{"title":"声谱分析:作为Etenraku结构和模式表演者的Ryúteki和Hichiriki技术","authors":"Amy Simon","doi":"10.1353/AMU.2019.0004","DOIUrl":null,"url":null,"abstract":"<p>Abstract:</p><p>This article explores the performance techniques of the <i>gagaku</i> winds, <i>ryūteki</i> and <i>hichiriki</i>, in the piece <i>Etenraku</i> in the <i>hyō-jō</i> mode. I use spectral analysis of <i>Kunaichō</i> recordings from throughout the twentieth century to demonstrate striking relationships between these more-than-ornamental performance techniques (pitch bending/sliding, microtonal pitch alteration, breath pulses, and pitched finger percussion) and both formal structure and mode in <i>Etenraku</i>.</p>","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"50 1","pages":"117 - 78"},"PeriodicalIF":0.2000,"publicationDate":"2019-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AMU.2019.0004","citationCount":"0","resultStr":"{\"title\":\"Sound Spectrum Analysis: Ryūteki and Hichiriki Techniques as Performers of Structure and Mode in Etenraku\",\"authors\":\"Amy Simon\",\"doi\":\"10.1353/AMU.2019.0004\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<p>Abstract:</p><p>This article explores the performance techniques of the <i>gagaku</i> winds, <i>ryūteki</i> and <i>hichiriki</i>, in the piece <i>Etenraku</i> in the <i>hyō-jō</i> mode. I use spectral analysis of <i>Kunaichō</i> recordings from throughout the twentieth century to demonstrate striking relationships between these more-than-ornamental performance techniques (pitch bending/sliding, microtonal pitch alteration, breath pulses, and pitched finger percussion) and both formal structure and mode in <i>Etenraku</i>.</p>\",\"PeriodicalId\":43622,\"journal\":{\"name\":\"ASIAN MUSIC\",\"volume\":\"50 1\",\"pages\":\"117 - 78\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2019-01-08\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1353/AMU.2019.0004\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"ASIAN MUSIC\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/AMU.2019.0004\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ASIAN STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"ASIAN MUSIC","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/AMU.2019.0004","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ASIAN STUDIES","Score":null,"Total":0}
Sound Spectrum Analysis: Ryūteki and Hichiriki Techniques as Performers of Structure and Mode in Etenraku
Abstract:
This article explores the performance techniques of the gagaku winds, ryūteki and hichiriki, in the piece Etenraku in the hyō-jō mode. I use spectral analysis of Kunaichō recordings from throughout the twentieth century to demonstrate striking relationships between these more-than-ornamental performance techniques (pitch bending/sliding, microtonal pitch alteration, breath pulses, and pitched finger percussion) and both formal structure and mode in Etenraku.