User:Melodylunowly/沙盒
The template {{Expand}} has been deprecated since 26 December 2010, and is retained only for old revisions. If this page is a current revision, please remove the template.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Taiko_drum.jpg/200px-Taiko_drum.jpg)
太鼓(だいこ)是日本传统打击乐器的总称。在日语中,所有的鼓类皆可称为太鼓,但在日本以外的地区,太鼓一词则专门用于指代“和太鼓”。和太鼓是各种日本鼓中的一种,并且更具体地指代合奏太鼓,也称为组太鼓。不同的太鼓厂家有不同的太鼓制作方法,制作鼓体和鼓皮可能要花费数年时间。
太鼓的起源并不清晰,虽然日本民间传说并不能交代清楚,但历史记录表明,太鼓最早是在公元6世纪受朝鲜和中国的文化影响而引入日本的,一部分太鼓与源自印度的乐器相似。考古学证据也支持这样的观点,即,太鼓是自6世纪的古坟时代(古墳時代)出现在日本的。在整个历史长河中,太鼓的功能都各不相同,从文化交流、军事行动、戏剧伴奏、宗教仪式到节日表演和音乐会表演不一而足。在现代,太鼓在日本国内外少数群体的社会运动中也发挥了核心作用。
1951年,小口大八发展起来的组大鼓演奏,其特征是一起演奏不同类型的鼓,并与鼓童(こどう、Kodo)等乐队合作。 其他表演风格,例如八丈大精,也出现在日本的特定社区。 组太鼓表演团体不仅活跃于日本,也在美国、澳大利亚、加拿大、欧洲、台湾和巴西等地区有演出。太鼓的演奏由节奏、形、鼓棒握力、服装和乐器法组成,乐团通常使用不同类型的鼓,比如桶形长胴太鼓(長胴太鼓,宮太鼓),或者较小的缔太鼓(附締太鼓),许多乐队还会为太鼓伴奏人声,弦乐和木管乐器等。
起源
[edit]关于太鼓的起源有许多说法,但其书面记录尚不清晰。太鼓的书面历史记录最早可追溯到公元588年,据记载,曾有一位年轻的日本男子前往朝鲜,研究起源于中国华南地区的羯鼓。因此,中国乐器是有可能影响了太鼓的起源的。[1]除此之外,某些宫廷音乐风格,尤其是伎乐和雅乐,也从朝鲜和中国传入日本。[2][3]在这两种传统音乐风格中,舞者都以多种乐器为伴奏,其中就有类似今天太鼓的鼓类乐器。[3][4]此外,日本有一种早期舞蹈和音乐风格——唐乐,其中的某些打击方式和术语,除了其本身的特征外,还反映了中国和印度对乐曲演奏中鼓使用的影响。[5][6]
考古证据表明,公元6世纪,日本人开始使用太鼓[7] , 古坟时代后期,太鼓很可能已经用于节日庆典,或是他仪式的交流活动当中。[8] 考古人员在群马县佐波郡发现的埴轮雕像证实了这一证猜测。 在雕像上人物中,有两个人物展现了太鼓演奏的形态; [8]其中一个穿着动物皮毛,肩膀上悬下来一个桶形鼓,并用一根棍子在髋部高度击鼓演奏。[9][10] 这座雕像的名字是《击太鼓的人》,它被认为是日本太鼓表演最古老证据。[10][11] 这种埴雕像轮体现的的演奏风格与韩国和中国已知的音乐传统之间的有许多相似之处,这进一步表明了这些地区间的相互影响。[11]
《日本书纪》是日本历史中第二古老的书籍,书中就有一个神话故事描述了太鼓的起源。 传说,有一位天照大神,怒将自己封闭在一个山洞中,人们企图召唤大神,但屡屡失败,最后天照大神被一位年长的女神天鈿女命召唤了出来。天鈿女命召唤大神时,倒掉了一桶清酒,并在酒桶上热烈地跳舞,通过这种方式,最终召唤出了大神。历史学家认为她的表演是太鼓音乐诞生的神话起源。[12]
战时用途
[edit]在封建日本,人们常用太鼓来调动军队,发出命令或宣布公告等。用途不同,太鼓的演奏也设有不同的节奏。 通常情况下,太鼓每击奏一拍,则军队进行六步。[13][14]在16世纪的战国时期,军队使用特定的节奏来传达撤退和前进的命令。[15]至于其他的节奏和演奏技巧,战争纪事中都进行了详细介绍。 根据战争纪事的说法,九套五拍的节奏,意为召集一个盟友参加战斗,而九套三拍的节奏则相较于前者加速了三四次,意为前进或是追击敌人的。[16]16世纪的民间传说讲述了这样一个故事,传说中公元六世纪的皇帝继体天皇在位时,他从中国得到了一个大型鼓,并将其命名为“线阵太鼓”。 人们认为,皇帝曾用它来在战场上勉励己方将士,威慑敌军。[17]
