in North America in 1975
236-421: A plucked string instrument , often accompanies taiko during the theatrical performance. Kumi-daiko performances can also feature woodwinds such as the shakuhachi and the shinobue . Voiced calls or shouts called kakegoe and kiai are also common in taiko performance. They are used as encouragement to other players or cues for transition or change in dynamics such as an increase in tempo. In contrast,
354-412: A 1.8 shakuhachi . The various octaves are produced using subtle variations of breath, finger positions and embouchure . In traditional shakuhachi repertoire, instead of tonguing for articulation like many Western wind instruments, hitting holes ( oshi ( 押し ) , osu ( オス ) ) with a very fast movement is used and each note has its corresponding repeat fingerings; e.g., for repeating C5
472-437: A broad range of percussion instruments that are used in both Japanese folk and classical musical traditions. An early classification system based on shape and tension was advanced by Francis Taylor Piggott in 1909. Taiko are generally classified based on the construction process, or the specific context in which the drum is used, but some are not classified, such as the toy den-den daiko . With few exceptions, taiko have
590-478: A category of music and dances stemming from Shinto practices, taiko frequently appear alongside other performers during local festivals. In Buddhist traditions, taiko are used for ritual dances as part of the Bon Festival . Taiko , along with other instruments, are featured atop towers that are adorned with red-and-white cloth and serve to provide rhythms for the dancers who are encircled around
708-724: A central role in social movements for minorities both within and outside Japan. Kumi-daiko performance, characterized by an ensemble playing on different drums, was developed in 1951 through the work of Daihachi Oguchi and later in 1961 by the Ondekoza , and taiko was made later popular with many other groups copying the format of Ondekoza such as Kodo , Yamato, Tao, Taikoza, Fuun No Kai, Sukeroku Taiko , etc. Other performance styles, such as hachijō-daiko , have also emerged from specific communities in Japan. Kumi-daiko performance groups are active not only in Japan, but also in
826-410: A chisel; the texture of the wood after carving softened the tone of the drum. In contemporary times, taiko are carved out on a large lathe using wood staves or logs that can be shaped to fit drum bodies of various sizes. Drumheads can be left to air-dry over a period of years, but some companies use large, smoke-filled warehouses to hasten the drying process. After drying is complete, the inside of
944-623: A circle along the edge. After the skin has dried, tacks, called byō , are added to the appropriate drums to secure it; chū-daiko require about 300 of them for each side. After the body and skin have been finished, excess hide is cut off and the drum can be stained as needed. Several companies specialize in the production of taiko. One such company that created drums exclusively for the Emperor of Japan , Miyamoto Unosuke Shoten in Tokyo, has been making taiko since 1861. The Asano Taiko Corporation
1062-417: A class of hourglass-shaped drums. The drum body is shaped on a spool and the inner body carved by hand. Their skins can be made from cowhide, horsehide, or deerskin. While the ō-tsuzumi skins are made from cowhide, ko-tsuzumi are made from horsehide. While some classify tsuzumi as a type of taiko, others have described them as a drum entirely separate from taiko. Taiko can also be categorized by
1180-456: A collaborative performance involving Ondekoza and other musicians of varying world genres. The project aims to promote the development of expressive ability amongst children through the use of construction, creativity, music and dance. Music & Rhythms was originally launched in Korea in 2005, and has since involved children and communities in various locations around the globe including Africa,
1298-466: A company that operates in Hakata , has been producing taiko since 1821. Taiko performance styles vary widely across groups in terms of the number of performers, repertoire, instrument choices, and stage techniques. Nevertheless, a number of early groups have had broad influence on the tradition. For instance, many pieces developed by Ondekoza and Kodo are considered standard in many taiko groups. Kata
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#17327728493031416-400: A day and perform along the way. Going from NYC to Florida, New Orleans, San Diego, Seattle, Chicago and back to New York. 13 membres started the run and 7 finished and completed the run including Marco Lienhard , Shigeru Yamamoto, Kohei and Ryouhei Inoue, Shigeru Uemura, Yutoku Asato and Akio. the group went back to Japan and on tour with Japan Arts for a couple of years. Similarly, in 1998,
1534-449: A drum shell with heads on both sides of the body, and a sealed resonating cavity. The head may be fastened to the shell using a number of different systems, such as using ropes. Taiko may be either tunable or non-tunable depending on the system used. Taiko are categorized into three types based on construction process. Byō-uchi-daiko are constructed with the drumhead nailed to the body. Shime-daiko are classically constructed with
1652-476: A full set at the finish line of the marathon after completing the Boston Marathon . The group toured America, Europe and Japan to critical acclaim. In 1981, largely in response to the difference of opinion between Tagayasu and some Ondekoza members, Tagayasu and members broke off. Tagayasu left Sado island and kept the name Ondekoza and most of the drums. Some of Ondekoza members (except Tagayasu) formed
1770-404: A group of young men and women to Sado Island to study and live. Largely without formal musical training, the original members lived communally in an old school house while studying taiko, shamisen , koto , minyo (folk music), and traditional dance . The lifestyle was austere and rigorous with most days beginning with a run before breakfast and filled with study and practice. One of the keys to
1888-418: A historical account, and a newer tradition influenced by mainland groups and practiced by the majority of the islanders. The Hachijō-daiko tradition was documented as early as 1849 based on a journal kept by an exile named Kakuso Kizan . He mentioned some of its unique features, such as "a taiko is suspended from a tree while women and children gathered around", and observed that a player used either side of
2006-591: A majority of their students are women. The 2004 Big Apple Shakuhachi Festival in New York City hosted the first-ever concert of international women shakuhachi masters. This festival was organized and produced by Ronnie Nyogetsu Reishin Seldin, who was the first full-time shakuhachi master to teach in the Western hemisphere. Nyogetsu also holds 2 Dai Shihan (Grand Master) licenses, and has run KiSuiAn,
