Essay on the definition or description of discipleship

On the definition or description of discipleship - Essay Example In valid sagacity it is not like that, Jesus is trying to notify that we have to give up all our relations for he is higher above all our family relations and even our life. In verse 27 Luke14 when it says that, "he cannot be my disciple. Whoever does not carry his own cross and come after me cannot be my disciple."(Luke) From this Jesus means that one should be prepared to die with him and should not hide from sacrificing. Similarly in Luke14: 28-30 it says "For which one of you, when he wants to build a tower, does not first sit down and calculate the cost to see if he has enough to complete it Or else, when he has laid a basis and is not able to finish, all who watch it begin to mock him, saying, this man initiated to construct and was not able to finish." (Luke) It means that a person who is willing to be amongst the disciples of Jesus Christ must know first about the charge and the dilemma he is going to face. It is a type of check on the spirituality of a person that how sincerely he is keen to be a disciple.

Veterans Administration Benefits Essay Example for Free

Veterans Administration Benefits Essay Veterans Administration now known as U. S. Department of Veterans Affairs (VA) was founded on the 21st of July 1930. It has been established in order to coordinate and consolidate the activities of the government that affects the war of veterans. The functions of the Interior Department and National Home for disabled volunteer soldiers functions were incorporated in the Veterans Administration. President Reagan signed legislation on the 25th of October 1988 creating a new federal cabinet-level department of Veterans Affairs. This legislation replaced the Veterans Administration on the 15th of March 1989. The mission statement of Veterans Administration is what Abraham Lincoln said on his inaugural address, â€Å"To care for him who shall have borne the battle and for his widow and his orphan. † His statement reflects the principles and philosophy that guides the department in its endeavor. It focuses on serving the Nation’s veterans and their families. â€Å"Its goals is to deliver world-class service to veterans and their families by applying sound business principles that result in effective management of people, communication, technology, and governance. † According to Peter Stenberg, who have served the military camp for 45 years said that the veterans Administration provides different types of services to the citizens of United States. In order to be eligible to this service, an individual must be a veteran, or a dependent of a veteran. If the veteran has died already, the child, parents, or even the spouse is eligible to the service. Active military service member who is on duty and a reserve or National Guard member are also considered eligible. The compensation service is being used if the eligible individual is at least ten percent disabled because of any military service. Eligible member will receive monthly compensation from VA. Pension benefits do not have any time limits for service availment. A veteran must have limited income and who is permanently and totally disabled because of war. Wartime veteran should at least be 65 years old. Educational training is conducted if necessary to be able to finish the rehabilitation goal. VA provides assistance in finding and maintaining suitable employment to eligible individuals. Rehabilitation Services renders rehabilitation and counseling support. Major Craig Wilhelm added that the VA offers different kinds of health care services. It provides dental, outpatient medical, hospital, prosthetic and pharmacy services. It gives nursing home, domiciliary, and community based residential care. It also provides sexual trauma counseling. It specialized health care for female veterans. The department also provides an alcohol and drug dependency treatment. Medical evaluation for military personnel who became disabled because of their military service in the Gulf War, exposure to Agent Orange, radiation, and other environmental hazards. Educational Training is being provided to the active duty service and the reserve/guard service. Active duty service can avail by those whose duty became active from the 30th of June 1985. Eligible individuals can avail on the Montgomery GI Bill. While individuals, whose duties became active from the 1st of July 1985 and before the 1st of July 1985 can avail the Veterans Educational assistance Program (VEAP). The reserve/guard service is being provided to Reserve and national Guard members who are under the Montgomery GI Bill, who have signed a commitment for six years with a reserve unit after the 30th of June 1985 and remain actively drilling and in good standing with their unit. Dependency and indemnity compensation to certain survivors of service members who died during the service duty, who died from service related disability, and VA members how are considered 100% disabled at the time of death are being assisted. Home loan services to veterans, military personnel, and surviving spouses who are eligible for this kind of service are also offered. Jennifer Jones who have been one of the surviving spouses whose husband died during his military service in Afghanistan have availed a home loan provided the different types of home loans. Refinancing Loan is eligible to individuals who have a Veterans Administration mortgage. The department can help in refinancing the loan. An individual may also apply in refinancing a non-Veterans Administration loan. The department also provides guarantee for home improvement, home repair, and for building a home. Special Grant is provided to veterans and military personnel who are handicapped or disabled. They can receive a grant to acquire a house that is