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Circumstance lead Hazel to think George unfaithful. S3:E3 | Oct 3, | 23m S3:E7 | Oct 31, | 23m All Hazel Is Divided Into Three Parts. Free Hazel leaf Photo for Download • Related pictures featuring nut, hazel & more! ✓ HD Royalty-Free ✓ No copyright. Click here to Download. Related Images: witch hazel shrub plant nature branch yellow garden bloom blossoms. Hamamelis images for free download. Hamamelis, Flower, Three, Winter. Hazel accidentally shrinks her parents while they are out camping; Hazel accidentally traps the Charmers inside her birthday present. Episode ❿
 
 

 

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John Astin. Byron Foulger. Don Kennedy. Peg La Centra. Howard Wendell. Walter Reed. Harry Ellerbe. Henry Beckman. Kathie Browne. Doris Singleton. Eleanor Audley.

Hal Baylor. Ish talks with Joseline and Balistic and breaks down the importance of clear communication. Ish talks with CeeLo Green and Shani and breaks down power struggles in relationships. Ish sits down with Willie and Shanda and talks about balancing family and vulnerability in a relationship.

Ish sits down with Styles P and Adjua and breaks down processing trauma within relationships. Growing Up Hip Hop. Angela’s ex shows up. Egypt gets caught in family crossfire.

Tee Tee drops a bomb. Romeo blows up and demands a sit down, enraging the Simmons. Angela puts Romeo on full blast. Bow keeps a secret from Angela. A family battle rages on. But, will his views about Sam cross the line for this OG? Can a shocking rumor stay under wraps? S6, E4 Loyalty is Dead Briana and Boogie’s friendship reaches a tipping point when she calls him out in front of the group.

Will she confront the gossip? Can they patch things up when the pain runs deep? Can they put this all behind them? Will she be receptive of his approach? Egypt and Pepa. Can the family resolve their issues? S6, E21 Legacy Will Not Be Lit The next generation of hip hop royalty attempts to step outside the shadow of their famous families and make a name for themselves. Twist faces gun charges in court.

Tee Tee and Shawn clash over wedding rings in their rush to the altar. Uncle Luke advises Cree on squashing the beef with Sakoya. Tyran struggles to reunite Pepa and Tee Tee before the wedding. YDB steps onto the scene when JoJo gets the guys get together for some off-road action.

Sam seeks guidance from Layzie. Danger strikes for Briana when police come knocking at her door Twist is under Young Money pressure when he returns to the stage for a big performance.

JoJo and Tanice are rocked by challenges of married life. Meanwhile, Treach warns Sam that a dangerous future lies ahead and enforces protection over Egypt. Jojo plans something special for Tanice to keep the marriage lit. Briana’s new fling shocks all and brings her face to face with Pep at a family party. JoJo fights to save his marriage with a big surprise for Tanice. Eric spills the tea on his past with Tee Tee. Growing Up Hip Hop: Atlanta. A hip hop couple face off over a musical feud. Could this derail her return to music?

Deb asks Waka for help. Ayana rebuffs Ree. Shaniah and JD join forces. Ayana and Ree come to blows. One wild night of partying backfires on Bow. Hip Hop Homicides. Was this a targeted hit? The altercation is caught on surveillance cameras But what was the nature of the beef that led to his death?

And why did Von throw the first punch? Or a gang-related hit? Did the choices she made in her private life put her into the line of fire? Was his murder the bloody end of a feud born in prison? Nearly two decades later, questions remain: was his murder the result of a life lived in the streets? Or was it something more sinister. Was this more than just a robbery gone wrong? And did XXXtentacion predict his own murder? Joseline’s Cabaret: Miami. Will her cabaret end before it begins?

Joseline faces off with Daisy and Chazzity after dropping them from her music video. But, will her meeting with Chazzity and Daisy lead to uncertainty for the Cabaret?

Life After Lockup. Will they break rules or break old habits? S3, E19 M. S3, E20 Lame Sex or Psycho? S3, E30 Trick or Cheat? Shawn demands answers and is coming to collect as his relationship with Destinie remains on the rocks. Will she choose family or love? Shavel’s world is turned upside down when Quaylon makes a shocking discovery. Meanwhile, Shavel and Quaylon reach a breaking point and Michael presents Sarah with a ring. S3, E45 Is He a Trick?

