biwa instrument classification

The instrument itself also varies in size, depending on the player. Typically, the duration of each group subdivides the measure into two equal durations. Options are limited when considering that a fingered string between two open strings must be fingered on the 4th fret to avoid damping. Wei Zhongle (; 19031997) played many instruments, including the guqin. [16], While many styles of biwa flourished in the early 1900s (such as kindai-biwa between 1900 and the 1930s), the cycle of tutelage was broken yet again by the war. Sheng. However, the biwas cultural significance is due to its evolution during the medieval era into a narrative musical instrument. It is one of the more popular Chinese folk music, often paired with singing. The body is often made of stretched snakeskin, and come in varying sizes. Australian dark rock band The Eternal use the pipa in their song "Blood" as played by singer/guitarist Mark Kelson on their album Kartika. A player holds it horizontally, and mostly plays rhythmic arpeggios in orchestra or ensemble. Players from the Wang and Pudong schools were the most active in performance and recording during the 20th century, less active was the Pinghu school whose players include Fan Boyan (). In both cases, the sound of the non-struck pitches is not hearable when performed with the orchestra, but the gesture itself might help the biwa player keep time. The artist Yang Jing plays pipa with a variety of groups. An apsara (feitian) playing pipa, using fingers with the pipa held in near upright position. A number of Western pipa players have experimented with amplified pipa. Blind priests would play them in order to tell stories and tales of ancient war. Shamisen players and other musicians found it financially beneficial to switch to the biwa, bringing new styles of biwa music with them. Life in post-war Japan was difficult, and many musicians abandoned their music in favor of more sustainable livelihoods. Biwa (Japanese instrument) - MIT Global Shakespeares Biwa (Japanese instrument) The Biwa is a Japanese teardrop lute, similar to the lute and the oud, with a short neck and frets. Several related instruments are derived from the pipa, including the Japanese biwa and Korean bipa in East Asia, and the Vietnamese n t b in Southeast Asia. As a point of clarification, the highest and last pitch of the biwa's arpeggio is considered as its melodic pitch. Chikuzen-biwa is another major type of biwa that is widely played today. [31] Celebrated performers of the Tang dynasty included three generations of the Cao familyCao Bao (), Cao Shancai () and Cao Gang (),[59][60] whose performances were noted in literary works. Its tuning is A, E, A, B, for traditional biwa, 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. [18], As biwa music declined in post-Pacific War Japan, many Japanese composers and musicians found ways to revitalize interest in it. These tunings are relative, the actual pitches a given biwa is tuned to being determined by the vocal range of the singer/player. (88.9 30.8 29.2 cm) Classification: Chordophone-Lute-plucked-fretted Credit Line: Rogers Fund, 1968 Accession Number: 68.62.1 Signatures, Inscriptions, and Markings Modern biwa music is based on that medieval narrative biwa music. And thanks to the low tension of the strings, it is easy to bend the strings by adding pressure. Classification: Chordophone-Lute-plucked-fretted. Biwa. NGDMI v.1: 234-237. The two-headed tacked drum hung in an elaborate circular frame in court music is a gaku-daiko or tsuri-daiko. Biwa traditions began with blind priests who traveled from village to village singing sutras. A. Biwa B. Koto C. Shakuhachi D. Shamisen 3. [14][15][16], The pear-shaped pipa is likely to have been introduced to China from Central Asia, Gandhara, and/or India. 1. Painted panel of the sarcophagus of Y Hung, depicts one of the Persian or Sogdian figures playing pipa. 2.2 in. Sometimes called the "Chinese lute", the instrument has a pear-shaped wooden body with a varying number of frets ranging from 12 to 31. A distinctive sound of pipa is the tremolo produced by the lunzhi () technique which involves all the fingers and thumb of the right hand. Thought to be of Persian origin, the biwa was brought to Japan in the 8th century via Central Asia, China and the Korean Peninsula. In spite of its popularity, the nin War and subsequent Warring States Period disrupted biwa teaching and decreased the number of proficient users. Ye Xuran (), a student of Lin Shicheng and Wei Zhongle, was the Pipa Professor at the first Musical Conservatory of China, the Shanghai Conservatory of Music. sanxian, (Chinese: "three strings") Wade Giles romanization san-hsien also called xianzi, any of a group of long-necked, fretless Chinese lutes. Sandstone carving, showing the typical way a pipa was held when played with plectrum in the early period. The fourth and fifth strings, if 5-stringed, are tuned to the same note. In the 20th century, two of the most prominent pipa players were Sun Yude (; 19041981) and Li Tingsong (; 19061976). The pipa, pp, or p'i-p'a (Chinese: ) is a traditional Chinese musical instrument, belonging to the plucked category of instruments. Influenced by the recitations of blind priests, the music of the heike biwa reflects the mood of the text. 