suitable in their needs. Veterans Administration is offering different kinds of life insurance depending on the extent of the disability of an individual. Eligibility would range from $10,000 up to $400,000. VA provides certain burial benefits to eligible VA members like making a monument to mark the grave of a veteran, provides presidential memorial certificates, burial in a VA national cemetery, Burial flag or even a reimbursement of burial expenses. A veteran who was disabled because of his service will be able to avail this type of service from VA. This helps eligible veterans in finding, preparing and keeping an employment that is suitable with their current capabilities. For individuals who have serious disability because of his service are offered services improving their ability to live independently. Pat Tillmann, whose almost all of his family served the military not to mention his great grandfather who was assigned in Pearl Harbor, provided the different benefits this type of service can offer. He said that vocational Evaluation is being offered to eligible veterans who are evaluated in terms of their abilities, skills, needs and interests. Vocational Training for non-paid work and on the job training is conducted if it is necessary. Eligible veterans are undergoing vocational planning and counseling. A veteran is eligible either for the full benefits or just a potion depending on the length of military service and discharge or release from active service under different conditions except dishonorable. According to statistics in 1995, VA has met its targeted performance of its service by showing the increased statistical records of veterans with special needs to have improved their health of which includes those members who are considered handicapped and disabled. It was recorded that in 2005 VA have exceeded the 79 percent target to 82 percent in the goal of improving VA members’ social well being, mental functions as well as their ability to function independently. This increased have placed veteran members to have a quality life. The Veterans Claims Assistance Act of 2000 has increased significantly both the complexity and length of claims development. VA’s notification and development duties increased, adding more steps to the claims process and lengthening the time it takes to develop and decide a claim. Mustering-out payment act is a federal law that was passed in 1994. This legislation provided military service men that are returning from the Second World War then were provided with money to start again with their life as a regular citizen. G. I. Bill of Rights was passed on the same year, which is in favor to military service men that returned from a service military duty. They are being offered for a vocational education and a one-year unemployment compensation. It also provides home loans to eligible veterans to start their own business and buy homes. The Department of Veterans Affairs Act of 1988 provided a new name to Veteran Administration. The law made a major reorganization to VA.

Analysis of the Basketball Free Throw

Analysis of the Basketball Free Throw Analysis of the Basketball Free Throw Abstract The purpose of this paper is to analyze free throw shooting in basketball and to demonstrate the relationship between structural and functional anatomy and movement performance. This paper will discuss the muscles and actions that are important for the movement and how these muscles relate specifically to the movement outcome, limiting/facilitating joints and associated structures. Also discussed is the combination of muscle and joint motions important for movement success. We also briefly discuss the sources of movement failure. The final section of this paper will discuss how this movement is critical for success in sport and what happens with aging, disease, or injury that can compromise function and ability to perform the movement. Introduction The free throw shot is one the most important shots in basketball. In fact, around 20% of all points scored in the NCAA Division 1 are from free throws shots (Kozar, Vaughn, Lord, Whitfield, Dve 243-248). The importance of this shot increases later in the game, because free throws tend to comprise greater percentage of the points that are scored in the last 5 minutes than the initial 35 minutes by either the wining or the losing team (Kozar et al., 123-129). The free throw shot is considered as the easiest shot for a professional basketball player, as the player stands alone, 15 feet away from the hoop with no defense or distraction. The player needs to get ready target, prime the ball and shoot (Okubo Hubbard, 2006). A successful free throw shot requires deep concentration, and most importantly good mechanics to take a perfect shot. While a free throw shot does not seem like an action that needs a lot of movement, muscle groups and joints in a body work together in isotonic contractions, utilizing multiple muscle groups in creating the movement. A free throw shot engages elbow, hip and ankle extensors in addition to wrist and shoulder flexors. In the case of the knees, the joints are hinged and the movement starts with a flexion, preparing for the free throw. Quadriceps and hamstrings become the antagonist and the agonist. This movement happens as you utilize knee flexion so that the muscles work in pairs. Hamstring contraction pulls the joints which makes the individuals bend their knees. The next movement after the flexion is the knee extension. When the shooter releases the ball, the quadriceps is the agonist and the hamstring is the antagonist. The upper body sequence would be: extension of trunk, shoulder flexion that will follow extension of elbow and wrist flexion. A common error during the shot is perfor ming shoulder flexion and elbow extension at once, so that the elbow extension contributes less in taking