Shawn drops a bomb on his ex. Ray makes a shocking confession. S3, E46 Love at Second Inmate? S3, E47 Conned Again? Trouble is brewing with Shane and Lacey. When she makes a shocking discovery on his phone, it sends her on a downward spiral. Meanwhile, Nicolle hatches a plan to lure Daonte back. Meanwhile, Brittany searches for justice. Meanwhile, Nicolle returns to Daonte. Meanwhile, Brittany seeks revenge. What else will be uncovered? Plus, Daonte has an emotional sit-down with Nicolle and Tia.

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having a quality of anger and determination that makes it ready to. For this experimental project, van Hove wrote the words to be spoken and sung, and designed images to be displayed, while I created music to accompany the performance with both vocalists and a chamber or- chestra.

The principal unifying theme of Correspondence was reflected in multiple layers within its title. This work was about the angular meeting of lines and planes, including the attempt to un- derstand how ideas in one domain e.

Japanese society, language and art may be expressed in another e. European societies, languages and music , while it was also literally based on a series of letters, or correspondence between van Hove in Japan and his acquaintances abroad to whom he was writing about his initial observations of life in contemporary Japan. We offered a special sneak preview of selections from the opera at a school for disabled children in Western Tokyo, whose administration assured us we were the first group of foreigners ever to visit.

That was a deeply touching experience, since we sensed that the performance in some way meant as much to these Japanese children, with their broad range of mental and physical struggles, as it could ever mean to an audience of healthy and educated adults.

Of course, van Hove and I were still only beginning to understand Japanese society at the time, and had much to learn. I suppose there is inevitably something somewhat megalomaniacal about any attempt to embark on an original artistic project of this kind, yet van Hove and I felt at the time that it was also courageous and somehow necessary.

If we did not strive to create some great new perfor- mance art to express our impressions of contemporary Japan, we mused, who would?

van Hove is perhaps most well-known as a poet and avant-garde calligrapher nowadays, with projects that involve drawing improvised poetry in unusual modes and locations worldwide, such as in public squares, underwater, across sands in the desert, in the arctic snow, and in Africa in collaboration with various wild animals, and his best known work is probably the provocative Metragram series that entails images of calligraphy being drawn on the abdomens of an assort- ment of women in around 50 locations all across the world.

This essay will explore various ways that intercultural analyses of musical meanings may offer theoretical insights applicable to the broader field of cultural translation. While much has already been theorized regarding how foreign musical genres may be trans- 6 Sociomusicology blog David G. Bhabha, The Location of Culture London: Routledge, , and Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness London: Verso, Artistic choices to or not to explicitly aim for this mode of cultural translation are routinely made by contemporary musicians active in hybrid genres, and analysis of specific examples from such ensembles as the Yoshida Brothers, Helsinki Koto Ensemble, Tokyo Brass Style, and Moscow Pan-Asian Ensemble will illustrate how cultural translation can be either conscious or unconscious, and deliberately highlighted or shunted in such music projects.

By virtue of its being 1 an emerging in- terdisciplinary field, and 2 a corpus of paradigms disseminated via pedagogy within academic contexts, it seems a vast array of activity within the field of cultural translation might itself be regarded as cultural translation, for whenever we strive to effectively communicate complex con- cepts from one system of thought from another — whether to colleagues in other disciplines or to students of any age or educational background — it appears we are to some extent engaging in cultural translation.

For several generations, musicologists have written about similarities between music and language, and reflected on ways that analytical approaches from the field of linguistics may be effectively applied to music. Linguists and literary critics, however, have generally taken less of an interest in musicological paradigms. Unsurprisingly, a similar trend may be seen in the emerg- ing field of cultural translation, for which it already appears that linguistic and literary discus- sion may be dominant relative to paradigms associated with research on other forms of cultural discourse such as music, theatre, dance, visual art, fashion, etc.

What of consequence to inter- cultural understanding might inevitably be missed by theorization that arises almost exclusively from examination of a single form of discourse as a basis for cultural analysis? Translators rou- tinely grapple with complex meanings embedded in nonlinguistic forms of communication that defy conventional modes of translation, and consequently a holistic and trans-disciplinary theo- retical orientation is seemingly desirable to many proponents of cultural translation.

Specifically, systems of music transmission and pedagogy seem to represent especially fertile areas for re- search on educational issues in cultural translation. I will avoid discussion of mere song lyrics and their meanings, in order to maintain a focus on the sentient features of musical sound that may be independent of any linguistic significance, the reason being that such a focus will enable us to face the distinctive features of musical discourse in contrast to linguistic discourse.