传统太鼓
[edit]太鼓过去常常应用于日本的剧院,作为伴奏乐器,或是营造氛围感,再作装饰品。在歌舞伎剧《白石物语》和《泰黑纪事》中,遊廓相关的场景常用太鼓伴奏,营造出戏剧性张力。[18]能剧剧场也设有太鼓[19][20],能剧表演由特定的节奏模式组成,例如,金春流派除了包含25种太鼓的特殊节奏模式外,还包含65种基本节奏模式,种类繁多。这些模式之间的差异包括节奏、重音、强弱法、音高和戏剧表演功能的变化,除了差异,它们同时也相互联系。[21]
太鼓后来常用于雅乐,这是除地方寺庙和神社外,通常在皇居演出的古典音乐。[22]在雅乐中,艺术形式的一个组成部分是传统舞蹈,其一部分是由太鼓表演者设定的节奏来指导的。[23]太鼓在日本各地的许多当地节日中发挥了重要作用。[24]它们还用于伴随宗教仪式音乐。神乐是神道教的一种音乐和舞蹈,在当地的节日期间,太鼓经常伴随其他品目的表演一同出现。在佛教传统中,人们也用太鼓在盂兰盆节的部分的仪式舞蹈中伴奏。[24]太鼓和其他乐器一起被摆放在塔顶上,上面装饰着红白相间的布,为周围表演的舞者伴奏。[25]
组太鼓
[edit]说起太鼓,我们脑海中浮现的可能是一件乐器,但是太鼓一词同时还可指「太鼓」這項表演本身。[26][27]。通常这种表演是指组太鼓的表演形式,即合奏的演奏风格(与节日庆典、仪式或戏剧中用到的独奏鼓不同)。[28][29]1951年,小口大八发明了组太鼓。[28][30]小口大八是一位杰出的太鼓演奏家,他使太鼓从日本传统节日和神社的中走出来,进入到现代社会,获得新的生命。[31]小口在长野县接受了爵士音乐家的训练,有一次,他的亲戚送给了他一张传统太鼓的乐谱,[32]但是小口读不懂传统太鼓音乐,也看不懂注解,[32]后来小口经过不断努力,找到了抄录传统作品的机会,并结合个人风格,将这作品改编成了不同乐器合奏的太鼓演奏曲目。[33][34]每种乐器各司其职,确立了当今组太鼓的表演惯例。[33][34]
小口的合奏团,御諏訪太鼓,将这些改动和其他鼓乐团纳入了他们的表演。他们还设计了用于非宗教表演的新颖作品。[32]在1950年代和1960年代,日本出现了其他几个团体。 1959年,小林征夫在东京成立大江戸助六太鼓,被称为第一批专业巡回演出的太鼓乐队。[35]在全球范围内,在第十八届夏季奥林匹克运动会期间,组太鼓表演在艺术表演环节中尤为突出。[36]
组太鼓的发展也离不开田耕,田耕聚集了愿意将整个生活方式献给太鼓的年轻人,并将他们带到佐渡岛接受培训[33][37]登及其家人于1968年定居。[38] 田希望重新振兴日本的民间艺术,尤其是太鼓,是出于对岛国的渴望。他受到佐渡独有的击鼓传统的启发,被称为鬼太鼓(佐渡方言中的“恶魔鼓”),需要相当大的力量才能发挥出色。[39]田称这个团体为“鬼太鼓座(おんでこざ)”,并对其成员进行了一系列严格的练习,包括长跑。[40][37]1975年,鬼太鼓座是第一个在美国巡回演出的太鼓乐队。他们的第一场演出是在该小组穿着传统制服完成波士顿马拉松比赛之后进行的。[41][42]1981年,鬼太鼓座的一些成员从田耕分裂出来,在林英哲的领导下成立了另一个名为鼓童的组织。[43] 鼓童继续使用佐渡岛进行严格的训练和公共生活,并通过频繁的巡回演出和与其他音乐表演者的合作,继续普及太鼓演奏。[44] 鼓童是日本和全世界最为知名的太鼓团体之一。[45][46][47][48]
在日本,比较活跃的太鼓表演团体的数量估计多达5000个[49],但根据日本最大的太鼓团体基金会,日本立太鼓基金会统计显示,保守估计,日本的太鼓群体近800个。[50]早期组太鼓乐队不断演出的作品包括鬼太鼓座的《屋台囃子》,[51] 御諏訪太鼓的《疾驰的马》(勇み駒),[52] 和鼓童组合的《部落》(族)。[53]
影響
[edit]知名遊戲《太鼓之達人》系列之主角和田咚,即為在北陸的某個太鼓工房中,一個靈魂寄居的紅色和太鼓。
参考文献
[edit]参考书目
[edit]- Alaszewska, Jane (2008). Mills, Simon (ed.). Analysing East Asian Music: Patterns of Rhythm and Melody. Semar Publishers SRL. ISBN 978-8877781048.
