By Stephen Turnbull
Over the centuries, naval family members among Japan and Korea seem to have alternated among peaceable exchange and outright hostility. in spite of the fact that, this impact could be deceptive, as a lot of what handed for mercantile job used to be in truth performed via eastern pirate fleets, who pillaged the coasts of Korea and China in a lasting culture that culminated within the maximum pirate raid of all: Hideyoshi's invasion of Korea in 1592. This used to be the clash that concerned Ming China and nearly dragged in Siam. It additionally resulted in Korea constructing East Asia's most famed warship: the mythical turtle send, that's defined for the 1st time in complete technical element during this ebook.
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Extra info for Fighting Ships of the Far East: Japan and Korea AD 612-1639
Example text
The music of the early Jikken Ko¯ bo¯ years: Uninterrupted Rest I As noted above, the only work to have survived in the form of a fully notated and published text from the early Jikken Ko¯bo¯ years is the movement which was eventually to form Part I of the triptych entitled Uninterrupted Rest, originally performed as an independent work under that title by its dedicatee, Takahiro Sonoda, in August 1952. The instruction (in English) with which this work is prefaced – ‘Slowly, sadly and as if to converse with’ – is very much in keeping with the general mood already established by ‘the Lento composer’ in previous works, and these verbal indications ‘reverberate’ in musical terms which translate their evocative sense with exact fidelity: a rather ‘Messiaenic’ tempo marking of = 48, plus the performance directions Triste and quasi parlando.
There was a cinema right in front of me, I bought a ticket, went inside, and in a corner of the pitch blackness . . ’24 Yamane’s remark about ‘pre-music’ in fact turned out to be remarkably apt, for Takemitsu was to withdraw both this work and its companion piece from the Shinsakkyokuha years, Distance de Fée (for violin and piano, premièred at the eighth recital of the group in 1951). Both pieces are omitted from the work list which appears in the composer’s manuscript score of Tableau Noir (1958), which acknowledges instead the first Uninterrupted Rest of 1954 as his ‘Op.
J œ œ œ œ œ œœœ œ œ j œ on the sound-world of Lento/Litany is most palpable tend to be French. 37 On the evidence of the second movement of Lento, he would appear also to have played a lot of a more recent French composer as well. 38 The most audible reflection of this new influence is the addition of a new resource to Takemitsu’s modal vocabulary, and one not tainted with the pejorative connotations of the pentatonic forms employed hitherto: the octatonic scale ([0,1,3,4,6,7,9,10]), which, in the shape of the ‘second mode of limited transposition’, Messiaen had contrived to make so much his own.