I will also eschew discussion of the kinds of challenges and dilemmas most often faced by ethnomusicolo- gists, scholars who seek to construct comprehensive verbal descriptions of musical systems that are translated across cultural boundaries. Much has already been written on that topic, which I greatly appreciate, yet this theme would appear to be less relevant to the purposes of our forum. Rather, the question here today is how musicians adopt ideas and practices from one musical system into another musical system, a process that to some extent typically requires a bridg- ing of cultural differences: in other words, projects that entail an attempt to translate one music or at least prominent aspects of a preexisting tradition into another form of music.

I will also consider educational implications of this kind of cultural translation, which typically yields some prototypical form of musical hybridity as its outcome. For those unfamiliar with music research there may also be some reluctance to recognize the meaningfulness of musical practices, or at least the validity of their interpretation. Just how sig- nificant should music-making, the mere production of pleasurable sounds, be appropriately re- garded within the context of other seemingly translatable human activities?

The global ubiquity and expansive history of musical activity serve as some testament to its ultimate utility, for social scientists consider music-making to be a universal practice associated with all known human so- cieties, and with a lengthy history that may even rival that of language.

Ur-Nansha is the name inscribed on a cm tall gypsum statue that depicts an androgynous court musician, the chief singer of Iblul Il, who was King of the city-state of Mari, located in what is now Eastern Syria. The Ur-Nansha figure was found in a Massif Ridge archaeological dig, nearby the Ninna Zaza temple BC.

Wallin, Bjorn Merker, and Steven Brown eds. In the lyrics of this song, dated to BC and found inscribed in cuneiform symbols on a clay tablet, an Assyrian woman ap- proaches the moon goddess, Nikkal, to seek a cure for infertility.

The first part illustrates how cross- cultural relationships may be conceived in relation to education and other institutionalized forms of socially structured interaction, which also has implications for literature and related arts. Rather than serving an analytical function for interpretation of particular examples of cross- cultural artistry, the Four Culturalist Conceptions is intended to serve an illustrative purpose in normative discussion of prospective approaches to cultural policy.

The second part Five Domains of Cultural Translation via Music delineates diverse aspects of music production and consump- tion that may parallel phenomena encountered in other art forms, and as will be demonstrated, is proposed for direct use as an analytical tool. Still, the notion of multiculturalism continues to be debated — particularly in contemporary Europe — and the field of cultural translation seems in- creasingly concerned with this issue. When considered from an historical perspective, it becomes clear that this way of thinking about education has only become popular in recent generations.

Theo J. Krispijn, Professor of Assyriology at Leiden University, the Nether- lands. Conard, Maria Malina, and Susanne C. Banks, ed. Four Culturalist Conceptions Figure 1: Model-Four Culturalist Conceptions Figure The Four Culturalist 1: Model-Four Conceptions Culturalist illustrated here Conceptions consist of 1 Biculturalism, 2 Multicultur- alism, 3 Interculturalism, and 4 Transculturalism.

Each conception entails a slightly different approach to institutionalization of the cross-cultural meeting of two or more distinct traditions, as encountered in various public sector contexts, such as education and arts policy. other in an attitude of cooperation Each and even compromise. This ap- conception en slightly proach todifferent cross-culturalapproach contact hasto forinstitutionalization many years been regarded of the cross-cultural as official government policy meeting of t more in suchdistinct traditions, nations as New Zealand,as encountered where inclearly there is a single various public identifiable sectorpopula- indigenous contexts, such as education and colonizing tion and a single arts policy.

two major cultural strands, each of which is expected to respond to the other in an However, as I have discussed elsewhere, nowadays the demographic makeup of even a nation 19 like New Zealand is actually far more complex than mere biculturalism would appear to suggest, attitude of cooperation and even compromise.

This approach to cross-cultural con for18many David G. years been Hebert, Jazz regarded and Rock Music, W. as official M. Anderson andgovernment P.

Campbell, eds. Hebert, population Ethnicity and Education: Sociological Dimensions, R. Wright, ed. in thisRethinking Hebert, case the Maori and the Historiography British of Hybrid or Genres Pakeha in Music residents. Education, L. Howev 19 Music History Newcastle: Cambridge Scholars Press, , have discussed elsewhere, nowadays the demographic makeup of even a nation Vakeva and V. Kurkela, eds. New Zealand 19 David G. suggest, since there are many Asians and Pacific Islander residents from an array 26 backgrounds, some of whom such as in the case of the David Niueans are found in grea G.