the shot and is combined with the shoulder flexion rather than adding to the hand velocity. As the ball is brought up with use of both hands, it passes directly in the front of shooter’s eyes and the shot is aimed with the eyes underneath the basketball (Alexander 9). When the trunk moves from its flexed position to an extension, the upward movement of trunk would push down on the lumbar vertebrae, pushing down on the sacroiliac joints, which in turn will push down on the body’s hip joints. Knee joints respond to downward force transmitted by the hips by producing a greater knee flexion. Players who, for various reasons, do not have the needed trunk flexion in this stage of the free throw shot would decrease their ability to load their legs for the shot and consequently might end up losing full contribution of leg extension from the deeply flexed position to free throw. It has been suggested that trunk extension can help in triggering more forceful moment of knee extension. Additionally, a deeper trunk extension produces added hyperextension at the neck area helping the shooter to retain the focus on the rim (Oddsson 109-118). Following the release of the ball, the final phase of a shot, the follow through, occurs. During this time, all joints continue moving through the end of its full motion range following the release of the ball. In a skilled follow through, both legs fully extend and the toes points towards the floor. The trunk is aligned vertically with shooting hip, ankle and the knee. Additionally it aligns with the shooting arm’s joints, bringing the upper and lower extremities into harmony (Alexander, 16). The angle of the shooting shoulder should be somewhere between 140-150degrees of the shoulder flexion. Generally, the closer the shooting arm is to vertical, the greater the amount of vertical force that is applied to the shot. The trunk is often rotated away from shooting hand. This helps in lining up the shooting shoulder and the arm with the rim. This trunk rotation would happen at the moment the ball is released from the shooter’s hand (Alexander, 18). In cases when the ball gets released too late or too early, the ball’s velocity would not optimize as the elbow and wrist joints speed up or slow down rather than staying in the peak velocity. The wrist flexion provides the ultimate thrust for releasing the ball and helps in determining both the angle of projection and velocity of the ball (Martin 127-133).A common failure in free throw technique occurs when joint range of motion does not reach its end point and stops movement early, before the release of the shot, resulting in a decreased velocity of the basketball at the release. As far as joint movement pattern is concerned, there is not a huge difference between the success rate of the shot and the angle of the joint from where the ball is being shot. But, some dissimilarity can be found that could possibly determine the success of scoring a basket. One such dissimilarity is the joint’s peak angular velocity involved in the free throw. The knee, hip and the ankle joints have a higher peak angular velocity in comparison between successful and unsuccessful free throws. Distinctively, the angular velocity of the upper body joints during successful attempts have a lower peak angular velocity than that of missed shots. Additionally, proximal joints that are found closer to the hub and trunk of the body are utilized earlier than the distal joints more commonly associated with the free throw. In sum, movement and energy start from the core and work their way outward towards the distal extremities. Full range of elbow movement relates to greater success in free throw shots. However, it should be noted that this is also accompanied by a slight flexion in individual’s shooting elbow which occurs around mid-range and not at the full extension. By allowing the shooter’s wrist to remaining between full flexion and full extension during the release, maximum velocity can be achieved when the basketball is released (Alexander 10). Unsuccessful shots are often associated with periods of longer muscle activation. Measurement conducted with use electromyography suggests that muscle tension needs to be minimal at the release for successful free throw shooting. Shots that require the least amount of energy expended during the release are the easiest for controlling and have the highest probability for success (Huston Grau 49-64). In addition, height of release is also found to be crucial in success of the shot, as successful shots are related to height ratio that is calculate d by comparison of the shooter’s standing height to the shooter’s release height. The rule is: ‘The higher the release height, the better the shot’ (Hudson 242-251). There are some errors that turn out to be common in Free throw shooting for most individuals. One such reason is poor alignment that happens when shooters fail in lining up the shooting side knee, hip, shoulder and elbow with a line through the ball towards the basket. Another common reason is lack of backspin that happens when players apply side spin during the release or avoid any spin at the time of release. Having low arc on the shot makes players, who have insufficient shoulder trunk or elbow extension, flexion at the time of release making the ball release too flat. Relaxation of the shooting arm is needed at time of shot, with only active mover muscles needing to be contracted while complimentary muscles should be relaxed and loose. Full follow through is important as players need to finish their in the goose full-neck position of their shooting hand with arms pointing towards the ceiling and hands pointing at the basket. Some other reasons for failure are interference of non- shooting hand, shooting ball too hard, high tension on the shooting arm, taking off the shot angle and leaning at the time of