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. When two strings are plucked at the same time with the index finger and thumb (i.e. Further, the frets and the nut are wide, which provides a surface, not a point, for a string to touch. Fine strings murmur like whispered words, Catalogue of the Crosby Brown . This causes a sustained, buzzing noise called sawari () which adds a unique flavor to the biwa sound. In Satsuma-biwa classical pieces, the thickest string (the first) is in principle. Yoko Hiraoka, a member of the Yamato Komyoji ryu, presents a lecture/recital of Japanese Biwa music. Male players typically play biwa that are slightly wider and/or longer than those used by women or children. [11] The style of singing accompanying biwa tends to be nasal, particularly when singing vowels, the consonant , and syllables beginning with "g", such as ga () and gi (). 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 profile of the biwa, 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 biwas in Nuove Musiche per Biwa), dynamics and colour.[4]. Like pearls, big and small, falling on a platter of jade. We speculate that being half-way in the section, the purpose of this clash may be to avoid a too strong feeling of cadence on the 'tonic E,' since there is one more phrase to come before completing this section. NAKAMURA Kahoru, the biwa player with whom we worked, mentioned that for a concert including pieces in two different modes, she tunes two biwas before the concert. The strings are numbered from the lowest (first string) to the highest (fourth string). In the present day, there are no direct means of studying the biwa in many biwa traditions. Biwa 6. It always starts from the 4th string and stops on either the 3rd, 2nd, or 1st string depending if the arpeggio contains 2, 3, or 4 pitches, respectively. In the early 1950s, he founded the traditional instruments department at the Shanghai Conservatory of Music. 5.5 in. By the Ming dynasty, fingers replaced plectrum as the popular technique for playing pipa, although finger-playing techniques existed as early as Tang. The left hand techniques are important for the expressiveness of pipa music. However, the playing of the biwa nearly became extinct during the Meiji period following the introduction of Western music and instruments, until players such as Tsuruta Kinshi and others revitalized the genre with modern playing styles and collaborations with Western composers. While blind biwa singers no longer dominate the biwa, many performers continue to use the instrument in traditional and modern ways. It is a big percussion instrument of Japanese that plays integral part of many Japanese Matsuri (festival). The main part of the music is vocal and the biwa part mostly plays short interludes. After having arrived in Japan via the Silk Road for purely instrumental music, the biwa evolved over time into a narrative musical instrument. They recognized that studies in music theory and music composition in Japan almost entirely consisted in Western theory and instruction. Hornbostel-Sachs or Sachs-Hornbostel is a system of musical instrument classification devised by Erich Moritz von Hornbostel and Curt Sachs, and first published in the Zeitschrift fr Ethnologie in 1914. [21] For example, masses of pipa-playing Buddhist semi-deities are depicted in the wall paintings of the Mogao Caves near Dunhuang. Multiple strings are often played in one pluck like an arpeggio. The excerpt is performed by the ensemble Reigakusha. The 4-string chikuzen biwa (gallery #1) is constructed in several parts and needs to be assembled and strung before being played. The biwa, originally an instrument of high society, gradually spread among wandering blind monks who used this instrument to tell stories. As one of the modern types of biwa that flourished in the late 19th to early 20th centuries, Satsuma-biwa is widely played today in various settings, including popular media. The ms-biwa (), a biwa with four strings, is used to play Buddhist mantras and songs. The satsuma-biwa (), a biwa with four strings and four frets, was popularized during the Edo period in Satsuma Province (present-day Kagoshima) by Shimazu Tadayoshi. Because