2124-480: A number of different styles. In kumi-daiko , it is common for a player to hold their sticks in a relaxed manner between the V-shape of the index finger and thumb, which points to the player. There are other grips that allow performers to play much more technically difficult rhythms, such as the shime grip, which is similar to a matched grip : the bachi are gripped at the back end, and the fulcrum rests between
2242-465: A patch of deer skin placed in the center serves as the target for many strokes during performance. Before fitting it to the drum body the hair is removed from the hide by soaking it in a river or stream for about a month; winter months are preferred as colder temperatures better facilitate hair removal. To stretch the skin over the drum properly, one process requires the body to be held on a platform with several hydraulic jacks underneath it. The edges of
2360-466: A performance that comes from amazing effort, a performance so serious and real that the performer plays as if their life depends on it." As of end of 2019, only three members lived in their facilities while five to six members were spread throughout Japan, some of whom only join the group for performances. Applicants who wish to join the group must complete a trial year, paying a monthly stipulation to cover their board and living costs. Those that complete
2478-536: A set of prescribed basics should be compatible with learning local traditions. Aside from kumi-daiko performance, a number of folk traditions that use taiko have been recognized in different regions in Japan. Some of these include ondeko ( 鬼太鼓 , "demon drumming" ) from Sado Island , gion-daiko [ ja ] from the town of Kokura , and sansa-odori [ ja ] from Iwate Prefecture . A variety of folk dances originating from Okinawa , known collectively as eisa , often make use of
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#17327728493032596-489: A single piece of wood, but at a much greater cost due to the difficulty in finding appropriate trees. The preferred wood is the Japanese zelkova or keyaki , but a number of other woods, and even wine barrels , have been used to create taiko. Byō-uchi-daiko cannot be tuned. The typical byō-uchi-daiko is the nagadō-daiko , an elongated drum that is roughly shaped like a wine barrel. Nagadō-daiko are available in
2714-473: A spiritual link between the body and the sky. Some physical parts of taiko, like the drum body, its skin, and the tacks also hold symbolic significance in Buddhism. Kumi-daiko groups consist primarily of percussive instruments where each of the drums plays a specific role. Of the different kinds of taiko, the most common in groups is the nagadō-daiko . Chū-daiko are common in taiko groups and represent
2832-694: A variety of sizes, and their head diameter is traditionally measured in shaku (units of roughly 30 cm). Head diameters range from 1 to 6 shaku (30 to 182 cm; 12 to 72 in). Ko-daiko ( 小太鼓 ) are the smallest of these drums and are usually about 1 shaku (30 cm; 12 in) in diameter. The chū-daiko ( 中太鼓 ) is a medium-sized nagadō-daiko ranging from 1.6 to 2.8 shaku (48 to 85 cm; 19 to 33 in), and weighing about 27 kilograms (60 lb). Ō-daiko ( 大太鼓 ) vary in size, and are often as large as 6 shaku (180 cm; 72 in) in diameter. Some ō-daiko are difficult to move due to their size, and therefore permanently remain inside
2950-505: Is another major taiko-producing organization, and has been producing taiko for over 400 years. The family-owned business started in Mattō, Ishikawa , and, aside from military equipment, made taiko for Noh theater and later expanded to creating instruments for festivals during the Meiji period . Asano currently maintains an entire complex of large buildings referred to as Asano Taiko Village, and
3068-578: Is derived from the Chinese bamboo-flute. The bamboo-flute first came to Japan from China during the 7th or 8th century. This style of bamboo flute, also called kodai shakuhachi ( 古代尺八 , ancient shakuhachi ) or gagaku shakuhachi ( 雅楽尺八 ) , was used for playing gagaku , but died out in the 10th century. Eight kodai shakuhachi remain in the Shōsō-in Treasure Repository. There are no records of musical scores related to
3186-495: Is keeping the body stabilized while performing and can be accomplished by keeping a wide, low stance with the legs, with the left knee bent over the toes and keeping the right leg straight. It is important that the hips face the drum and the shoulders are relaxed. Some teachers note a tendency to rely on the upper body while playing and emphasize the importance of the holistic use of the body during performance. Some groups in Japan, particularly those active in Tokyo, also emphasize
3304-705: Is one of the most recognized taiko groups both in Japan and worldwide. Estimates of the number of taiko groups in Japan vary to up to 5,000 active groups in Japan, but more conservative assessments place the number closer to 800 based on membership in the Nippon Taiko Foundation, the largest national organization of taiko groups. Some pieces that have emerged from early kumi-daiko groups that continue to be performed include Yatai-bayashi from Ondekoza, Isami-goma ( 勇み駒 , lit. "galloping horse") from Osuwa Daiko, and Zoku ( 族 , lit. "tribe") from Kodo. Taiko have been developed into
3422-490: Is played with a drumstick while hanging it with the other hand. Okedō-daiko or simply okedō , are a type of shime-daiko that are stave-constructed using narrower strips of wood, have a tube-shaped frame. Like other shime-daiko , drum heads are attached by metal hoops and fastened by rope or cords. Okedō can be played using the same drumsticks (called bachi ) as shime-daiko , but can also be hand-played. Okedō come in short- and long-bodied types. Tsuzumi are
3540-527: Is superior in volume, range, scale and tone quality. Today, since the shakuhachi generally refers only to fuke shakuhachi , the theory that the shakuhachi is an instrument unique to Japan is widely accepted. The shakuhachi is traditionally made of bamboo, but versions now exist in ABS , ebonite , anodized aluminum , and hardwoods . It was used by the monks of the Fuke Zen of Zen Buddhism in
3658-533: Is the posture and movement associated with taiko performance. The notion is similar to that of kata in martial arts: for example, both traditions include the idea that the hara is the center of being. Author Shawn Bender argues that kata is the primary feature that distinguishes different taiko groups from one another and is a key factor in judging the quality of performance. For this reason, many practice rooms intended for taiko contain mirrors to provide visual feedback to players. An important part of kata in taiko