release (Alexander 17-18). As mentioned in the introduction, free throw shot are considered as some of the easiest shots for a professional basketball player to make. However, a decline in performance is witnessed in the free throw attempts of basketball athletes in their post-injury and aging days. This drop-off in free throw attempt numbers is also demonstrated in abysmal shot rates, plummeting usage rates and inability to create their own offense. Taken as a whole there is an expected and obvious drop in the efficiency of almost all athletes as they get grow old and start sustaining injuries. The reason behind this is simple physiology, as the body starts aging the ligaments and tendons start losing water, making them less elastic and more fragile. Knee troubles are common trouble for most experienced and newly retired basketball players as with age knee troubles start to disturb athletes (Wagner). Conclusion Every muscle in human body comprises of a network of fibers that are responsible for certain types of movements. When a human body engages in playing a game like basketball, these muscle fibers start to make the movements in conjunction with directions from your brain. This is seen functions like dribbling, running, passing, catching, rebounding, dunking and of course hitting free throws. The actions taken causes muscle contractions, that is, specific movement to lengthen, shorten and stay the same. While the free throw shot does not seem like an action that needs a lot of movement, muscle groups and joints in the body work together in isotonic contractions, creating the movement and allowing the body to perform even the most routine and fundamental actions. Works Cited Kozar, B., Vaughn, R. E., Lord, R. H., Whitfield, K. E. Basketball free-throw performance: practice implications. Journal of Sport Behavior. 18.2 (1995): 123-129. Kozar, B., Vaughn, R. E., Lord, R. H., Whitfield, K. E., Dve, B. â€Å"Importance of free throws at various stages of basketball games†. Perceptual and Motor Skills. 78.1 (1994): 243-248. Okubo, H., Hubbard, M. (2006). Dynamics of the basketball shot with application to the free throw. Journal of Sport Sciences, 24(12), 1303-1314. Alexander, M. Mechanics of the Basketball Free Throw. University of Manitoba. umanitoba.ca, n.d. Web. 10 Mar. 2014. Hess, C. â€Å"Analysis of the jump shot†. Athletic Journal, 61.3 (1980): 30-32. Martin, T. P. â€Å"Movement analysis applied to the basketball jump shot†. Physical Educator, 38.3 (1981): 127-133. Huston, R. L., Grau, C. A. â€Å"Basketball shooting strategies- the free throw, direct shot and layup†. Sports Engineering. 6.1 (2003): 49-64. Oddsson, L. â€Å"Co-ordination of a simple voluntary multi-joint movement with postural demands: trunk extension in standing man†. Acta Physiol Scand. 134.1 (1988): 109-118. Hudson, J. L. â€Å"Coordination of segments in the vertical jump†. Medicine and Science in Sports and Exercise, 18.2 (1986): 242-251. Wagner, K. â€Å"How An Achilles Tear Affects NBA Players (Or, Why Kobe Is Screwed)†. Regressing. regressing.deadspin.com. 15 Apr 2013. Web. 10 Mar 2014.

Philosophy as Metaphysics :: Philosophical Papers

Philosophy as Metaphysics (1) ABSTRACT: Philosophy works with special types of objects: the totalities. The basic characteristics of this type of object are their metaphysical, transcendental, and total character. The character of these objects determines the specificity of language and the methods of philosophy. The language of philosophy represents symbolic language; speculation is the basic method of philosophy. On the one hand, objects of this type emphasis homo sapien as essences capable of constructing such objects, which in turn assumes the ability of human consciousness to make synthetic acts. On the basis of philosophy as metaphysics, an original approach is offered which divides the history of philosophy into periods as well as providing analysis of different philosophical systems. Feature of philosophical activity, as against a science, is the work with special, not physical objects — the totalities, which are constituted by the philosopher. One of such objects is the world, and, in this sense, we often say, that philosophy is a wel-tanschauung (world-outlook) . Certainly, the world as some set of things can be studied by physics (sciences in a broad sense), but in this case a researcher can miss the point that the world is a totality, not just a simple set of things. As distinct from scientific study the philosophy takes its objects as the totalities, which the subject of knowledge cannot study as ordinary objects, because the including the learning subject character of these the totalities excludes any standard scientific approach to knowledge in principle. Others examples of the above mentioned objects (the totalities) are Ego and God. Objects of this type (with some reservations) are a lot of human being phenomena, such as love, virtue, conscience, courage, bravery, understanding and so on. All these objects are those, that the precise fixing of objective criteria of their existence is impossible, it is impossible to create the high-grade theory of these phenomena (for example, theory of love or bravery), as they assume not only objective Contemplator (as it occurs in case of objects of scientific knowledge), but also postulate the Actor inside them, that causes essentially twinkling way of them being.(2) Exactly the character of these objects determined essential features of the philosophizing as metaphysical activity. The underlining of metaphysical character of philosophy objects dictates the special procedures of work with them, distinct from of methods of scientific knowledge. Metaphysical objects — constructs cannot be given in frameworks of physical experience; the study — constructing of these objects occurs by a way of thinking means, procedures of speculation.

