Sei (TE) A single stroke with the right stick, which is allowed to bounce lightly against the head.

(The bouncing is difficult to hear an recordings.)

Katarai ( pronounced "rai") A slow accelerating roll played with the left stick alone. Usually
followed by a sei stroke. If the musical part calls for more than one katarai in succession, right
and left hand alter
Morotai (* *, left and right "rai") A slow roll executed by the al- temptation of both sticks. While
it might be heard to accelerate slightly right at the beginning, it is mostly steady.

Long ago, sequences of these strokes were established, to be played in various musical
circumstances. Netori in banshiki mode will always have the sequence of kakko strokes shown in
figure 2.12.
Medium speed: haya yo hyoshi haya ya hyöshi
4 (yo) measures of 4 beats (haya) each
8 (ya) measures of 4 beats (haya) each

Slow speed:nobe yo hyoshi nobe ya hyöshi

4 (yo) measures of 8 beats (nobe) each 8 (ya) measures of 8 beats (nobe) each

Aerophone Instruments whose primary sound-producing medium is vibrating air Aragoto

Exxagerated male acting style in kabuki Au "Matched," congruent rhythm between vocal part
and drumsin no

Ageuta: high pitched song (uta) usually about 10 lines within repetition of first and last lines. In
this ageuta there are 11 lines each formatted as two lines in figure 4.3; the first line is repeated
but not the last. Such textual flexibility in the shōdan is typical of nō. Congruent rythm

Ataka no mai: aversion peculiar to this play of otoko no mai, a fairly fast, energetic, masculine
dance that emphasizes the beat. Broad movements with angled stance and sharp placement

Awazu: "Nonmatched," incongruent rhythm between vocal and drums in no part

Bandoya Band: for hire

Banshiki-cho: One of six melodic modes in imperial court music

Biwa; Short-necked, ovoid-shaped plucked lute

Bugaku: Dances and dance pieces of the imperial court music repertoire

Bunraku Puppet theater

Chang-gu: Double-headed, hourglass-shaped drum in Korean music

Chirashi: Section of a nagauta piece Cho (choshi) Melodic mode

Chōshi: Long prelude in imperial court music

Chordophone: Instrument whose primary sound-producing medium is a vibrating string grouping

by one or more instruments in a Southeast Asian ensemble

Colotomic structure: Articulation of the metric

Dan: Section of a play or musical composition

Dangire: Section of a nagauta piece

Enka: Nostalgic popular song genre

Fue: Generically, flute

Fushi; Melody in no drama style

Gagaku; Music of the Imperial court and Buddhist temples

Taikyoku: Pieces in the syakuhati repertoire other than honkyoku

Geidai: Abbreviation for Tokyo National University of Fine Arts and Music

Geza: Side-stage instrument room for kabuki plays

Hanamichi: Visible walkway onto the stage in kabuki. It is on the left and about 5 feet wide.

Hayashi: Instrumental ensemble

Hyöshi: Beat, or metric structure

Haya yo hyoshi: Metric structure of four measures of four beats each

Heterophony: One melody performed in slightly different versions simultaneously

Högaku: Traditional music, or "traditional” music for Japaneseinstruments

Honkyoku: Fundamental pieces in a repertoire

Hyõjo: One of six melodic modes in imperial court music

Idiophone: Instrument whose vibrating body is the primary sound- producing medium

Iemoto: Head of a group of practitioners in the iemoto seito

Iemoto seito: Traditional system for transmission of knowledge

Jiuta: Pieces by blind syamisen players of the Kansai region

Jo-ha-kyu: Aesthetic structure

J-pop: Popular music by Japanese musicians

Kabuki: Seventeenth-century theatrical form. It was originally a sensual kind of theatre. it was
also a place where homosexuality was accepted if not praised. Kabuki was so sensual that the
government tried to control it. Eventually however, even higher status people started to come,
not just commoners and it became more accepted and started to shift to have more nō
characteristics.

Kakegoe: Cueing calls of drummers and syamisen players

Kakko: Double-headed barrel drum in tögaku ensemble

Kangen: Instrumental ensemble music of imperial court music

Kansai: Western region of Honshu Island

Kanto: Eastern region of Honshu Island

Katakana: Japanese script for writing foreign words

Kokata: Role of a child played by a child in a no play

Komabue: Transverse flute used in komagaku ensemble

Komagaku: Pieces of imperial court music that were imported

Komuso: Syakuhati-playing Fuke Zen sect priests in Tokugawa from Korea and Manchuria era

Koto: Plucked long zither (in gagaku, sð no koto)

Kotoba: "Words," heightened speech style in no

Ko-tsuzumi: Waisted-shaped shoulder drum in no ensemble

Kumi daiko: Any collection of drums and other percussion instruments for an ensemble

Kuri: Type of subsection in no performance style

Kyögen: Comedic relief; character type in no plays

Ma: A perception of space and time, a "between"

Matsuri bayashi: Ensemble music for festivals

Membranophone: Instrument whose primary sound producing medium is a vibrating membrane

Mie: Striking pose held for dramatic effect by kabuki actor

Mondō: dialogue in stylized speech, without accompaniment

Nagauta: Syamisen-accompanied musical genre for kabuki and concert

Netori: Short prelude in imperial court music

NHK Nihon Hoso Kyokai: Japan Broadcasting Company

No: Fifteenth-century music drama of the samurai class

Nõkan: Horizontal bamboo flute in no

Noriji: Type of subsection in no performance style

Nukui-bayashi: One style of Matsuri bayashi of Meguro distrit

Taiko: generic term for drum

Tokyo Ongaku: Generically, "music"

Tsure: supporting roles, usually a group allied with either shite or walk characters. They are
performed by ryū actors in training for the main roles

O-mikoshi: Portable shrine

Onnagata: Actor playing female role in kabuki

Õ-tsuzumi: Waisted-shaped hip drum in no ensemble

Ronin: Masterless samurai

Ryű: Traditional teaching group: school

Sageuta: Type of subsection in no performance style premodern Japan

Sake: Rice wine

Samurai Warrior;military class in Chinese predecessor of syamisen

San-hsien Sankyoku: Three instruments playing a piece together

San no tsuzumi: Double-headed hourglass shaped drum in komagaku ensemble

Sashi: recitative in yowagin. Lines usually 7 + 5 syllables with variations but rhythm unmatched
to drums

Sensei: Teacher

Seiyo: Western style

Shidai: Instrumental entry music and initial song in no plays

Shite: Principle character role in a no play

Sho: Mouth organ in imperial court music ensemble

Shodan: Subsection of a no play

Shogun: Head of the military samurai government

Shoko: Gong in imperial court music ensemble

So no koto: Long zither in imperial court music ensemble Syamisen (shamisen) Plucked
long-necked lute

Syakuhati (shakuhachi): Vertical bamboo flute

Taiko "Drum"; frame drum in gagaku; barrel-shaped drum in ensemble

Tatami: Straw-mat flooring

Tögaku: Pieces of imperial court music from in and south and west of China

Tokiwazu: Syamisen-accompanied musical genre for kabuki and concert

Tokonoma: Niche in Japanese room for display of treasured items

Tsugaru jamisen (syamisen): Style of music for voice and syamisen from northern Honshu Island

Tsure: Supporting character role in a no play

Tsuyogin: Chantlike dynamic singing style in no

Ukiyo-e: Woodblock prints depicting the "floating world" of pleasure in Tokugawa-period Japan
(1600–1868)

Waki: Second principle character role in a no play

Wayd: Indigenous (Japanese) style

Yowagin: Truly melodic singing in no