208:, the piece begins with two shime-daiko players playing the background, and soon after, a single and lead chu-daiko player begins playing the main rhythmic pattern. After going through this pattern twice, the next chu-daiko player begins while the first player fades out. This sequence is also repeated by the second player when the third chu-daiko player begins. When the third player completes the rhythm, the lead chu-daiko player transfers to a shime-daiko to perform a solo. When the solo is completed, the player returns to the chu-daiko, and all three players perform the main rhythm in unison to end the piece.
201:. They cannot be seen from the outside, and serve to direct and support those carrying the float. A single chu-daiko player begins playing a complex rhythm on a horizontally mounted drum that is low to the ground. The player is seated and leaning back while playing the drum as their legs are extended across the length of it. When the chu-daiko player is finished, another player switches with them and repeats the rhythm.
22:
133:
spent only one week in
Chichibu in order to learn the piece from festival participants and adapt it for their future performances. In addition to the short time they had to learn the piece, there was difficulty in how folk music of this kind was usually taught: Chichibu players did not conceptualize
138:
structure. Instead, these rhythms were memorized and even contained an element of improvisation from player to player. Ondekoza could not replicate the local techniques, so the piece was substantially changed so they were able to play it. In an interview with
Ondekoza founder
143:, he said, "We were really bad drummers and we knew that the only way we could show we were trying our best was to speed the piece up." To make the performance more dramatic, players leaned farther back from the drum and a
401:
Alaszewska, Jane (2012). "Promoting and
Preserving the Chichibu Night Festival: The Impact of Cultural Policy on the Transmission of Japanese Folk Performing Arts". In Howard, Keith (ed.).
126:, Japan that occurs annually from December 3–4. More recently however, this particular arrangement has also been adopted for local performances on stage.
577:
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Ondekoza's arrangement of the piece was adopted broadly across Japan
However, with these changes and others, it has been argued that this version of
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In the original version that is performed for the festival in
Chichibu, players are actually performing inside a festival float, called a
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74:. The piece been performed by many taiko ensembles, and became well-known through dramatic variations of the piece developed by
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Music as
Intangible Cultural Heritage: Policy, Ideology, and Practice in the Preservation of East Asian Traditions
228:"Japanese in the Samba": Japanese Brazilian Musical Citizenship, Racial Consciousness, and Transnational Migration
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player. Contemporary versions of the piece have used multiple chū-daiko to create an effect similar to a
315:
511:
Bender, Shawn (2005). "Of Roots and Race: Discourses of Body and Place in
Japanese Taiko Drumming".
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section was implemented. It was also the first ensemble piece that
Ondekoza mastered together.
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is substantially different enough that it lacks the local nuance of the original from
Chichibu.
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has been recognized as a piece that requires great physical endurance.
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is considered strenuous and requires considerable physical endurance.
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Although there are variations in how the piece is performed,
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Asia-Pacific
Database on Intangible Cultural Heritage (ICH)
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traditionally has at least five players: Two players on
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actually began as a somewhat different piece called
344:Taiko Boom: Japanese Drumming in Place and Motion
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543:. Stanford University. Dept. of Music. 2002.
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129:In 1972, members of the taiko group
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285:魂揺らす「日本一」の響き 釧路江南高蝦夷太鼓部 創部４５周年で記念公演
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578:Percussion performance techniques
369:"Chichibu-Yatai-bayashi, Japan"
1:
583:History of Saitama Prefecture
341:Bender, Shawn Morgan (2012).
513:Social Science Japan Journal
204:In the version developed by
62:piece inspired by an annual
16:Traditional taiko drum piece
320:. Ashgate Publishing, Ltd.
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573:Japanese traditional music
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33:during a performance of
29:illustrating the seated
282:今川, 勝照 (22 July 2005).
225:Lorenz, Shanna (2007).
54:festival cart orchestra
407:. Ashgate Publishing.
314:Howard, Keith (2012).
120:Chichibu Yatai-bayashi
99:Chichibu Yatai-bayashi
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162:Performance structure
111:Chichibu yataibayashi
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141:Eitetsu Hayashi
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499:Bender 2012
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448:Bender 2012
433:Bender 2012
172:shime-daiko
145:decrescendo
588:1972 works
567:Categories
519:(2): 210.
290:Doshin Web
212:References
267:11 August
176:chū-daiko
174:, one on
149:crescendo
540:Programs
383:8 August
296:7 August
206:Ondekoza
131:Ondekoza
124:Chichibu
76:Ondekoza
68:Chichibu
64:festival
90:History
52:, lit.
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379:(ACCU)
377:UNESCO
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178:, one
105:秩父屋台囃子
199:yatai
188:round
72:Japan
60:taiko
409:ISBN
385:2013
349:ISBN
322:ISBN
298:2013
269:2013
233:ISBN
184:kane
136:beat
80:Kodo
78:and
49:屋台囃子
31:kata
27:Kodo
521:doi
180:fue
82:.
66:in
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