Japanese Music Essay

There are two forms of music recognized to be the oldest forms of traditional Japanese music. They are shÃ… myÃ…  (Ã¥ £ °Ã¦ËœÅ½ or è  ²Ã¦ËœÅ½?), or Buddhist chanting, and gagaku (é›…æ ¥ ½?) or orchestral court music, both of which date to the Nara and Heian periods.[citation needed] Gagaku is a type of classical music that has been performed at the Imperial court since the Heian period[citation needed]. Kagura-uta (ç ¥Å¾Ã¦ ¥ ½Ã¦ ­Å'), Azuma-asobi(æ  ±Ã© Å ) and Yamato-uta (Ã¥ ¤ §Ã¥â€™Å'æ ­Å') are indigenous repertories. TÃ… gaku (å” Ã¦ ¥ ½) and komagaku originated from the Chinese Tang dynasty via the Korean peninsula[citation needed]. In addition, gagaku is divided into kangen (ç ® ¡Ã¥ ¼ ¦) (instrumental music) and bugaku (舞æ ¥ ½) (dance accompanied by gagaku). Originating as early as the 13th century are honkyoku (æÅ" ¬Ã¦â€º ² â€Å"original pieces†). These are single (solo) shakuhachi (Ã¥ ° ºÃ¥â€¦ «) pieces played by mendicant Fuke sect priests o f Zen buddhism[citation needed]. These priests, called komusÃ…  (â€Å"emptiness monk†), played honkyoku for alms and enlightenment. The Fuke sect ceased to exist in the 19th century, but a verbal and written lineage of many honkyoku continues today, though this music is now often practiced in a concert or performance setting.[citation needed] The samurai often listened to and performed in these music activities, in their practices of enriching their lives and understanding[citation needed]. Traditional music[edit source | editbeta] Biwa hÃ… shi, Heike biwa, mÃ… sÃ… , and goze[edit source | editbeta] The biwa (ç  µÃ§  ¶ – Chinese: pipa), a form of short-necked lute, was played by a group of itinerant performers (biwa hÃ… shi) (ç  µÃ§  ¶Ã¦ ³â€¢Ã¥ ¸ «) who used it to accompany stories.[citation needed] The most famous of these stories is The Tale of the Heike, a 12th-century history of the triumph of the Minamoto clan over the Taira[citation needed]. Biwa hÃ… shi began organizing themselves into a guild-like association (tÃ… dÃ… ) for visually impaired men as early as the thirteenth century. This guild eventually controlled a large portion of the musical culture of Japan.[citation needed] In addition, numerous smaller groups of itinerant blind musicians were formed especially in the Kyushu area[citation needed]. These musicians, known as mÃ… sÃ…  (ç› ²Ã¥Æ' § blind monk) toured their local areas and performed a variety of religious and semi-religious texts to purify households and bring about good health and good luck. They also maintained a repertory of secular genres. The biwa that they played was considerably smaller than the Heike biwa (Ã¥ ¹ ³Ã¥ ® ¶Ã§  µÃ§  ¶) played by the biwa hÃ… shi.[citation needed] Lafcadio Hearn related in his book Kwaidan: Stories and Studies of Strange Things â€Å"Mimi-nashi Hoichi† (Hoichi the Earless), a Japanese ghost story about a blind biwa hÃ… shi who performs â€Å"The Tale of the Heike† Blind women, known as goze (çž ½Ã¥ ¥ ³), also toured the land since the medieval era, singing songs and playing accompanying music on a lap drum.[citation needed] From the seventee nth century they often played the koto or the shamisen. Goze organizations sprung up throughout the land, and existed until recently in what is today Niigata prefecture.[citation needed] Taiko[edit source | editbeta] Taiko performing The taiko is a Japanese drum that comes in various sizes and is used to play a variety of musical genres.[citation needed] It has become particularly popular in recent years as the central instrument of percussion ensembles whose repertory is based on a variety of folk and festival music of the past. Such taiko music is played by large drum ensembles called kumi-daiko. Its origins are uncertain, but can be stretched out as far back as the 7th centuries, when a clay figure of a drummer indicates its existence. China influences followed, but the instrument and its music remained uniquely Japanese.[5] Taiko drums during this period were used during battle to intimidate the enemy and to communicate commands. Taiko continue to be used in the religious music of Buddhism and ShintÃ… . In the past players were holy men, who played only at special occasions and in small groups, but in time secular men (rarely women) also played the taiko in semi-religious festivals such as the bon dance. Mod ern ensemble taiko is said to have been invented by Daihachi Oguchi in 1951[citation needed]. A jazz drummer, Oguchi incorporated his musical background into large ensembles, which he had also designed. His energetic style made his group popular throughout Japan, and made the Hokuriku region a center for taiko music. Musicians to arise from this wave of popularity included Sukeroku Daiko and his bandmate Seido Kobayashi. 