of its traditional association with silk strings, the pipa is classified as a silk instrument in the Chinese bayin (eight-tone) classification system, a system devised by scholars of the Zhou court (1046-256 B.C.) Since the biwas pegs do not move smoothly, tuning the instrument to a different mode requires time. The biwa arrived in Japan in the 7th century, having evolved from the Chinese bent-neck pipa (; quxiang pipa),[1] while the pipa itself was derived from similar instruments in West Asia. [13] 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. We continue to research and examine historical and cultural context for objects in The Met collection. [27] The traditional 16-fret pipa became less common, although it is still used in some regional styles such as the pipa in the southern genre of nanguan/nanyin. They included Ouyang Xiu, Wang Anshi, and Su Shi. Title: Satsuma Biwa () Date: ca. Its plectrum is the same as that used for the satsuma-biwa. By the Kamakura period (11851333), the heike-biwa had emerged as a more popular instrument, a cross between both the gaku-biwa and ms-biwa, retaining the rounded shape of the gaku-biwa and played with a large plectrum like the ms-biwa. He premiered the oldest Dunhuang Pipa Manuscript (the first interpretation made by Ye Dong) in Shanghai in the early 1980s. [3][4][5], The earliest mention of pipa in Chinese texts appeared late in the Han dynasty around the 2nd century AD. After almost dying out post-World War II, the tradition was revived in part due to interest shown in the instrument by the internationally known contemporary composer Tru Takemitsu, who wrote instrumental compositions for the instrument. 5-string: biwa (gallery #2): In previous centuries, the predominant biwa musicians would have been blind monks (, biwa hshi), who used the biwa as musical accompaniment when reading scriptural texts. 2. Ieyasu favored biwa music and became a major patron, helping to strengthen biwa guilds (called Todo) by financing them and allowing them special privileges. The gagaku biwa (), a large and heavy biwa with four strings and four frets, is used exclusively for gagaku. Because of this bending technique oshikan (. The pipa has also been used in rock music; the California-based band Incubus featured one, borrowed from guitarist Steve Vai, in their 2001 song "Aqueous Transmission," as played by the group's guitarist, Mike Einziger. CLASSIFICATION DIAGRAM OF WOOD A fundamental structure of string instruments in the Asia and Western is a box-sound hole structure [4,5] as seen in the harpsichord, guitar, violin, and biwa . The sound can be totally different depending on where the instrument is hit, how the plectrum is held, and which part of the plectrum hits the surface. 4. For other uses, see, Illustrations from the 15th century Korean work, Xiansuo Shisan Tao (, later incorporated into Complete String Music ), Note that some people claimed Pei Xingnu to be the female player described in the poem, History of lute-family instruments Short-necked lutes, "The pipa: How a barbarian lute became a national symbol", "Avaye Shayda - Kishibe's diffusionism theory on the Iranian Barbat and Chino-Japanese Pi' Pa', "Chapter 1: A General history of the Pipa", "Bracket with two musicians 100s, Pakistan, Gandhara, probably Butkara in Swat, Kushan Period (1st century-320)", The Golden Peaches of Samarkand: A Study of T'ang Exotics, "Pipa - A Chinese lute or guitar, its brief history, photos and music samples", A report on Chinese research into the Dunhuang music manuscripts, "Chapter 3 Musical structure in the Hua Collection", "Comparison of Three Chinese Traditional Pipa Music Schools with the Aid of Sound Analysis", "Lui Pui-yuen, master of Chinese music, returns to perform once again", "Incubus - Mike Einziger Guitar Gear Rig and Equipment", "[search page, albums featuring Yang Jing]", "La scne musicale alternative pkinoise vue par Jean Sbastien Hry (Djang San)", "BC GRIMM Experimental Acoustic-Electric Music EPK", "Experimental Electric Pipa - , by Zhang Si'an (Djang San )", https://en.wikipedia.org/w/index.php?title=Pipa&oldid=1138787889, Articles with dead external links from January 2018, Articles with permanently dead external links, Articles containing Chinese-language text, Articles with unsourced statements from August 2019, Articles with MusicBrainz instrument identifiers, Creative Commons Attribution-ShareAlike License 3.0, Flute and Drum at Sunset / Flowery Moonlit River in Spring, This page was last edited on 11 February 2023, at 16:35. This music was cherished and protected by the authorities and particularly flourished in the 14th-15th centuries. The biwa is related to the Chinese pipa, an instrument that was introduced to Japan in the late 7th century. This