- Alves, William (2012). Music of the Peoples of the World (3rd ed.). Cengage Learning. ISBN 978-1133712305.
- Ammer, Christine (2004). The Facts on File: Dictionary of Music (4th ed.). Facts on File. ISBN 1438130090.
- Cossío, Óscar Cossío (2001). La Tensión Espiritual del Teatro Nô (in Spanish). Dirección de Literatura, UNAM. ISBN 9683690874.
- Bender, Shawn (2005). "Of Roots and Race: Discourses of Body and Place in Japanese Taiko Drumming". Social Science Japan. 8 (2): 197–212. doi:10.1093/ssjj/jyi038.
- Bender, Shawn (2012). Taiko Boom: Japanese Drumming in Place and Motion. Univ. of California Press. ISBN 978-0520951433.
- Blades, James (1992). Percussion Instruments and Their History (Revised ed.). Bold Strummer. ISBN 0933224613.
- Bloustein, Gerry, ed. (1999). Musical Visions: Selected Conference Proceedings from 6th National Australian/New Zealand IASPM and Inaugural Arnhem Land Performance Conference, Adelaide, Australia, June 1998. Wakefield Press. ISBN 1862545006.
- Brandon, James R.; Leiter, Samuel L. (2002). Kabuki Plays On-Stage: Villainy and Vengeance, 1773–1799. Univ. of Hawaii Press. ISBN 082482413X.
- Cangia, Flavia (2013). Performing the Buraku: Narratives on Cultures and Everyday Life in Contemporary Japan. LIT Verlag Münster. ISBN 978-3643801531.
- Carlsen, Spike (2009). A Splintered History of Wood. Harper Collins. ISBN 978-0061982774.
- Dean, Matt (2012). The Drum: A History. Scarecrow Press. ISBN 978-0810881709.
- de Ferranti, Hugh (2007). "Japan Beating: The making and marketing of professional taiko music in Australia". In Allen, William; Sakamoto, Rumi (eds.). Popular Culture and Globalisation in Japan. Routledge. ISBN 978-1134203741.
- Forss, Matthew J. (2010). "Folk Music". In Lee, Jonathan H.X.; Nadeau, Kathleen M. (eds.). Encyclopedia of Asian American Folklore and Folklife. ABC-CLIO. p. 645. ISBN 978-0313350672.
- Gould, Michael (June 1998). "Taiko Classification and Manufacturing" (PDF). Percussive Notes. 36 (3): 12–20.
- Harich-Schneider, Eta (1973). A History of Japanese Music. Oxford Univ. Press. ISBN 0193162032.
- Honda, Yasuji (1984). Tōkyō-to minzoku geinōshi 東京都民俗芸能誌 (in Japanese). Kinseisha 錦正社. OCLC 551310576.
- Hoover, William D. (2011). Historical Dictionary of Postwar Japan. Scarecrow Press. ISBN 978-0810854604.
- Ikeda, Nobumichi (1983). Miyakejima no rekishi to minzoku 三宅島の歴史と民俗 (in Japanese). Dentō to Gendaisha 伝統と現代社. OCLC 14968709.
- Ingram, Scott (2004). Japanese Immigrants. Infobase Publishing. ISBN 0816056889.