1969 saw a group called Za Ondekoza founded by Tagayasu Den; Za Ondekoza gathered together young performers who innovated a new roots revival version of taiko, which was used as a way of life in communal lifestyles. During the 1970s, the Japanese government allocated funds to preserve Japanese culture, and many community taiko groups were formed. Later in the century, taiko groups spread across the world, especially to the United States. The video game Taiko Drum Master is based around taiko. One example of a modern Taiko band is Gocoo. Min’yÃ…  folk music[edit source | editbeta] A Japanese folkswoman with hershamisen, 1904 Main article: Min’yÃ…  Japanese folk songs (min’yÃ… ) can be grouped and classified in many ways but it is often convenient to think of four main categories: work songs, religious songs (such as sato kagura, a form of Shintoist music), songs used for gatherings such as weddings, funerals, and festivals (matsuri, especially Obon), and children’s songs (warabe uta). In min’yÃ… , singers are typically accompanied by the three-stringed lute known as the shamisen, taiko drums, and a bamboo flute called shakuhachi. Other instruments that could accompany are a transverse flute known as the shinobue, a bell known as kane, a hand drum called the tsuzumi, and/or a 13-stringed zither known as the koto. In Okinawa, the main instrument is the sanshin. These are traditional Japanese instruments, but modern instrumentation, such as electric guitars and synthesizers, is also used in this day and age, when enka singers cover traditional min’yÃ…  songs (Enkabeing a Japanese music genre all its own).[6] (For a detailed English-language study of all aspects of min’yÃ… , see the 395-page book by David Hughes.)[6] Terms often heard when speaking about min’yÃ…  are ondo, bushi, bon uta, and komori uta. An ondo generally describes any folk song with a distinctive swing that may be heard as 2/4 time rhythm (though performers usually do not group beats). The typical folk song heard at Obon festival dances will most likely be an ondo. A fushi is a song with a distinctive melody. Its very name, which is pronounced â€Å"bushi† in compounds, means â€Å"melody† or â€Å"rhythm.† The word is rarely used on its own, but is usually prefixed by a term referring to occupation, location, personal name or the like. Bon uta, as the name describes, are songs for Obon, the lantern festival of the dead. Komori uta are children’s lullabies. The names of min’yo songs often include descriptive term, usually at the end. For example: Tokyo Ondo, Kushimoto Bushi, Hokkai Bon Uta, and Itsuki no Komoriuta. Many of these songs include extra stress on certain syllables as well as pitched shouts (kakegoe). Kakegoe are generally shouts of cheer but inmin’yÃ… , they are often included as parts of choruses. There are many kakegoe, though they vary from region to region. In Okinawa Min’yÃ… , for example, one will hear the common â€Å"ha iya sasa!† In mainland Japan, however, one will be more likely to hear â€Å"a yoisho!,† â€Å"sate!,† or â€Å"a sore!† Others ar e â€Å"a donto koi!,† and â€Å"dokoisho!† Recently a guild-based system known as the iemoto system has been applied to some forms of min’yÃ… ; it is called. This system was originally developed for transmitting classical genres such as nagauta, shakuhachi, or koto music, but since it proved profitable to teachers and was supported by students who wished to obtain certificates of proficiency and artist’s names continues to spread to genres such as min’yÃ… , Tsugaru-jamisen and other forms of music that were traditionally transmitted more informally. Today some min’yÃ…  are passed on in such pseudo-family organizations and long apprenticeships are common. See also Ainu music of north Japan. Okinawan folk music[edit source | editbeta] Main article: Ryukyuan music Umui, religious songs, shima uta, dance songs, and, especially kachÄ shÄ «, lively celebratory music, were all popular. Okinawan folk music varies from mainland Japanese folk music in several ways. First, Okinawan folk music is often accompanied by the sanshin whereas in mainland Japan, the shamisen accompanies instead. Other Okinawan instruments include the sanba (which produce a clicking sound similar to that of castanets), taiko and a sharp finger whistling called yubi-bue (æÅ'‡ç ¬â€º?). Second, tonality. A pentatonic scale, which coincides with the major pentatonic scale of Western musical disciplines, is often heard in min’yÃ…  from the main islands of Japan, see minyÃ…  scale. In this pentatonic