Synonyms for shinobue or Related words with shinobue

shakuhachi              hichiriki              shamisen              daegeum              nohkan              koto              ryuteki              komabue              kotos              gayageum              daiko              tonkori              yokobue              sanxian              suling              geomungo              hocchiku              taiko              nagauta              zither              gagaku              gaohu              samisen              panpipes              dizi              tsuzumi              jamisen              zhonghu              quena              takemitsu              hotchiku              muraishi              zithers              kagurabue              euphonium              khaen              bawu              suona              erhu              haegeum              didgeridoo              sanjo              ajaeng              yueqin              zhongruan              marimbas              djembe              ektara              banhu              horagai             



Examples of "shinobue"
A is a generic term for Japanese transverse flute or fue includes Komabue, Nōkan, Ryūteki, Shinobue.
Ramos also plays Tsugaru Shamisen (a Japanese spiked lute) and "shinobue (a Japanese side-blown flute)."
The Japanese flute, called the fue, , encompasses a large number of musical flutes from Japan, include the end-blown shakuhachi and hotchiku, as well as the transverse gakubue, komabue, ryūteki, nōkan, shinobue, kagurabue and minteki.
Many of their performance pieces include only percussion instruments, and in some cases only taiko drums, but other pieces include the shinobue, or Japanese flute, bamboo marimba, gongs, and the koto, a horizontal harp.
Drums are not the only instruments played in the ensemble; other Japanese instruments are also used. Other kinds of percussion instruments include the , a hand-sized gong played with a small mallet. In kabuki, the shamisen, 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.
The group's performances feature the kumi-daiko style popularized by Daihachi Oguchi in the 1950s. While most of Yamatai's current pieces were written by Kobayashi, Yamatai also performs arrangements of traditional pieces, such as Miyake and the Chichibu Yatai-bayashi. Many songs make use of shinobue and keyboard, as well as other instruments.
Groups of choreographed dancers and musicians known as "ren" (連) dance through the streets, typically accompanied by the shamisen lute, taiko drums, shinobue flute and the kane bell. Performers wear traditional obon dance costumes, and chant and sing as they parade through the streets.
The shinobue (kanji: 篠笛; also called takebue (kanji: 竹笛)) in the context of Japanese traditional arts) is a Japanese transverse flute or fue that has a high-pitched sound. It is found in hayashi and nagauta ensembles, and plays important roles in noh and kabuki theatre music. It is heard in Shinto music such as "kagura-den" and in traditional Japanese folk songs. There are two styles: "uta" (song) and "hayashi" (festival). The uta is properly tuned to the Western scale, and can be played in ensembles or as a solo instrument. The hayashi is not in the correct pitch, because it is simply a piece of hollow bamboo with holes cut into it. It emits a very high-pitched sound, and is appropriate for the festival/folk music of Japan. Both shinobue flutes play a very important role in the Japanese theater.
was a session band created to record the songs "Meisai" and "Ishiki" for the "Stem" single and Sheena's third studio album "Kalk Samen Kuri no Hana" (2003). It featured electric guitar by Ukigumo (then Ryosuke Nagaoka), drums by (Vola and the Oriental Machine, formerly Number Girl), bass and contrabass by Hitoshi Watanabe, shinobue by , violin by Neko Saito and didgeridoo by Tab Zombie from Soil & "Pimp" Sessions.
Most Japanese folk songs related to work were originally sung unaccompanied, either solo, or by groups (heterophonically). Some songs exhibit the same sort of "call and response" chant often seen in the Southern Black music of the United States. During the Edo period, however, and sometimes later as well, accompaniment on shamisen, shakuhachi and/or shinobue was added to min'yō melodies. Percussion instruments, especially drums, are also often featured in min'yō accompaniment, especially when such songs are used in dances or religious ceremonies. Some of these accompaniments, in turn, have become independent, spawning solo instrumental genres such as Tsugaru-jamisen. Enka and many other popular genres are also rooted in min'yō.
In min'yō, singers are typically accompanied by the three-stringed lute known as the shamisen, taiko drums, and a bamboo flute called shakuhachi. Other instruments that could accompany are a transverse flute known as the shinobue, a bell known as kane, a hand drum called the tsuzumi, and/or a 13-stringed zither known as the koto. In Okinawa, the main instrument is the sanshin. These are traditional Japanese instruments, but modern instrumentation, such as electric guitars and synthesizers, is also used in this day and age, when enka singers cover traditional min'yō songs (Enka being a Japanese music genre all its own).
According to Gackt, it's a heavy album with deep world view, and it's definitely not suitable to be simply played in the background. Almost every song was created from the story sketched above and features a special image or place in the live performance. Having studied traditional Japanese poetry, Gackt incorporated a mix of traditional and modern speech in the lyrics, and experimented with the songs' beat, noting that traditional Japanese poetry is more suitable for an irregular beat. He also listened to the esoteric Buddhist sutras. The songs are distinctive for their blend of modern Western musical instruments and traditional Japanese instruments, like Shakuhachi, Shamisen, Shinobue, Erhu, Shō, Koto and Taiko, a kind of music called by Gackt as "Zipangu rock" from which can be sensed the country of origination.
Ron Korb started on the recorder in grade school and later joined an Irish fife and drum band in his teens. While attending the Royal Conservatory of Music, he won several local music competitions. He attended York University for a year to broaden his experience of playing jazz but later earned a scholarship to study classical flute at University of Toronto where he graduated with a degree in Music Performance. His primary teacher was Douglas Stewart but he also participated in master classes with Paula Robison, Robert Aitken in Shawnigan, Raymond Guiot in Domaine Forget and Michel Debost in Assisi, Italy. After graduating with honors from University, Korb discovered Chinese flutes (Chinese: 笛子, English:Dizi, [pinyin]: "dÍ zÎ"). The sound of the Asian bamboo flute intrigued him so much that he moved to Japan in the early '90s to study Japanese Gagaku court music, the traditional shinobue and ryūteki bamboo flutes with Akao Michiko. Since then he has travelled around the world collecting and studying indigenous flutes. He has a collection of more than 250 flutes.()