Gongs & bamboo : a panorama of Philippine music instruments
著者
書誌事項
Gongs & bamboo : a panorama of Philippine music instruments
University of the Philippines Press, c1998
- タイトル別名
-
Gongs and bamboo
大学図書館所蔵 全5件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Discography: p. 63
Includes bibliographical references (p. 60-62) and index
内容説明・目次
内容説明
This panorama is a pictorial view of music instruments starting with older bamboo and other instruments of undetermined age, going on two types of gongs-flat in Northern Luzon and bossed in the South. These two areas may be viewed as pocket cultures comparable to other pocket cultures in Borneo, Sumatra, other islands in Southeast Asia and the mountain regions south of and including Yunnan province of China, thus placing the music of Luzon and Mindanao in a larger geographical context. For example, mouth organs in Borneo and continental Southeast Asia are absent in the Philippines, where, however, separate pipes of panpipes are on occasion still being played by groups of boys among the Kalingga of Luzon. The musical elements of drone and melody identified in two lutes in Borneo or ensembles in Yunnan find examples in two players of the same tube zither in Mindanao and flat gongs in Luzon.
The nearly 500 photographs in the book are almost all taken in the field, showing details of making and playing bamboo buzzers, jaw harps, zithers, percussion tubes, flutes and other instruments. Manners of tapping and sliding with the hands on flat gongs differ from beating them with sticks. Examples of big bossed gongs with wide rims (agung) struck with a mallet on the boss and a stick on the rim show affinities with a manner of playing bronze drums in Yunnan. In North Luzon, men and women dancing in circles with outstretched hands distinguish them from solo dancers with minimum body movements in the South.
「Nielsen BookData」 より