scale the subdominant and leading tone (scale degrees 4 and 7 of the Western major scale) are omitted, resulting in a musical scale with no half-steps between each note. (Do, Re, Mi, So, La in solfeggio, or scale degrees 1, 2, 3, 5, and 6) Okinawan min’yÃ… , however, is characterized by scales that include the half-steps omitted in the aforementioned pentatonic scale, when analyzed in the Western discipline of music. In fact, the most common scale used in Okinawan min’yÃ…  includes scale degrees 1, 2, 3, 4, 5, 6, 7, Traditional instruments[edit source | editbeta] Main article: Traditional Japanese musical instruments * Biwa (ç  µÃ§  ¶) * Fue (ç ¬â€º) * Hichiriki (ç ¯ ³Ã§ ¯ ¥) * Hocchiku (æ ³â€¢Ã§ « ¹) * HyÃ… shigi (æ‹ Ã¥ ­ Ã¦Å" ¨) * Kane (é Ëœ) * Kakko (éž ¨Ã© ¼â€œ) * KokyÃ… « (èÆ' ¡Ã¥ ¼â€œ) * Koto (ç  ´) * Niko (ä ºÅ'èÆ' ¡) * Okawa (AKA Ã…Å'tsuzumi) (Ã¥ ¤ §Ã© ¼â€œ) * RyÃ… «teki (ç «Å"ç ¬â€º) * Sanshin (ä ¸â€°Ã§ ·Å¡) * Shakuhachi (bamboo flute) (Ã¥ ° ºÃ¥â€¦ «) * Shamisen　 (ä ¸â€°Ã¥â€˜ ³Ã§ ·Å¡) * Shime-Daiko (ç ·  Ã¥ ¤ ªÃ© ¼â€œ) * Shinobue (ç ¯  Ã§ ¬â€º) * ShÃ…  (ç ¬â„¢) * Suikinkutsu (water zither) (æ ° ´Ã§  ´Ã§ ªÅ¸) * Taiko (i.e. Wadaiko)Ã¥ ¤ ªÃ© ¼â€œÃ¯ ½Å¾Ã¥â€™Å'Ã¥ ¤ ªÃ© ¼â€œ * Tsuzumi (é ¼â€œ) (AKA Kotsuzumi) ————————————————- Arrival of Western music[edit source | editbeta] Traditional pop music[edit source | editbeta] Main articles: RyÃ… «kÃ… ka, KayÃ… kyoku, and Enka After the Meiji Restoration introduced Western musical instruction, a bureaucrat named Izawa Shuji compiled songs like â€Å"Auld Lang Syne† and commissioned songs using a pentatonicmelody.[citation needed] Western music, especially military marches, soon became popular in Japan.[citation needed] Two major forms of music that developed during this period were shoka, which was composed to bring western music to schools, and gunka, which are military marches with some Japanese elements..[citation needed] As Japan moved towards representative democracy in the late 19th century, leaders hired singers to sell copies of songs that aired their messages, since the leaders themselves were usually prohibited from speaking in public. The street performers were called enka-shi.[citation needed] Also at the end of the 19th century, an Osakan form of streetcorner singing became popular; this was called rÃ… kyoku. This included the first two Japanese stars, Yoshida Naramaru and Tochuken Kum oemon..[citation needed] Ichiro Fujiyama, influentialryÃ… «kÃ… ka singer Westernized pop music is called kayÃ… kyoku, which is said to have and first appeared in a dramatization of Resurrection by Tolstoy. The song â€Å"KachÃ… «sha no Uta†, composed by Shinpei Nakayama, was sung by Sumako Matsui in 1914. The song became a hit among enka-shi, and was one of the first major best-selling records in Japan.[citation needed] . RyÃ… «kÃ… ka, which adopted Western classical music, made waves across the country in the prewar period..[citation needed] Ichiro Fujiyamabecame popular in the prewar period, but war songs later became popular when the World War II occurred..[citation needed] KayÃ… kyoku became a major industry, especially after the arrival of superstar Misora Hibari.[citation needed] In the 1950s, tango and other kinds of Latin music, especially Cuban music, became very popular in Japan.[citation needed] A distinctively Japanese form of tango called dodompa also developed. KayÃ… kyoku became associated entirely with traditional Japanese struc tures, while more Western-style music was called Japanese pop ( or simply ‘JPop’).[citation needed] Enka music, adopting Japanese traditional structures, became quite popular in the postwar period, though its popularity has waned since the 1970s and enjoys little favour with contemporary youth.[citation needed] Famous enka singers include Hibari Misora, Saburo Kitajima, Ikuzo Yoshi and Kiyoshi Hikawa. Art music[edit source | editbeta] Western classical music[edit source | editbeta] Western classical music has a strong presence in Japan and the country is one of the most important markets for this music tradition.[citation needed], with Toru Takemitsu (famous as well for his avant-garde works and movie scoring) being the best known.[citation needed] Also famous is the conductor Seiji Ozawa. Since 1999 the pianist Fujiko Hemming, who plays Liszt and Chopin, has been famous and her CDs have sold millions of copies.[citation needed] Japan is also home to the world’s leading wind band.[citation needed], the Tokyo Kosei Wind Orchestra, and the largest music competition of any kind, the All-Japan Band Association national contest.