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3776-543: Is thought to descend directly from the style reported by Kizan. This style is called Kumaoji-daiko , named after its creator Okuyama Kumaoji, a central performer of the style. Kumaoji-daiko has two players on a single drum, one of whom, called the shita-byōshi ( 下拍子 , "lower beat" ) , provides the underlying beat. The other player, called the uwa-byōshi ( 上拍子 , "upper beat" ) , builds on this rhythmical foundation with unique and typically improvised rhythms. While there are specific types of underlying rhythms,
3894-508: Is used in ensembles that accompany bugaku , a traditional dance performed at the Tokyo Imperial Palace and in religious contexts. Tsuri-daiko are suspended on a small stand, and are played sitting down. Tsuri-daiko performers typically use shorter mallets covered in leather knobs instead of bachi . They can be played simultaneously by two performers; while one performer plays on the head, another performer uses bachi on
4012-452: The kakko , also reflect influence from both China and India on drum use in gagaku performance. Archaeological evidence shows that taiko were used in Japan as early as the 6th century CE, during the latter part of the Kofun period , and were likely used for communication, in festivals, and in other rituals. This evidence was substantiated by the discovery of haniwa statues in
4130-401: The kodai shakuhachi , so details such as its playing method and scale are unknown. The average length was 40 cm (16 in), the diameter of the finger holes was 2 cm (0.79 in), and there were 6 finger holes – 5 at the front, 1 at the back. In the 15th century, the hitoyogiri shakuhachi ( 一節切尺八 ) appeared. It is characterized by a single bamboo joint in the middle of
4248-620: The shakuhachi in Dawn Mantras which was composed by Ross Edwards especially for the Dawn Performance, which took place on the sails of the Sydney Opera House at sunrise on 1 January 2000 and was televised internationally. The shakuhachi creates a harmonic spectrum that contains the fundamental frequency together with even and odd harmonics and some blowing noise. Five tone holes enable musicians to play
4366-415: The shakuhachi is also featured from time to time in electronica, pop and rock, especially after being commonly shipped as a "preset" instrument on various synthesizers and keyboards beginning in the 1980s. The General MIDI standard assigns the shakuhachi to programm number 78. One of the best known pop songs of the 1980s that uses this sound is " Sledgehammer " by Peter Gabriel . This was also used in
4484-464: The shakuhachi was developed in Japan in the 16th century and is called the fuke shakuhachi ( 普化尺八 ) . A bamboo flute known as the kodai shakuhachi ( 古代尺八 , ancient shakuhachi ) or gagaku shakuhachi ( 雅楽尺八 ) was derived from the Chinese xiao in the Nara period and died out in the 10th century. After a long blank period, the hitoyogiri shakuhachi ( 一節切尺八 ) appeared in
4602-476: The shakuhachi was officially forbidden for a few years. Non-Fuke folk traditions did not suffer greatly from this, since the tunes could be played just as easily on another pentatonic instrument. However, the honkyoku repertoire was known exclusively to the Fuke sect and transmitted by repetition and practice, and much of it was lost, along with many important documents. When the Meiji government did permit
4720-446: The shakuhachi 's subtlety (and player's skill) lies in its rich tone colouring, and the ability for its variation. Different fingerings, embouchures and amounts of meri/kari can produce notes of the same pitch, but with subtle or dramatic differences in the tone colouring. Holes can be covered partially and pitch varied subtly or substantially by changing the blowing angle. The Honkyoku pieces rely heavily on this aspect of
4838-433: The shakuhachi , the timbre of each possibility is taken into account when composing or playing thus different names are used to write notes of the same pitch which differ in timbre. The shakuhachi has a range of two full octaves (the lower is called 乙 / 呂 otsu , the upper, 甲 kan ) and a partial third octave ( 大甲 dai-kan ) though experienced players can produce notes up to E7 (2637.02 Hz) on
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4956-799: The taiko and its variants is unclear, though there have been many suggestions. Historical accounts, of which the earliest date from 588 CE, note that young Japanese men traveled to Korea to study the kakko , a drum that originated in South China . This study and appropriation of Chinese instruments may have influenced the emergence of taiko . Certain court music styles, especially gigaku and gagaku , arrived in Japan through both China and Korea. In both traditions, dancers were accompanied by several instruments that included drums similar to taiko . Certain percussive patterns and terminology in togaku , an early dance and music style in Japan, in addition to physical features of
5074-714: The Sawa District of Gunma Prefecture . Two of these figures are depicted playing drums; one of them, wearing skins, is equipped with a barrel-shaped drum hung from his shoulder and uses a stick to play the drum at hip height. This statue is titled "Man Beating the Taiko " and is considered the oldest evidence of taiko performance in Japan. Similarities between the playing style demonstrated by this haniwa and known music traditions in China and Korea further suggest influences from these regions. The Nihon Shoki ,
5192-678: The 1512 encyclopedia called the Taigensho , but written scores for taiko pieces are generally unavailable. One reason for the adherence to an oral tradition is that, from group to group, the rhythmic patterns in a given piece are often performed differently. Furthermore, ethnomusicologist William P. Malm observed that Japanese players within a group could not usefully predict one another using written notation, and instead did so through listening. In Japan, printed parts are not used during lessons. Orally, patterns of onomatopoeia called kuchi shōga are taught from teacher to student that convey
5310-474: The 15th century, and then in the 16th century, the fuke shakuhachi was developed in Japan. The fuke shakuhachi flourished in the 18th century during the Edo period , and eventually the hitoyogiri shakuhachi also died out. The fuke shakuhachi developed in Japan is longer and thicker than the kodai shakuhachi and has one finger hole less. It is longer and thicker than hitoyogiri shakuhachi and