- Izumi, Masumi (2001). "Reconsidering Ethnic Culture and Community: A Case Study on Japanese Canadian Taiko Drumming". Journal of Asian American Studies. 4 (1): 35–56. doi:10.1353/jaas.2001.0004.
- Izumi, Masumi (2006). "Big Drum: Taiko in the United States". The Journal of American History. 93 (1): 158–161. doi:10.2307/4486067. JSTOR 4486067.
- Kakehi, Hisao; Tamori, Ikuhiro; Schourup, Lawrence (1996). Dictionary of Iconic Expressions in Japanese. Walter de Gruyter. ISBN 3110809044.
- Keene, Jarret (2011). "Drumline". Inside Cirque du Soleil. Fall 2011.
- Kobayashi, Kayo (1998). "Eisa no Bunrui (The Classification of Eisa) エイサーの分類". In Okinawa-shi Kikakubu Heiwa Bunka Shinkōka 沖縄市企画部平和文化振興課 (ed.). Eisā 360-do: Rekishi to Genzai エイサー360度 : 歴史と現在 (in Japanese). Naha Shuppansha 那覇出版社. pp. 36–40. ISBN 4890951113.
- Konagaya, Hideyo (2001). "Taiko as Performance: Creating Japanese American Traditions" (PDF). The Journal of Japanese American Studies. 12: 105–124. ISSN 0288-3570.
- Konagaya, Hideyo (2005). "Performing Manliness: Resistance and Harmony in Japanese American Taiko". In Bronner, Simon J. (ed.). Manly Traditions: The Folk Roots of American Masculinities. Indiana Univ. Press. ISBN 0253217814.
- Konagaya, Hideyo (2007). Performing the Okinawan Woman in Taiko: Gender, folklore, and Identity Politics in Modern Japan (PhD). OCLC 244976556.
- Konagaya, Hideyo (2010). "Taiko Performance". In Lee, Jonathan H.X.; Nadeau, Kathleen M. (eds.). Encyclopedia of Asian American Folklore and Folklife. ABC-CLIO. p. 645. ISBN 978-0313350672.
- Kumada, Susumu (2011). "Minzoku geinō Eisa no hen'yō to tenkai 民族芸能エイサーの変容と展開". Okinawa no minzoku geinō ron 沖縄の民俗芸能論 (in Japanese). Naha Shuppansha 那覇出版社. pp. 193–244. OCLC 47600697.
- Lacashire, Terence A. (2011). An Introduction to Japanese Folk Performing Arts. Ashgate. ISBN 978-1409431336.
- Li, Xiaoping (2011). Voices Rising: Asian Canadian Cultural Activism. Univ. of British Columbia Press. ISBN 978-0774841368.
- Lorenz, Shanna (2007). "Japanese in the Samba": Japanese Brazilian Musical Citizenship, Racial Consciousness, and Transnational Migration. Univ. of Pittsburgh Press. ISBN 978-0549451983.
- Malm, William P. (May 1960). "An Introduction to Taiko Drum Music in the Japanese No Drama". Ethnomusicology. 4 (2): 75–78. doi:10.2307/924267. JSTOR 924267.
- Malm, William P. (1963). Nagauta: The Heart of Kabuki Music. Tuttle Publishing. ISBN 1462913059.
- Malm, William P. (1986). Six Hidden Views of Japanese Music. Univ. of California Press. ISBN 0520050452.
- Malm, William P. (2000). Traditional Japanese Music and Musical Instruments (1st ed.). Kodansha International. ISBN 4770023952.
- McLeod, Ken (2013). We Are the Champions: The Politics of Sports and Popular Music. Ashgate. ISBN 978-1409408642.
- Miki, Minoru (2008). Regan, Marty (ed.). Composing for Japanese Instruments. Univ. of Rochester Press. ISBN 978-1580462730.
- Miller, Terry E.; Shahriari, Andrew (2014). World Music: A Global Journey. Routledge. ISBN 978-1317974604.
- Minor, William (2003). Jazz Journeys to Japan: The Heart Within. Univ. of Michigan Press. ISBN 0472113453.
- Nelson, Stephen G. (2007). Tokita, Alison; Hughes, David W. (eds.). The Ashgate Research Companion to Japanese Music (Reprint ed.). Ashgate. ISBN 978-0754656999.
- Nomura, Gail M. (2005). Fiset, Louis; Nomura, Gail M. (eds.). Nikkei in the Pacific Northwest Japanese Americans & Japanese Canadians in the Twentieth Century (1st ed.). Center for the Study of the Pacific Northwest in association with Univ. of Washington Press. ISBN 0295800097.