Some scholars and public figures use these kinds of conceptualizations in debates regarding contem- porary society in the United States, Australia, Brazil, Malaysia, and Khazakhstan, for example. Interculturalism is a concept gaining currency of late in western Europe, where many reject the idea of ever permitting the citizenry to become so ethnically and racially diverse as North America, yet acknowledge that the increasingly obvious presence of large immigrant populations from such places as Africa and the Middle East requires some modifications to public policy.

Interculturalism seems to entail an orderly and respectful recognition of difference that leads to some alteration of trajectory on the part of both parties, but perhaps without major transfor- mation. These Four Culturalist Conceptions may prove useful in any conversations regarding the ultimate purpose of cultural translation within academia. Scholars of cultural translation are presumably motivated by the desire to attain improvements in cross-cultural understanding, yet there is likely to be an array of diverse visions regarding what ultimately may be the outcome of a significant lessening of the epistemological barriers and non-empathetic tensions between cultural groups that give rise to such profound allegories as the Tower of Babel and have even led to countless unnecessary and abominable wars throughout history.

The promotion of cross-cultural understanding has arisen as a topic on the landscape of music education in Japan across recent years, and is likely to be a subject of continued debate across a broad range of fields far into the future. Also, for examples of how the power of music has been used in conflict resolution, see Olivier Ur- bain, ed.

Tauris, for Toda Institute for Global Peace and Policy Research, requires an especially broad view in order to grasp all relevant factors, which is why the second part of this model is relatively wide in its scope, The second part of the model is entitled Five Domains of Cultural Translation via Music, which are identified asfive encompassing domains.

follows see below : A Technological Adaptations, B Idiomatic Conventions, C Aesthetic Notions, D Creative Practices, and E Receptive Contexts. The second part of the model is entitled Five Domains of Cultural Translation via Music, which are Model identified as follows2. Five see Domains below : of Cultural A Technological Translation Adaptations, viaConventions, B Idiomatic Music C Figure 2: Model-Five Domains of Cultural Translation via Music Aesthetic Notions, D Creative Practices, and E Receptive Contexts.

What is meant by conceptualization according to these five domains in the cultural translation Model 2. Five Domains of Cultural of music or, alternatively, the musical translation of music? Consider the following descriptions: Translation via Music A. Technological Adaptations E.

Receptive B. Idiomatic Contexts Conventions D. Creative C. Aesthetic Practices Notions Figure 2: Model-Five Domains of Cultural Translation via Music A. Technological Adaptations. This refers to an array of tools and associated techniques, in- cluding instruments, notation systems, sound media synthesizer programming of non- sampled sounds or even samples, etc.

used by musicians. What is meant by conceptualization according to these five domains in the cultural translation of B. Idiomatic Conventions. This refers to actual approaches to the use of musical sounds, in- music or, alternatively, cluding the musical tonal, rhythmic, translation textural, timbral,of music? and formalConsider systems.

the following descriptions: C. Aesthetic Notions. Creative Practices. This means particular approaches to improvisation, composition, etc. Receptive Contexts. This includes not only rituals or venues, but also modes of mediation and any combinations with other media, such as drama, dance, or visual image. Clearly, the above categories, despite maintaining integrity in some respects, are most often deeply intertwined in the context of any genre.

Ultimate- ly, the usefulness of such a conceptualization will only be recognizable if put into practice, so I will soon proceed to some concrete illustrations that make use of a template entitled Pentagonal Analysis of Cultural Translation PACT that was developed to enable this Five Domains of Cultural Translation in Music model to be implemented as an analytical tool.

I must stress that this model is intended to be merely interpretative, to guide subjective analysis and stimulate more robust and precise discussion in conversations and debates among both scholars and artists. Applications to Japan The remainder of this essay will offer consideration of how the aforementioned model may be applied to specific examples of musicians who are either Japanese or doing work inspired in some way by Japanese cultural traditions, and conclude with some discussion of implications for other domains of cultural translation.

It is important to acknowledge that this is by no means the first discussion of how westernized music in Japan may be theorized, for there have been very significant prior contributions to this theme. Still, I will begin by briefly describing two of the most interest- ing previous models that aim to conceptualize various ways that Japanese musicians have ap- proached the mixing of indigenous and western influences, as well as the related role of cultural identity, in their musical activities, both of which are topics of relevance to the theme of musical translation.