type of instrument was introduced to Korea (the bipa ), to Japan (the biwa ), and to Vietnam (the tyba ). Its boxwood plectrum is much wider than others, often reaching widths of 25cm (9.8in) or more. The biwa became known as an instrument commonly played at the Japanese Imperial court, where biwa players, known as biwa hshi, found employment and patronage. Kishibe, Shigeo. [61][33], During the Song dynasty, players mentioned in literary texts include Du Bin (). It is a lute with a round, hollow soundboard, a short fretted neck, and usually four strings. Kakisukashi: This is a three or four-note arpeggio with two strings in unison. Ms Biwa () Japanese. Traditionally, the duration of each pitch subdivides the measure into two equal durations. Another excerpt of figurative descriptions of a pipa music may be found in a eulogy for a pipa player, Lament for Shancai by Li Shen:[33]. Check your inbox or spam folder to confirm your subscription. An early depiction of pipa player in a group of musicians. At the beginning of the 13th century, Heike biwa players began telling of tales of the rise and fall of the Taira . It is an arpeggio that is always starting from the first string (the lowest) and swepping upwards to either the second, third or fourth string. Performers on the instrument frequently pluck two notes simultaneously, producing a variety of intervals, especially when the singer is silent. Depictions of the pear-shaped pipas appeared in abundance from the Southern and Northern dynasties onwards, and pipas from this time to the Tang dynasty were given various names, such as Hu pipa (), bent-neck pipa (, quxiang pipa), some of these terms however may refer to the same pipa. Malm, William P. 1959. 36 1/2 7 7/8 5 in. The biwa is a relative of Western lutes and guitars, as well as of the Chinese pipa. Popular Japanese three-stringed lute. Popularly used by female biwa players such as Uehara Mari. Northern Wei dynasty (386534 AD). Koto. There is also evidence that other biwa instruments came from the Indian lute tradition. Lingering, filling the palace hall, spring snow flew. Instruments are classified using 5 different categories depending on the manner in which the instrument creates the sound: Idiophones, Membranophones, Chordophones, Aerophones, & Electrophones. Among the major variants are the gakubiwa (used in court music), the msbiwa (used by Buddhist monks for the chanting of sutras), the heikebiwa (used to chant stories from the Heike monogatori), the chikuzenbiwa (used for an amalgam of narrative types), and the satsumabiwa (used for samurai narratives). This music called heikyoku () was, cherished and protected by the authorities and particularly flourished in the 14-15. The biwa strings are plucked with large wooden pick called bachi () that requires a full-handed grip. Rubbing the strings: The plectrum is used to rub an open string. The sole stroke motion used in this example is kakubachi, but it also includes examples of hazusu and tataku. It is an important instrument in the Peking opera orchestra, often taking the role of main melodic instrument in lieu of the bowed string section. [10][11] This may have given rise to the Qin pipa, an instrument with a straight neck and a round sound box, and evolved into ruan, an instrument named after Ruan Xian, one of the Seven Sages of the Bamboo Grove and known for playing similar instrument. Different sized plectrums produced different textures; for example, the plectrum used on a ms-biwa was much larger than that used on a gaku-biwa, producing a harsher, more vigorous sound. https://www.metmuseum.org/art/collection/search/500681, Mary Elizabeth Adams Brown ; James L. Amerman, The Met Collection API is where all makers, creators, researchers, and dreamers can now connect to the most up-to-date data and images for more than 470,000 artworks in The Met collection. Its size and construction influences the sound of the instrument as the curved body is often struck percussively with the plectrum during play. In order to boost the volume of its sound the biwa player rarely attacks a single string, and instead arpeggios 2, 3, or 4 pitches, with one note per string. [39] The plectrum has now been largely replaced by the fingernails of the right hand. Shanghai-born Liu Guilian graduated from the Central Conservatory of Music and became the director of the Shanghai Pipa Society, and a member of the Chinese Musicians Association and Chinese National Orchestral Society, before immigrating to Canada. Cheng Yu researched the old Tang dynasty five-stringed pipa in the early 2000s and developed a modern version of it for contemporary use. With this, the biwa entered a period of popularity, with songs reflecting not just The Tale of the Heike, but also the Sino-Japanese War and the Russo-Japanese War, with songs such as Takeo Hirose, Hitachimaru and 203 Hill gaining popularity. [66] Some other notable pipa players in China include Yu Jia (), Wu Yu Xia (), Fang Jinlong () and Zhao Cong (). A player holds it horizontally, and mostly plays rhythmic arpeggios in orchestra or ensemble. Though its origins are unclear, this thinner variant of the biwa was used in ceremonies and religious rites. to the present. Because of this bending technique oshikan (), one can make two or three notes for each fret and also in-between notes. 