5428-733: The 1950s and 1960s. Oedo Sukeroku Daiko was formed in Tokyo in 1959 under Seidō Kobayashi , and has been referred to as the first taiko group who toured professionally. Globally, kumi-daiko performance became more visible during the 1964 Summer Olympics in Tokyo, when it was featured during the Festival of Arts event. Kumi-daiko was also developed through the leadership of Den Tagayasu ( 田耕 ) , who gathered young men who were willing to devote their entire lifestyle to taiko playing and took them to Sado Island for training where Den and his family had settled in 1968. Den chose
5546-597: The 5th hole (D5's tone hole) is used. A 1.8 shakuhachi produces D4 (D above Middle C, 293.66 Hz) as its fundamental—the lowest note it produces with all five finger holes covered, and a normal blowing angle. In contrast, a 2.4 shakuhachi has a fundamental of A3 (A below Middle C, 220 Hz). As the length increases, the spacing of the finger holes also increases, stretching both fingers and technique. Longer flutes often have offset finger holes, and very long flutes are almost always custom made to suit individual players. Some honkyoku , in particular those of
5664-557: The 6th century CE; pottery from the Haniwa period depicting taiko drums has also been found. Some taiko are similar to instruments originating from India. Archaeological evidence also supports the view that taiko were present in Japan during the 6th century in the Kofun period . Their function has varied throughout history, ranging from communication, military action, theatrical accompaniment, religious ceremony and concert performances. In modern times, taiko have also played
5782-599: The Deer" ( 鹿の遠音 , Shika no tōne ) , became well known as "tests": if one could play them, they were a real Fuke monk. If they could not, they were probably a spy and might very well be killed if they were in unfriendly territory. With the Meiji Restoration , beginning in 1868, the shogunate was abolished and so was the Fuke sect, in order to help identify and eliminate the shōgun 's holdouts. The very playing of
5900-465: The Fall and Braveheart by James Horner , Jurassic Park and its sequels by John Williams and Don Davis , and The Last Samurai by Hans Zimmer and Memoirs of a Geisha by John Williams . Renowned Japanese classical and film-score composer Toru Takemitsu wrote many pieces for shakuhachi and orchestra, including his well-known Celeste , Autumn and November Steps . The sound of
6018-550: The Foundation's scope. The system of fundamentals Japan Taiko put forward was not widely adopted because taiko performance varied substantially across Japan. An updated 2001 publication from the Foundation, called the Nihon Taiko Kyōhon ( 日本太鼓教本 , "Japan Taiko Textbook" ) , describes regional variations that depart from the main techniques taught in the textbook. The creators of the text maintained that mastering
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#17327728493036136-551: The Japanese theatrical form, gagaku . The lead instrument of the ensemble is the kakko , which is a smaller shime-daiko with heads made of deerskin, and is placed horizontally on a stand during performance. A tsuzumi , called the san-no-tsuzumi is another small drum in gagaku that is placed horizontally and struck with a thin stick. Dadaiko ( 鼉太鼓 ) are the largest drums of the ensemble, and have heads that are about 127 cm (50 in) in diameter. During performance,
6254-492: The Middle East in 2010. "Music & Rhythms" is the title of a musical outreach project launched by Ondekoza in 2005. The project is aimed at children and their communities, and involves workshops in which participants build musical instruments out of bamboo and other items occurring in nature. The project is typically carried out in a number of steps, from instrument building, to musical experimentation, and eventually to
6372-511: The Middle East, Europe and Japan. Members of Ondekoza reside together in what was an abandoned/closed elementary school, in the rural setting of Higashi Chichibu-mura, in Saitama, Japan. Based on Den Tagayasu's principle of "running and drumming as one", running is a central part of the lifestyle of Ondekoza members. As a means of physical and mental training, members run about 10 km (6.2 mi) every day, at 6:00 a.m. before breakfast. Since
6490-456: The Nezasaha (Kimpu-ryū) school, are intended to be played on these longer flutes. Due to the skill required, the time involved, and the range of quality in materials to craft bamboo shakuhachi , one can expect to pay from US$ 1,000 to US$ 8,000 for a new or used flute. Because each piece of bamboo is unique, shakuhachi cannot be mass-produced, and craftsmen must spend much time finding
6608-475: The United States, Australia, Canada, Europe, Taiwan, and Brazil. Taiko performance consists of many components in technical rhythm, form , stick grip, clothing, and the particular instrumentation . Ensembles typically use different types of barrel-shaped nagadō-daiko as well as smaller shime-daiko . Many groups accompany the drums with vocals, strings, and woodwind instruments. The origin of
6726-592: The United States. They moved to Atami in Shizuoka prefecture in 1988. The group performed at the New Fujiya Hotel Reiho theater twice a night for a whole year. Ichiro Inoue, Yasuko Takakubo, Marco Lienhard , Shigeru Yamamoto and Maceo Hernandez were the lead performers. Marco Lienhard played the Odaiko solo as well as other Taiko parts and Shakuhachi solos. He became one of the lead member that helped
6844-458: The accompanying player is free to express an original musical beat. Kumaoji-daiko also features an unusual positioning for taiko: the drums are sometimes suspended from ropes, and historically, sometimes drums were suspended from trees. Shakuhachi A shakuhachi ( Japanese : 尺八 , pronounced [ɕakɯhat͡ɕi] ) is a Japanese longitudinal, end-blown flute that is made of bamboo . The bamboo end-blown flute now known as
6962-401: The addition of Shakuhachi in the introduction making it a unique dialogue between flute and drum. Den Tagayasu and Ondekoza's arrangements of these pieces, and their associated playing styles, have been popularized by their widespread use by other taiko groups throughout Japan and the United States. In 1975, Ondekoza made their American debut. In one noteworthy performance, the members performed
7080-510: The alms bowl"). They persuaded the shōgun to give them exclusive rights to play the instrument. In return, some were required to spy for the shogunate, and the shōgun sent several of his own spies out in the guise of Fuke monks as well. This was made easier by the wicker baskets ( 天蓋 , tengai ) that the Fuke wore over their heads, a symbol of their detachment from the world. In response to these developments, several particularly difficult honkyoku pieces, e.g. "Distant Call of