Transference, Syncretism, and Synthesis. Also, see Bonnie C. Fence, Flavor, and Phantasm. Both of the aforementioned models may serve as useful tools for grappling with how musical sound or cultural identity may be conceived in specific contexts.

The Yoshida Brothers, who clearly combine Jap- anese traditional music with various global popular music styles, appear to be the only of these four bands to have already been thoroughly researched. Tokyo Brass Style seemed an attractive choice because it entails a hybrid of western brass band and contemporary Japanese youth cul- ture.

I am already well-acquainted with members of the ensemble from Finland, and performed as a member of the ensemble from Russia, so familiarity and accessibility also naturally influ- enced the selection of these examples. Yoshida Brothers The Yoshida Brothers are a renowned popular music act from Hokkaido consisting of broth- ers Ryoichiro Yoshida b. After sweeping prizes at national Tsugaru shamisen conven- tions, the brothers made their major debut in The debut album sold over , copies, which is an extraordinary figure for a traditional folk music release.

The Yoshida Brothers received extensive training in the tsugaru shamisen tradition, but later decided to take their music in a new direction. The history and tradition that echoes through their sound proves that even the most global music is rooted in local soil. But they also expand on it. In their own compositions, they riff on themes from the old songs, incorporating other instruments and elements from jazz, classical,But repertoire. flamenco, they alsorock, expandtheonblues it. In even techno.

their own The musicthey compositions, is high riff onenergy, themesandfromitthe is highly old songs,improvisational. and their The music is highmanagement energy, and itas a formimprovisational.

In other words, the Yoshida Broth- preferred by young people today both in Japan and abroad. Syncretism of modern pop styles with C Aesthetic Notions Weak historical musical practices.

D Creative Practices Weak Little evidence of new approaches. E Receptive Contexts Strong TV advertising for videogames: new marketing approach. Figure 3: PACT-Yoshida Brothers Figure 3: PACT-Yoshida Brothers Minna Padilla and the Helsinki Koto Ensemble Another very interesting musician who merits some discussion is Ms. Minna Padilla, a Finn- Minna ish Padilla koto player andand leader theofHelsinki the Helsinki Koto KotoEnsemble Ensemble, who agreed to an interview for the Another very interesting musician who merits some discussion is Ms.

Minna Padilla, a purposes of this research on 10 February, One year earlier, in crew filmed her performing and teaching koto to children, and rehearsing with the Helsinki Koto February of , a crew from TV Tokyo had traveled to Helsinki to interview Minna for Ensemble.

Koto Ensemble. I started to combine the sound of kantele and koto in year in Finland and this isJapanese how my composing music andtoculture koto started yet also. I think there is something magical in the sound of koto, something that touches people through all ages with beauty, power and intimate sound. One other important thing in my composition process is using the tradi- kindsJapanese tional of music? I started to combine the sound of kantele and koto in year in Finland and this is how my briefly at both the Tokyo National University of Fine Arts and the Hokkaido University of Educa- composing to koto started.

I think tion, where thereher prior musical is something training magical and in the technique sound of koto,enabled her that something to learn remarkably touches quickly. all ages people through However,with thebeauty, style ofpower musicand thatintimate she would sound.

Nature develop eventually is a very is important sourcefrom quite different for me, for inspiration. traditional Japanese koto playing. I was anxious to know how the Japanese people would react to me playing the 29 Tina K. They even said that my music felt like walk- ing into a Finnish forest, gives you feeling like falling in love.

My wonderful koto teacher Yukiko Originally trained as a Finnish folk musician at the Sibelius Academy, Minna studied koto briefly at Takagaki requested us to visit her home and we played also there as a vocal and koto duo. She wasboth the Tokyo interested in myNational University compositions of Fine and thought Arts that thisand is athe newHokkaido University style to play the koto. However, the style of Minna explained that the lyrics of many of her songs are derived from Japanese poetry from music that the 9th through 19thshe would eventually centuries, develop particularly is quite different as translated fromby into Finnish traditional Japanese Kai Nieminen andkoto G.

I was anxious to know how the Japanese people would react to me playing the koto me ask more and find the answers in musical language. Theatmosphere, reaction fromand she offered Japanese people the was very followingpositive towards as a specific my music and our playing. They even said that my music felt like walking into a example: Finnish forest, gives you feeling like falling in love. This made me feel in my compositions and thought that this is a new style to play the koto.