- Piggott, Francis Taylor (1971). The music and musical instruments of Japan (Unabridged republication of the Yokohama [usw.] (1909) 2nd ed.). Da Capo Press. ISBN 030670160X.
- Powell, Kimberly (2012). "Inside-Out and Outside-In: Participant Observation in Taiko Drumming". In Spindler, George; Hammond, Lorie (eds.). Innovations in Educational Ethnography: Theories, Methods, and Results. Psychology Press. pp. 33–64. ISBN 978-1136872693.
- Powell, Kimberly (2012). "The Drum in the Dojo". In Dixon-Román, Ezekiel; Gordon, Edmund W. (eds.). Thinking Comprehensively About Education: Spaces of Educative Possibility and their Implications for Public Policy. Routledge. ISBN 978-1136318474.
- Raz, Jacob (1983). Audience and Actors: A Study of Their Interaction in the Japanese Traditional Theatre. Brill Archive. ISBN 9004068864.
- Roth, Louis Frédéric (2002). Japan Encyclopedia. Harvard Univ. Press. ISBN 0674017536.
- Schuller, Gunther (1989). Musings: The Musical Worlds of Gunther Schuller. Oxford Univ. Press. ISBN 019972363X.
- Terada, Yoshitaka (2001). Terada, Yoshitaka (ed.). "Transcending boundaries: Asian Musics in North America". Shifting Identities of Taiko Music in North America. 22: 37–60. ISSN 1340-6787.
- Terada, Yoshitaka (2013). "Rooted as Banyan Trees: Eisā and the Okinawan Diaspora". In Rice, Timothy (ed.). Ethnomusicological Encounters with Music and Musicians: Essays in Honor of Robert Garfias (revised ed.). Ashgate. ISBN 978-1409494782.
- Thornbury, Barbara (2013). America's Japan and Japan's Performing Arts: Cultural Mobility and Exchange in New York, 1952–2011. Univ. of Michigan Press. ISBN 978-0472029280.
- Titon, Jeff Todd; Fujie, Linda, eds. (2005). Worlds of Music: An Introduction to the Music of the World's Peoples. Cengage Learning. ISBN 0534627579.
- Turnbull, Stephen (2008). Samurai Armies: 1467–1649. Osprey Publishing. ISBN 978-1846033513.
- Turnbull, Stephen (2012). War in Japan 1467–1615. Osprey Publishing. ISBN 978-1782000181.
- Tusler, Mark (2003). Sounds and Sights of Power: Ensemble Taiko Drumming (Kumi Daiko) Pedagogy in California and the Conceptualization of Power (PhD). Univ. of California, Santa Barbara. OCLC 768102165.
- Varian, Heidi (2005). The Way of Taiko (1st ed.). Stone Bridge Press. ISBN 188065699X.
- Varian, Heidi (2013). The Way of Taiko (2nd ed.). Stone Bridge Press. ISBN 978-1611720129.
- Wald, Elijah; Vartoogian, Linda (2007). Global Minstrels: Voices of World Music. Routledge. ISBN 978-0415979290.
- Webb, Michael; Seddon, Frederick A. (2012). "Musical Instrument Learning, Music Ensembles, and Musicianship in a Global and Digital Age". In McPherson, Gary E.; Welch, Graham F. (eds.). The Oxford handbook of music education. Oxford Univ. Press. ISBN 978-0199730810.
- Wong, Deborah (2000). "Taiko and the Asian/American Body: Drums, Rising Sun, and the Question of Gender". The World of Music. 42 (3): 67–78. JSTOR 41692766. OCLC 717224426.
- Wong, Deborah (2004). Speak It Louder: Asian Americans Making Music. Routledge. ISBN 0203497279.
- Yoon, Paul Jong-Chul (2001). "'She's Really Become Japanese Now!': Taiko Drumming and Asian American Identifications". American Music. 19 (4): 417–438. doi:10.2307/3052419. JSTOR 3052419.
参考资料
[edit]- ^ Blades 1992, pp. 122–123.
- ^ Nelson 2007, pp. 36, 39.
- ^ a b Schuller 1989, p. 202.
- ^ Cossío 2001, p. 179.
- ^ Bender 2012, p. 26.
- ^ Harich-Schneider 1973, pp. 108, 110.