7198-403: The blowing angle is adjusted to bend the pitch downward and upward, respectively, combined with embouchure adjustments and fingering techniques the player can bend each pitch as much as a whole tone or more. Pitches may also be lowered by shading ( カザシ , kazashi ) or partially covering finger holes. Since most pitches can be achieved via several different fingering or blowing techniques on
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#17327728493037316-441: The body of the drum. The larger ō-tsuzumi and smaller ko-tsuzumi are used in the opening and dances of Noh theater . Both drums are struck using the fingers; players can also adjust pitch by manually applying pressure to the ropes on the drum. The color of the cords of these drums also indicates the skill of the musician: Orange and red for amateur players, light blue for performers with expertise, and lilac for masters of
7434-460: The company reports producing up to 8000 drums each year. As of 2012, there is approximately one major taiko production company in each prefecture of Japan , with some regions having several companies. Of the manufacturers in Naniwa, Taikoya Matabē is one of the most successful and is thought to have brought considerable recognition to the community and attracted many drum makers there. Umetsu Daiko,
7552-454: The context in which they are used. The miya-daiko , for instance, is constructed in the same manner as other byō-uchi-daiko , but is distinguished by an ornamental stand and is used for ceremonial purposes at Buddhist temples . The Sumō-daiko ( 相撲太鼓 ) (a ko-daiko ) and sairei-nagadō ( 祭礼長胴 ) (a nagadō-daiko with a cigar-shaped body) are used in sumo and festivals respectively. Several drums, categorized as gagakki , are used in
7670-503: The context of theater, have thinner heads than other kinds of shime-daiko. The head includes a patch of deerskin placed in the center, and in performance, drum strokes are generally restricted to this area. The tsukeshime-daiko ( 付け締め太鼓 ) is a heavier type of shime-daiko . They are available in sizes 1–5, and are named according to their number: namitsuke (1), nichō-gakke (2), sanchō-gakke (3), yonchō-gakke (4), and gochō-gakke (5). The namitsuke has
7788-949: The correct shape and length of bamboo, curing it for more or less of a decade in a controlled environment and then start shaping the bore for almost a year using Ji ( 地 ) paste—many layers of a mixture including tonoko powder ( 砥の粉 ) and seshime and finished with urushi lacquer—for each individual flute to achieve correct pitch and tonality over all notes. Specimens of extremely high quality, with valuable inlays, or of historical significance can fetch US$ 20,000 or more. Plastic or PVC shakuhachi have some advantages over their traditional bamboo counterparts: they are lightweight, extremely durable, nearly impervious to heat and cold, and typically cost less than US$ 100. Shakuhachi made of wood are also available, typically costing less than bamboo but more than synthetic materials. Nearly all players, however, prefer bamboo, citing tonal qualities, aesthetics, and tradition. The shakuhachi
7906-515: The cowhide are secured to an apparatus below the jacks, and the jacks stretch the skin incrementally to precisely apply tension across the drumhead. Other forms of stretching use rope or cords with wooden dowels or an iron wheel to create appropriate tension. Small tension adjustments can be made during this process using small pieces of bamboo that twist around the ropes. Particularly large drumheads are sometimes stretched by having several workers, clad in stockings, hop rhythmically atop it, forming
8024-413: The drum body (or shell), preparing the drum skin, and tuning the skin to the drumhead. Variations in the construction process often occur in the latter two parts of this process. Historically, byō-uchi-daiko were crafted from trunks of the Japanese zelkova tree that were dried out over years, using techniques to prevent splitting . A master carpenter then carved out the rough shape of the drum body with
8142-416: The drum is placed on a tall pedestals and surrounded by a rim decoratively painted with flames and adorned with mystical figures such as wyverns . Dadaiko are played while standing, and are usually only played on the downbeat of the music. The tsuri-daiko ( 釣太鼓 , "suspended drum" ) is a smaller drum that produces a lower sound, its head measuring about 55 cm (22 in) in diameter. It
8260-504: The drum is worked with a deep-grooved chisel and sanded. Lastly, handles are placed onto the drum. These are used to carry smaller drums and they serve an ornamental purpose for larger drums. The skins or heads of taiko are generally made from cowhide from Holstein cows aged about three or four years. Skins also come from horses , and bull skin is preferred for larger drums. Thinner skins are preferred for smaller taiko, and thicker skins are used for larger ones. On some drumheads,
8378-447: The drum while performing. Illustrations from Kizan's journal show features of Hachijō-daiko . These illustrations also featured women performing, which is unusual as taiko performance elsewhere during this period was typically reserved for men. Teachers of the tradition have noted that the majority of its performers were women; one estimate asserts that female performers outnumbered males by three to one. The first style of Hachijō-daiko
8496-551: The early members left the group and Ondekoza kept on with new directions and members since. The new version of Ondekoza has kept some of the running and in 2005 marked the completion of their "Taiwan Marathon Tour", in which they ran the outer border of Taiwan, again while performing at various venues along the way. Through 2006–2008, the group toured and performed mainly throughout Japan, Asia and Europe. The group continues to tour internationally, including performances in Africa and
8614-499: The form of ensemble taiko drumming more specifically called kumi-daiko ( 組太鼓 , lit. ' set of drums ' ) . The process of constructing taiko varies between manufacturers, and the preparation of both the drum body and skin can take several years depending on the method. Taiko have a mythological origin in Japanese folklore , but historical records suggest that taiko were introduced to Japan through Chinese and Korean cultural influence as early as
8732-466: The founding years of the group, Ondekoza members have competed in various marathons in Japan and the United States. Their communal lifestyle leaves for little free time and often involves periods of concentration by writing sutra (Buddhist scriptures). The goal in the sutra writing is to fully focus and write as beautifully as possible, preferably using your non-dominant hand. Hiro Yoshi, Director of Ondekoza and member for over 20 years, said "I want to see
