Changes

*''Japanese'': 長唄 ''(nagauta)''

*''Japanese'': 長唄 ''(nagauta)''

''Nagauta'' (lit. "long song") is one of the most prominent styles or genres of [[shamisen]] music in both the traditions of [[geisha]]/[[courtesan]] entertainments, and the [[kabuki]] theatre.

''Nagauta'' (lit. "long song") is one of the most prominent styles or genres of [[shamisen]] music (coupled with singing) in both the traditions of [[geisha]]/[[courtesan]] entertainments, and the [[kabuki]] theatre. It is today the style of shamisen music with the most ''ryûha'' ("schools" of music), and the most amateur students.

''Nagauta'' is the most standard or typical form of kabuki music, being performed in roughly half of all scenes or pieces in the kabuki repertoire; the remaining half of the repertoire is divided among ''[[tokiwazu]]'', ''[[kiyomoto]]'', and other shamisen genres. ''Nagauta'' is as a result the dominant style of music employed in ''[[Nihon buyo|Nihon buyô]]'' ("Japanese dance") as well.

''Nagauta'' is the most standard or typical form of kabuki music, being performed in roughly half of all scenes or pieces in the kabuki repertoire; the remaining half of the repertoire is divided among ''[[tokiwazu]]'', ''[[kiyomoto]]'', and other shamisen genres. ''Nagauta'' is as a result the dominant style of music employed in ''[[Nihon buyo|Nihon buyô]]'' ("Japanese dance") as well. ''Nagauta'' dances began to emerge and gather strength in the 1750s, becoming dominant shortly afterwards; one of the most popular, ''[[Musume Dojoji|Musume Dôjôji]]'', dates to [[1753]].

It is described as a "lyrical" style, a more purely musical style in contrast to the more "narrative" form of the ''tokiwazu'' and ''kiyomoto'' styles. Its distinctive character is said to derive not from any core, essential identity of its own, but rather from a synthesis of influences and borrowings from other styles, yielding in the end, nevertheless, something quite unique and distinctive, in its vocal style, melodies, and mode of shamisen instrumentation.

''Nagauta'' is described as a "lyrical" style, a more purely musical style in contrast to the more "narrative" form of the ''tokiwazu'' and ''kiyomoto'' styles. Its distinctive character is said to derive not from any core, essential identity of its own, but rather from a synthesis of influences and borrowings from other styles, yielding in the end, nevertheless, something quite unique and distinctive, in its vocal style, melodies, and mode of shamisen instrumentation.

 

 

Singers, shamisen players, and ''[[hayashi]]'' musicians (e.g. drummers, flute players, other instrumentalists), can all belong to the ''nagauta'' genre. Like kabuki actors, kabuki musicians take on names from the kabuki tradition; [[Kineya]] is the most common surname among onstage ''nagauta'' kabuki singers and shamisen players.

==References==

==References==

*McQueen Tokita, Alison. "Music in kabuki: more than meets the eye." ''The Ashgate Research Companion to Japanese Music''. Surrey: Ashgate Publishing, 2008. pp242-245.

*McQueen Tokita, Alison. "Music in kabuki: more than meets the eye." ''The Ashgate Research Companion to Japanese Music''. Surrey: Ashgate Publishing, 2008. pp242-245.

[[Category:Edo Period]]

[[Category:Edo Period]]

[[Category:Poetry and Theater]]

[[Category:Poetry and Theater]]