- ^ "Music Festival at the Museum". Tokyo National Museum. Archived from the original on 2013-09-21. Retrieved 2013-08-24.
- ^ a b Dean 2012, p. 122.
- ^ Dean 2012, p. 122; Varian 2013, p. 21.
- ^ a b Ochi, Megumi. "What The Haniwa Have to Say About Taiko's Roots: The History of Taiko". Rolling Thunder. Archived from the original on 2015-02-02. Retrieved 2014-12-27.
- ^ a b Varian 2013, p. 21.
- ^ Minor 2003, pp. 37–39; Izumi 2001, pp. 37–39; Raz 1983, p. 19.
- ^ Turnbull 2008, p. 37.
- ^ Turnbull 2012, pp. 27–28.
- ^ Turnbull 2012, p. 27.
- ^ Turnbull 2008, p. 49.
- ^ Gould 1998, p. 12.
- ^ Brandon & Leiter 2002, p. 86.
- ^ Miki 2008, p. 176.
- ^ Malm 2000, pp. 286–288.
- ^ Malm 1960, pp. 75–78.
- ^ Malm 2000, pp. 101–102.
- ^ Malm 2000, pp. 103.
- ^ a b "Kenny Endo: Connecting to Heritage through Music". Big Drum. Japanese American National Museum. Archived from the original on 2013-11-09. Retrieved 2013-11-07.
- ^ Malm 2000, p. 77.
- ^ Konagaya 2005, p. 134.
- ^ Ingram 2004, p. 71.
- ^ a b Miller & Shahriari 2014, p. 146.
- ^ Powell 2012a.
- ^ Varian 2005, p. 33.
- ^ "Daihachi Oguchi, 84, Japanese Drummer, Dies". The New York Times. Associated Press. 2008-06-28. Archived from the original on 2017-04-03. Retrieved 2013-08-21.
- ^ a b c Alves 2012, p. 312.
- ^ a b c Varian 2005, p. 29.
- ^ a b Bender 2012, p. 51.
- ^ Wong 2004, p. 204.
- ^ Varian 2005, pp. 28–29.
- ^ a b Wald & Vartoogian 2007, p. 251.
- ^ Konagaya 2005, p. 65.
- ^ Konagaya 2005, pp. 64–65.
- ^ Varian 2005, p. 28.
- ^ Konagaya 2005, p. 149.
- ^ McLeod 2013, p. 171.
- ^ Hoover 2011, p. 98.
- ^ Lacashire 2011, p. 14.
- ^ Arita, Eriko (2012-08-17). "Kodo drum troupe marks 25 years of Earth Celebration". The Japan Times. Archived from the original on 2016-07-30. Retrieved 2014-12-10.
- ^ Matsumoto, John (1990-08-17). "Gospel and Drums According to Kodo : Music: Southland choir members will blend their talents with rhythms of Japanese ensemble in non-traditional concert on Sado Island in Japan". Los Angeles Times. Archived from the original on 2014-12-11. Retrieved 2014-12-10.
- ^ Bender 2012, p. 72.
- ^
- Barr, Gordon (2014-02-19). "Japanese taiko drumming troupe Kodo head to Sage Gateshead". Chronicle Live. Trinity Mirror North East. Archived from the original on 2014-12-10. Retrieved 2014-12-10.
- Keogh, Tom (2009-01-30). "Top taiko drum group, Kodo, rolls into town". The Seattle Times. Archived from the original on 2014-12-20. Retrieved 2014-12-10.
- "Soh Daiko, the Fine Art of Japanese Drumming". The New York Times. 1986-05-02. Archived from the original on 2014-11-11. Retrieved 2014-11-11.
- ^ Varian 2005, p. 17.
- ^ Bender 2012, p. 3.
- ^ Bender 2012, p. 74.
- ^ Bender 2012, p. 87.
- ^ Bender 2012, p. 102.
参见
[edit]- 林 英哲 Archived 2020-07-27 at the Wayback Machine
- 林田ひろゆき
- TAKERU
- 過足雅之
- 御木裕樹
- 服部博之 Archived 2014-01-09 at the Wayback Machine
- 日野一輝 Archived 2011-11-01 at the Wayback Machine
- 井上英樹 Archived 2012-06-29 at the Wayback Machine
- 長谷川義
- 日本雅樂樂器
- 太鼓之達人
外部链接
[edit]![](http://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png)