8850-669: The group Kodō on Sado island. bringing in outsider help to form the group Kodo. Tagayasu gathered new members and formed Ondekoza again in Ikusaka Nagano prefecture, Japan in 1980. In 1981/82, they moved to Unzen in Nagazaki Prefecture where they stayed until 1988. In 1986 the new members of Ondekoza performed at the 1986 World's Fair in Vancouver , British Columbia , Canada and extensively toured in Europe and
8968-416: The group Ondekoza, Eitetsu Hayashi suggested that a loincloth called a fundoshi be worn when performing for French fashion designer Pierre Cardin , who saw Ondekoza perform for him in 1975. The Japanese group Kodo has sometimes worn fundoshi for its performances. Taiko performance is generally taught orally and through demonstration. Historically, general patterns for taiko were written down, such as in
9086-532: The group began a marathon tour of China, performing in various cities throughout the country while running a distance of 12,500 km. The leader Tagaysu Den died shortly after it in April 2001, in an automobile accident, and the Chinese tour was never completed. The leadership then changed radically and the philosophy of the group changed, never to be the same again. The group has since been headed by shakuhachi (bamboo end-blown flute) artist, Seizan Matsuda. Most of
9204-517: The group with their next big Marathon tour in the USA. The group spent 3 years (1990–1993) running and performing around the United States, beginning and ending their journey with performances at the New York City marathon and performances at Carnegie Hall in New York . At the end of the journey the members had run approximately 10,000 miles (roughly 16,000 kilometers). The members would run 20–30 miles
9322-565: The group's success was the arrangement of traditional melodies and styles into stylized, artistic musical pieces. Examples of these are their songs yatai-bayashi , based on the Chichibu festival and hachijo and miyake based on the drum patterns from Hachijo Island and Miyake Island . Also groundbreaking was the Odaiko (Large Drum) solo , a musical piece focused largely on one performer with only minimal background drumming, percussion and
9440-455: The importance of the lively and spirited iki aesthetic. In taiko, it refers to very specific kinds of movement while performing that evoke the sophistication stemming from the mercantile and artisan classes active during the Edo period (1603–1868). The sticks for playing taiko are called bachi , and are made in various sizes and from different kinds of wood such as white oak , bamboo , and Japanese magnolia . Bachi are also held in
9558-476: The instrument to enhance their subtlety and depth. Unlike a recorder , where the player blows into a duct—a narrow airway over a block which is called a " fipple "—and thus has limited pitch control, the shakuhachi player blows as one would blow across the top of an empty bottle (though the shakuhachi has a sharp edge to blow against called utaguchi ) and therefore has substantial pitch control. The term utaguchi ( 歌口 ) literally translates as "to
9676-500: The instrument. Nagauta-shime daiko or uta daiko are also featured in Noh performance. Many taiko in Noh are also featured in kabuki performance and are used in a similar manner. In addition to the ō-tsuzumi , ko-tsuzumi , and nagauta-shime daiko , Kabuki performances make use of the larger ō-daiko offstage to help set the atmosphere for different scenes. Taiko construction has several stages, including making and shaping of
9794-413: The interval between hits, until the drummer is playing a rapid roll of hits. Oroshi are also played as a part of theatrical performance, such as in Noh theater. Drums are not the only instruments played in the ensemble; other Japanese instruments are also used. Other kinds of percussion instruments include the atarigane ( 当り鉦 ) , a hand-sized gong played with a small mallet. In kabuki, the shamisen ,
9912-493: The island based on a desire to reinvigorate the folk arts in Japan, particularly taiko ; he became inspired by a drumming tradition unique to Sado called ondeko ( 鬼太鼓 , "demon drumming" in the Sado dialect) that required considerable strength to play well. Den called the group "Za Ondekoza" or Ondekoza for short, and implemented a rigorous set of exercises for its members including long-distance running. In 1975, Ondekoza
10030-643: The largest and most active shakuhachi Dojo outside Japan, since 1975. The shakuhachi has grown in international popularity in recent decades. The first non-Japanese person to become a shakuhachi master was American-Australian Riley Lee . Lee was responsible for the World Shakuhachi Festival being held in Sydney , Australia over 5–8 July 2008, based at the Sydney Conservatorium of Music . Riley Lee played
10148-540: The main rhythm of the group, whereas shime-daiko set and change tempo. A shime-daiko often plays the Jiuchi , a base rhythm holding together the ensemble. Ō-daiko provide a steady, underlying pulse and serve as a counter-rhythm to the other parts. It is common for performances to begin with a single stroke roll called an oroshi ( 颪 , "wind blowing down from mountains" ) . The player starts slowly, leaving considerable space between strikes, gradually shortening
10266-506: The mouth that sings", referring to the upper and main hole of the flute where the mouthpiece or blowing edge is created by a natural diagonal cut in the bamboo. The history of the shakuhachi shows a variety of designs of inlaid mouthpieces that vary between certain traditional Japanese schools of shakuhachi . Thus, the Kinko Ryu, Myoan and Tozan Ryu, differ in different features in their line of mouthpiece design, coinciding in them
10384-439: The mythological creation of taiko music. In feudal Japan, taiko were often used to motivate troops, call out orders or announcements, and set a marching pace; marches were usually set to six paces per beat of the drum. During the 16th-century Warring States period , specific drum calls were used to communicate orders for retreating and advancing. Other rhythms and techniques were detailed in period texts. According to
10502-440: The natural asymmetry of bamboo create an individual spectrum in each direction. This spectrum depends on frequency and playing technique. The International Shakuhachi Society maintains a directory of notable professional, amateur, and teaching shakuhachi players. The primary genres of shakuhachi music are: Recordings in each of these categories are available; however, more albums are catalogued in categories outside
10620-427: The notes D-F-G-A-C-D. Cross (or fork) fingerings, half-covering tone holes, and meri/kari blowing cause pitch sharpening, referred to as intonation anomaly. Especially the second and third harmonic exhibit the well-known shakuhachi timbre. Even though the geometry of the shakuhachi is relatively simple, the sound radiation of the shakuhachi is rather complicated. Sound radiating from several holes and