Then I started to compose music to find colours for this. primar- J. ily melodic and fully composed Specifically, Minna has with clear musical composed forms. This made me feel that this poem is more like sentimentality, beauty of giving up than crushing sadness.

Melodic and harmonic influences are traceable to both Japanese and B Idiomatic Conventions Medium Finnish traditions. D Creative Practices Strong Fully composed, yet some improvisational elements. E Receptive Contexts Strong Embassy-affiliated performances, concerts in Japan and Europe.

Figure 7: PACT-Helsinki Koto Ensemble Figure 7: PACT-Helsinki Koto Ensemble Tokyo Brass Style Hiroshi Watanabe, a Professor of Aesthetics at Tokyo University, has argued that mixed or hy- Tokyo brid musics, Brass Style indigenous brass bands, offer an important way of understanding Japa- particularly Hiroshi Watanabe, a Professor of Aesthetics at Tokyo University, has argued that mixed nese cultural identity in the globalized contemporary world.

have come Watanabe has into existence. invasion ofRecently, with thehave Western culture, progress skil- of research into these kinds of bands, it becomes clear that the fully adapted with modernity to bear living witness to an array of distinct cultural identities. Hebert, years among Alchemy of Brass: contemporary Spirituality Japanese andTheir youth.

Windperformance Music in Japan, Edwin style Michael is utterly Richards and exuber- Kazuko Tanosaki, eds. Hiro Shimoyama, physicist]. Hebert, Alchemy of Brass: Spirituality and Wind Music in Japan, Edwin Michael Richards and Kazuko Tanosaki, eds.

Brasta appears to have arisen quite in Japan that adopted local folk melodies. Japanese of western Notableinstruments examples commonly of Brasta taught songs in Japanese include schools. adventure The films Stu- following figure illustrates application of the model to Tokyo Brass Style: dio Ghibli productions.

B Idiomatic Conventions M Mastery of Latin styles; strong musical skills with unique image. Traditional notions of Japaneseness may be irrelevant here.

Outstanding performance technique on complex arrangements C Aesthetic Notions M of seemingly simplistic tunes. D Creative Practices S Very original arrangements, effective improvisation.

E Receptive Contexts M Performances in nightclubs and workshops in schools. Figure 8: PACT-Tokyo Brass Style Figure 8: PACT-Tokyo Brass Style Moscow Pan-Asian Ensemble The Moscow Pan-Asian Ensemble previously known as Wa-On Ensemble is another example Moscow well Pan-Asian Ensemble worth consideration. In , I performed and recorded a few times on trumpet and voice The Moscow Pan-Asian Ensemble with this unique free improvisation previously ensemble known as Wa-On at the Tchaikovsky Ensemble Conservatory while I is another was living example well worth consideration.

In , I performed and recorded a few times on in Moscow and employed as a lecturer for Lomonosov Moscow State University. The Pan-Asian trumpet and voice with this unique free improvisation ensemble at the Tchaikovsky Ensemble is led by expert Russian musicians trained in composition, ethnomusicology, and mu- Conservatory while I was living in Moscow and employed as a lecturer for Lomonosov sic therapy, State Moscow and who are especially University.

Theinspired by Asian Pan-Asian music,is Ensemble particularly Japanese led by expert traditional Russian mu- musicians sic. shakuhachi On the and Dmitry JazzLoft Kalinin shaku- website, the Moscow Pan-Asian Ensemble is described as follows: hachi, hichiriki, Chinese gong-chimes and voice.

The Ensemble is augmented by Varvara Sidoro- va, Kakujo Nakagawa and Misako Mimuro all three on biwas and Pyotr Nikulin on dijeridu and Dmitry Schyolkin on percussion. The leaders studied with great Japanese teachers. Russians try to create new music based directly on Japanese musical traditions and its aesthetic principles without distorting European composing techniques.

Amazingly, they manage to create something truly original. aspx 36 David G. He has stud- ied shakuhachi kinko-ryu and koto ikuta-ryu extensively with various teachers in both Kyoto and Moscow. In he even attained certification as a koto teacher through the Sawai Tadao koto school.

He is a graduate of the composition department of the Tchaikovsky Conservatory, where he studied under professors K. Batashev and A. Another important member is Dr. Varvara Sidorova, who has performed with the ensemble since its inception. Moscow Pan-Asian Ensemble performances entail no planning of any kind other than the set- ting out of instruments to be used.


 
 

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