1984. The biwa, 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 biwa exist. The instrument was invented in China in the 3rd to 5th centuries AD, during the Jin dynasty. This is a type of biwa that wandering blind monks played for religious practice as well as in narrative musical performances during the medieval era, widely seen in the Kyushu area. The Crosby Brown Collection of Musical Instruments, 1889, Accession Number: [62] From the Ming dynasty, famous pipa players include Zhong Xiuzhi (), Zhang Xiong (, known for his playing of "Eagle Seizing Swan"), the blind Li Jinlou (), and Tang Yingzeng () who was known to have played a piece that may be an early version of "Ambushed from Ten Sides".[63]. Bodmin, Cornwall, Great Britain: MPG Books, pp. This type of biwa music has been preserved until now in gagaku (), or the court orchestra. [21] During this time, Persian and Kuchan performers and teachers were in demand in the capital, Chang'an (which had a large Persian community). Region: East Asia. It is however possible to produce the tremolo with just one or more fingers. This article is about the Chinese instrument. [14], Biwa usage in Japan has declined greatly since the Heian period. The surface of the frets is constantly shaved down by the strings, and one of the most important points in the maintenance of the biwa is to keep the surfaces as flat as possible to get goodsawari, The narrative biwa music adopts a relative tuning; the pitch is decided to match with the players range of voice. It had a pear-shaped wooden body with two crescent-shaped sound holes, a curved neck, four strings, and four frets. Western performers of pipa include French musician Djang San, who integrated jazz and rock concepts to the instrument such as power chords and walking bass.[70]. The heike-biwa (), a biwa with four strings and five frets, is used to play The Tale of the Heike. Plucking in the opposite direction to tan and tiao are called mo () and gou () respectively. During the Qing dynasty, scores for pipa were collected in Thirteen Pieces for Strings. This causes a sustained, buzzing noise called, which adds a unique flavor to the biwa sound. As the biwa does not play in tempered tuning, pitches are approximated to the nearest note. The horizontal playing position became the vertical (or near-vertical) position by the Qing dynasty, although in some regional genres such as nanguan the pipa is still held guitar fashion. Even though the system has been criticized and revised over the years, it is the most widely accepted system of musical instrument classification used by organologists and . Biwa Four frets Figure 1 NAKAMURA Kahoru Biwa's back is flat Biwa's plectrum Figure 2 Although shaped like a Western lute, the Biwa 's back is flat and it has a shallower body. In the 9th century the Ms (blind monks') biwa began to be used by blind musicians as an accompaniment to chanted religious texts and sutras. This biwa 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. [54][55] (The heptatonic scale was used for a time afterwards in the imperial court due to Sujiva's influence until it was later abandoned). Mural from Kizil, estimated Five Dynasties to Yuan dynasty, 10th to 13th century. Kaeshibachi: The performance of arpeggio with an up-ward motion of the plectrum, and it is always soft. The most eminent 20th century satsuma-biwa performer was Tsuruta Kinshi, who developed her own version of the instrument, which she called the tsuruta-biwa. The design and construction of the 5-string Chikuzen biwa pictured in gallery #2 is basically the same as for the 4-string model described above except accommodations need to be made to the pegbox (detail #7) and bridge (detail #8) for the additional string. Example 4 shows the basic melody of Etenraku's section B and C, and its rhythmic accompaniment. Finally, it is not customary to finger more than one pitch within a harmonic structure, so if a fingered pitch were to be included among the grace-notes, then the last pitch would need to be an open string. Moreover, it always starts from the 1st string and stops on either the 2nd, 3rd, or 4th string depending if the arpeggio contains 2, 3, or 4 pitches, respectively. During