10738-414: The outside diameter is 4 cm (1.6 in), and there are 5 finger holes – 4 at the front, 1 at the back. During the medieval period, shakuhachi were most notable for their role in the Fuke sect of Zen Buddhist monks, known as komusō ("priests of nothingness" or "emptiness monks"), who used the shakuhachi as a spiritual tool. Their songs (called honkyoku ) were paced according to
10856-624: The performance space, such as temple or shrine. Ō-daiko means "large drum" and for a given ensemble, the term refers to their largest drum. The other type of byō-uchi-daiko is called a hira-daiko ( 平太鼓 , "flat drum" ) and can be any drum constructed such that the head diameter is greater than the length of the body. Shime-daiko are a set of smaller, roughly snare drum -sized instrument that are tunable. The tensioning system usually consists of hemp cords or rope, but bolt or turnbuckle systems have been used as well. Nagauta shime-daiko ( 長唄締め太鼓 ) , sometimes referred to as "taiko" in
10974-510: The performer's index finger and thumb, while the other fingers remain relaxed and slightly curled around the stick. Performance in some groups is also guided by principles based on Zen Buddhism . For instance, among other concepts, the San Francisco Taiko Dojo is guided by rei ( 礼 ) emphasizing communication, respect, and harmony. The way the bachi are held can also be significant; for some groups, bachi represent
11092-484: The performers. In addition to the instruments, the term taiko also refers to the performance itself, and commonly to one style called kumi-daiko , or ensemble-style playing (as opposed to festival performances, rituals, or theatrical use of the drums). Kumi-daiko was developed by Daihachi Oguchi in 1951. He is considered a master performer and helped transform taiko performance from its roots in traditional settings in festivals and shrines. Oguchi
11210-537: The philosophical concept of ma , or the space between drum strikes, is also important in shaping rhythmic phrases and creating appropriate contrast. There is a wide variety of traditional clothing that players wear during taiko performance. Common in many kumi-daiko groups is the use of the happi , a decorative, thin-fabric coat, and traditional headbands called hachimaki . Tabi , momohiki ( もも引き , "loose-fitting pants" ) , and haragake ( 腹掛け , "working aprons" ) are also typical. During his time with
11328-557: The pieces featured on Yamaguchi's record was "Sokaku Reibo" , also called "Tsuru No Sugomori" (Crane's Nesting). NASA later chose to include this track as part of the Golden Record aboard the Voyager spacecraft. Shakuhachi are often used in modern film scores, for example those by James Horner . Films in which it is featured prominently include: The Karate Kid parts II and III by Bill Conti , Legends of
11446-466: The players' breathing and were considered meditation ( suizen ) as much as music. Travel around Japan was restricted by the shogunate at this time, but the Fuke sect managed to wrangle an exemption from the shōgun , since their spiritual practice required them to move from place to place playing the shakuhachi and begging for alms (one famous song reflects this mendicant tradition: Hi fu mi, hachi gaeshi ( 一二三鉢返の調 ) ; "One two three, pass
11564-418: The playing of shakuhachi again, it was only as an accompanying instrument to the koto , shamisen , etc. It was not until later that honkyoku were allowed to be played publicly again as solo pieces. The shakuhachi has traditionally been played almost exclusively by men in Japan, although this situation is rapidly changing. Many teachers of traditional shakuhachi music indicate that
11682-467: The practice of suizen (blowing meditation). The instrument is tuned to the minor pentatonic scale . The name shakuhachi means "1.8 shaku ", referring to its size. It is a compound of two words: Thus, the compound word shaku-hachi means "one shaku eight sun " (54.54 cm (21.47 in)), the standard length of a shakuhachi . Other shakuhachi vary in length from about 1.1 shaku up to 3.6 shaku . Although
11800-674: The rhythm and timbre of drum strikes for a particular piece. For example, don ( どん ) represents a single strike to the center of the drum, where as do-ko ( どこ ) represents two successive strikes, first by the right and then the left, and lasts the same amount of time as one don strike. Some taiko pieces, such as Yatai-bayashi , include patterns that are difficult to represent in Western musical notation . The exact words used can also differ from region to region. More recently, Japanese publications have emerged in an attempt to standardize taiko performance. The Nippon Taiko Foundation
11918-414: The second-oldest book of Japanese classical history, contains a mythological story describing the origin of taiko . The myth tells how Amaterasu , who had sealed herself inside a cave in anger, was beckoned out by an elder goddess Ame-no-Uzume when others had failed. Ame-no-Uzume accomplished this by emptying out a barrel of sake and dancing furiously on top of it. Historians regard her performance as
12036-492: The sizes differ, all are still referred to generically as shakuhachi . Shakuhachi are usually made from the root end of madake ( Phyllostachys bambusoides ) bamboo culm and are extremely versatile instruments. Professional players can produce virtually any pitch they wish from the instrument, and play a wide repertoire of original Zen music, ensemble music with koto , biwa , and shamisen , folk music , jazz , and other modern pieces. Much of
12154-507: The skin placed over iron or steel rings, which are then tightened with ropes. Contemporary shime-daiko are tensioned using bolts or turnbuckles systems attached to the drum body. Tsuzumi are also rope-tensioned drums, but have a distinct hourglass shape and their skins are made using deerskin. Byō-uchi-daiko were historically made only using a single piece of wood; they continue to be made in this manner, but are also constructed from staves of wood. Larger drums can be made using
12272-526: The taiko. Some performers use drums while dancing, and generally speaking, perform in one of two styles: groups on the Yokatsu Peninsula and on Hamahiga Island use small, single-sided drums called pāranku ( パーランク ) whereas groups near the city of Okinawa generally use shime-daiko . Use of shime-daiko over pāranku has spread throughout the island, and is considered the dominant style. Small nagadō-daiko , referred to as ō-daiko within
