Ku
空
| [Жанр] | Современная музыка |
| [Также известный, как] | Emptiness |
| [Сочиненная] | Miyashita Shuretsu - Кото |
Ku appears on the following albums
| Альбом | Исполнитель | |
 | Best Take 7 - Tazuko Miyashita |
Кото : Miyashita Tazuko |
|
“Emptiness (KU)” Solo work for 30-stringed koto This purely instrumental, two-section piece lays out the profound Buddhist-philosophical theme of total emptiness on the 30-stringed koto. The highly technical piece plays on the wide melodic range of the 30-stringed koto while drawing on various new techniques to make a profound philosophical statement amid a generally austere mood. The first section of the atonal work quietly sets out the spirit of total emptiness; the transcendence of phenomenal reality. A unique sensation is created toward the middle of the first section in a passage consisting of a series of quarter-tones. The section concludes with the quiet reverberations of the plectrum striking against the strings. In sharp contrast to the placidity of the first section, the second section begins with a percussive rhythmic technique and develops into fast-paced movement. It gradually slows during the course of a number of transitional passages before concluding with a return to the original image and a long series of tremelos. | ||
| Best Take 7 - Tazuko Miyashita |
Кото : Miyashita Tazuko |
|
“Emptiness (KU)” Solo work for 30-stringed koto This purely instrumental, two-section piece lays out the profound Buddhist-philosophical theme of total emptiness on the 30-stringed koto. The highly technical piece plays on the wide melodic range of the 30-stringed koto while drawing on various new techniques to make a profound philosophical statement amid a generally austere mood. The first section of the atonal work quietly sets out the spirit of total emptiness; the transcendence of phenomenal reality. A unique sensation is created toward the middle of the first section in a passage consisting of a series of quarter-tones. The section concludes with the quiet reverberations of the plectrum striking against the strings. In sharp contrast to the placidity of the first section, the second section begins with a percussive rhythmic technique and develops into fast-paced movement. It gradually slows during the course of a number of transitional passages before concluding with a return to the original image and a long series of tremelos. | ||