the Yuan dynasty, the playwright Gao Ming wrote a play for nanxi opera called Pipa ji (, or "Story of the Pipa"), a tale about an abandoned wife who set out to find her husband, surviving by playing the pipa. The Biwa is a four-stringed Japanese lute with a short neck that was commonly used in Japanese court music in the seventh and eighth centuries. Several types of biwa, each with its own social setting and repertoire, have evolved in Japan over the past 1300 years, the specimens pictured here being called most accurately the chikuzen biwa. Another new style called Chikuzen-biwa () was created in the 19th century in northern Kyushu Island, based off of the blind monks biwa music, and adopting shamisen, Satsuma-biwa, and other contemporary musical styles. It is the most widely used system for classifying musical instruments by ethnomusicologists and organologists . Since the revolutions in Chinese instrument-making during the 20thcentury, the softer twisted silk strings of earlier times have been exchanged for nylon-wound steel strings, which are far too strong for human fingernails, so false nails are now used, constructed of plastic or tortoise-shell, and affixed to the fingertips with the player's choice of elastic tape. Note however that the frets on all Chinese lutes are high so that the fingers and strings never touch the fingerboard in between the frets, this is different from many Western fretted instruments and allows for dramatic vibrato and other pitch changing effects. Like the heike-biwa, it is played held on its side, similar to a guitar, with the player sitting cross-legged. And thanks to the low tension of the strings, it is easy to bend the strings by adding pressure. The first and second strings are generally tuned to the same note, with the 4th (or doubled 4th) string is tuned one octave higher. Its tuning is C, G, c, g, g. Gaku-biwa, chikuzen-biwa, heike-biwa, ms-biwa, satsuma-biwa and their plectra. The biwa (Japanese: ) is a Japanese short-necked wooden lute traditionally used in narrative storytelling. The surface of the frets is constantly shaved down by the strings, and one of the most important points in the maintenance of the biwa is to keep the surfaces as flat as possible to get goodsawari. [49] In Nanguan music, the pipa is still held in the near-horizontal position or guitar-fashion in the ancient manner instead of the vertical position normally used for solo playing in the present day. [32][33][34] A famous poem by Bai Juyi, "Pipa xing" (), contains a description of a pipa performance during a chance encounter with a female pipa player on the Yangtze River:[35]. 89.4.2088. As a result, younger musicians turned to other instruments and interest in biwa music decreased. Harmonics: The 2nd, 3rd, and 4th harmonics of each open string can be performed by attacking the string with either the plectrum or the finger, and in both cases, the overall sonority is quite soft. The da and xiao categories refer to the size of the piece xiao pieces are small pieces normally containing only one section, while da pieces are large and usually contain multiple sections. Pipa is commonly associated with Princess Liu Xijun and Wang Zhaojun of the Han dynasty, although the form of pipa they played in that period is unlikely to be pear-shaped as they are now usually depicted. Corrections? The basic technique is to pluck down and up with the sharp corner. Let us know if you have suggestions to improve this article (requires login). [22] Some delicately carved pipas with beautiful inlaid patterns date from this period, with particularly fine examples preserved in the Shosoin Museum in Japan. Notes played on the biwa usually begin slow and thin and progress through gradual accelerations, increasing and decreasing tempo throughout the performance. The Metropolitan Museum of Art. As one of the modern types of biwa that flourished in the late 19, centuries, Satsuma-biwa is widely played today in various settings, including popular media. Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded. ________. The wen style is more lyrical and slower in tempo, with softer dynamic and subtler colour, and such pieces typically describe love, sorrow, and scenes of nature. Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded. Komoda Haruko. With the abolition of Todo in the Meiji period, biwa players lost their patronage. Idiophones African Thumb Pianos Few pieces for pipa survived from the early periods, some, however, are preserved in Japan as part of togaku (Tang music) tradition. https://japanese-music.com/profile/nobuko-fukatsu/. This type of biwa is used for court music called gagaku (), which has been protected by the government until today.

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