12390-545: The theatrical performance. Patterns are also often connected together in progressions. Taiko continue to be used in gagaku , a classical music tradition typically performed at the Tokyo Imperial Palace in addition to local temples and shrines. In gagaku , one component of the art form is traditional dance, which is guided in part by the rhythm set by the taiko . Taiko have played an important role in many local festivals across Japan. They are also used to accompany religious ritual music. In kagura ,
12508-411: The thinnest skins and the shortest body in terms of height; thickness and tension of skins, as well as body height, increase toward the gochō-gakke . The head diameters of all shime-daiko sizes are around 27 cm (10.6 in). Uchiwa-daiko ( 団扇太鼓 , literally, fan drum) is a type of racket-shaped Japanese drum. It is the only Japanese traditional drum without a sound box and only one skin. It
12626-519: The total non-use in their inlay of the semi-circumference formed by the natural cut of the mouthpiece in the bamboo. Beyond the fact that these inlaid forms were a hallmark of styles and schools, the fact of inlaying a mouthpiece historically could respond to a way of repairing the instrument due to wear or damage in particular in its blowing edge. The five finger holes are tuned to a minor pentatonic scale with no half-tones, but using techniques called meri ( メリ ) and kari ( カリ ) , in which
12744-546: The tradition, are also used and are worn in front of the performer. These drum dances are not limited to Okinawa and have appeared in places containing Okinawan communities such as in São Paulo , Hawaii , and large cities on the Japanese mainland . Hachijō-daiko ( 八丈太鼓 , trans. "Hachijō-style taiko") is a taiko tradition originating on the island of Hachijō-jima . Two styles of Hachijō-daiko emerged and have been popularized among residents: an older tradition based on
12862-465: The traditional realm. As of 2018, shakuhachi players continue releasing records in a variety of traditional and modern styles. The first shakuhachi recording appeared in the United States in the late 1960s. Gorō Yamaguchi recorded A Bell Ringing in the Empty Sky for Nonesuch Explorer Records on LP, an album which received acclaim from Rolling Stone at the time of its release. One of
12980-411: The tube. Although it flourished in the 17th century, it gradually fell into disuse due to the development and popularity of the superior fuke shakuhachi , and was no longer used by the 19th century. The average length was 33.6 cm (13.2 in), the outer diameter was 3 cm (1.2 in), and there were 5 finger holes – 4 at the front, 1 at the back. The flute now known as the shakuhachi
13098-404: The war chronicle Gunji Yoshū , nine sets of five beats would summon an ally to battle, while nine sets of three beats, sped up three or four times, was the call to advance and pursue an enemy. Folklore from the 16th century on the legendary 6th-century Emperor Keitai offers a story that he obtained a large drum from China, which he named Senjin-daiko ( 線陣太鼓 , "front drum") . The Emperor
13216-458: The year successfully are paid a salary in accordance with their ability, with all funds coming from Ondekoza's performances. Taiko Taiko ( 太鼓 ) are a broad range of Japanese percussion instruments. In Japanese , the term taiko refers to any kind of drum, but outside Japan, it is used specifically to refer to any of the various Japanese drums called wadaiko ( 和太鼓 , lit. ' Japanese drums ' ) and to
13334-409: Was developed in Japan in the 16th century and is called the fuke shakuhachi ( 普化尺八 ) . This style of shakuhachi is longer and thicker than the older shakuhachi , and its volume, range, scale, and tone are superior to those of the older shakuhachi . It is made from the base of the bamboo, and the average length is 54.5 cm (21.5 in), which corresponds to 1 shaku 8 sun ;
13452-691: Was formed in 1979; its primary goals were to foster good relations among taiko groups in Japan and to both publicize and teach how to perform taiko. Daihachi Oguchi, the leader of the Foundation, wrote Japan Taiko with other teachers in 1994 out of concern that correct form in performance would degrade over time. The instructional publication described the different drums used in kumi-daiko performance, methods of gripping, correct form, and suggestions on instrumentation. The book also contains practice exercises and transcribed pieces from Oguchi's group, Osuwa Daiko. While there were similar textbooks published before 1994, this publication had much more visibility due to
13570-524: Was the first taiko group to tour in the United States. Their first performance occurred just after the group finished running the Boston Marathon while wearing their traditional uniforms. In 1981, some members of Ondekoza split from Den and formed another group called Kodo under the leadership of Eitetsu Hayashi . Kodo continued to use Sado Island for rigorous training and communal living, and went on to popularize taiko through frequent touring and collaborations with other musical performers. Kodo
13688-439: Was the first exposure for many and helped spread interest in taiko through North America. The now widely recognized style of wearing only a 'shimekomi' ('fundoshi loincloth) was originally started by Ondekoza when Pierre Cardin suggested that the physique of the drummer be exposed. The traditional Japanese drummers do not play only in underwear. Part of a larger movement to rediscover Japanese folk art , Tagayasu brought together
13806-850: Was thought to have used it to both encourage his own army and intimidate his enemies. Taiko have been incorporated in Japanese theatre for rhythmic needs, general atmosphere, and in certain settings decoration. In the kabuki play The Tale of Shiroishi and the Taihei Chronicles , scenes in the pleasure quarters are accompanied by taiko to create dramatic tension. Noh theatre also features taiko music, where performance consists of highly specific rhythmic patterns. The Konparu ( 金春流 ) school of drumming, for example, contains 65 basic patterns in addition to 25 special patterns; these patterns are categorized in several classes. Differences between these patterns include changes in tempo , accent , dynamics , pitch , and function in
13924-753: Was trained as a jazz musician in Nagano , and at one point, a relative gave him an old piece of written taiko music. Unable to read the traditional and esoteric notation, Oguchi found help to transcribe the piece, and on his own added rhythms and transformed the work to accommodate multiple taiko players on different-sized instruments. Each instrument served a specific purpose that established present-day conventions in kumi-daiko performance. Oguchi's ensemble, Osuwa Daiko , incorporated these alterations and other drums into their performances. They also devised novel pieces that were intended for non-religious performances. Several other groups emerged in Japan through
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