[citation needed] Western classical music does not represent Japan’s original culture. The Japanese were first exposed to it in the second half of the 19th century, after more than 200 years of national isolation during the Edo Period.[citation needed] But after that, Japanese studied classical music earnestly to make it a part of their own artistic culture. Orchestras * Gunma Symphony Orchestra * Hiroshima Symphony Orchestra * Hyogo Performing Arts Center Orchestra * Japan Philharmonic Orchestra * Kanagawa Philharmonic Orchestra * Kyoto Symphony Orchestra * Kyushu Symphony Orchestra * Nagoya Philharmonic Orchestra * New Japan Philharmonic * NHK Symphony Orchestra * Orchestra Ensemble Kanazawa * Osaka Philharmonic Orchestra * Sapporo Symphony Orchestra * Tokyo Metropolitan Symphony Orchestra * Tokyo Philharmonic Orchestra * Tokyo City Philharmonic Orchestra * Tokyo Symphony Orchestra * Yamagata Symphony Orchestra * Yomiuri Nippon Symphony Orchestra Composers * RentarÃ…  Taki (1879–1903) * Kosaku Yamada (1886–1965) * Kiyoshi Nobutokiï ¼Ë†1887-1965ï ¼â€° * Yasuji Kiyose (1900–1981) * Masao Ohki (1901–1971) * SaburÃ…  Moroi (1903–1977) * Kunihiko Hashimoto (1904–1949) * TomojirÃ…  Ikenouchi (1906–1991) * Yoritsune Matsudaira (1907–2001) * Hisato Ohzawa (1907–1953) * ShirÃ…  Fukai (1907–1959) * Hisatada Otaka (1911–1951) * Akira Ifukube (1914–2006) * Fumio Hayasaka (1914–1955) * Minao Shibata (1916-1996) * YoshirÃ…  Irino (1921-1980) * Sadao Bekku (1922–2012) * Ikuma Dan (1924–2001) * Yasushi Akutagawa (1925–1989) * Roh Ogura (1926–1990) * Joji Yuasa (born 1929) * Toshiro Mayuzumi (1929–1997) * Akio Yashiro (1929–1976) * Teizo Matsumura (1929–2007) * Toru Takemitsu (1930–1996) * Makoto Moroi (born 1930) * Hikaru Hayashi (1931–2012) * Yuzo Toyama (born 1931) * Akira Miyoshi (born 1933) * Toshi Ichiyanagi (born 1933) * Maki Ishii (1936–2003) * Shigeaki Saegusa (born 1942) * Shin-ichiro Ikebe (born 1943) * Takashi Yoshimatsu (born 1953) * Akira Nishimura (born 1953) * Toshio Hosokawa (born 1955) Jazz[edit source | editbeta] Main article: Japanese jazz From the 1930s on (except during World War II, when it was repressed as music of the enemy)[citation needed] jazz has had a strong presence in Japan.[citation needed] The country is an important market for the music, and it is common that recordings unavailable in the United States or Europe are available there. A number of Japanese jazz musicians have achieved popularity abroad as well as at home.[citation needed] Musicians such as June (born in Japan) and Dan (third generation American born, of Hiroshima fame), and Sadao Watanabe have a large fan base outside their native country. Lately, club jazz or nu-jazz has become popular with a growing number of young Japanese.[citation needed] Native DJs such as Ryota Nozaki (Jazztronik), the two brothers Okino Shuya andOkino Yoshihiro of Kyoto Jazz Massive, Toshio Matsuura (former member of the United Future Organization) and DJ Shundai Matsuo creator of the popular monthly DJ event, Creole inBeppu, Japan as well as nu-jazz artists, Sleepw alker, GrooveLine, and Soil & â€Å"Pimp† Sessions have brought great change to the traditional notions of jazz in Japan. Some of the newer bands include Ego-Wrappin’ and Sakerock along with more experimental musicians such as Otomo Yoshihide and Keiji Haino. ————————————————- Popular music[edit source | editbeta] J-Pop[edit source | editbeta] Main article: J-pop J-pop, an abbreviation for Japanese pop, is a loosely defined musical genre that entered the musical mainstream of Japan in the 1990s. Modern J-pop has its roots in 1960s pop and rock music, such as The Beatles, which led to bands such as Happy End fusing rock with Japanese music.[7] J-pop was further defined by Japanese New Wave bands such as Yellow Magic Orchestra andSouthern All Stars in the late 1970s.[8] Eventually, J-pop replaced kayÃ… kyoku (â€Å"Lyric Singing Music†, a term for Japanese pop music from the 1920s to the 1980s) in the Japanese music scene.[9]The term was coined by the Japanese media to distinguish Japanese music from foreign music. Dance and disco music[edit source | editbeta] Further information: Eurobeat and Para Para Momoiro Clover Z is known for its innovative dance performances.[10] In 1984, American musician Michael Jackson’s album Thriller became the first album by a Western artist to sell over one million copies in Japanese Oricon charts history.[11] His style is cited as one of the models for Japanese dance music, leading the popularity of Avex Group andJohnny & Associates.[12] In 1990, Avex Trax began to release the Super Eurobeat series in Japan. Eurobeat in Japan led the popularity of group dance form Para Para. While Avex’s artists such as Every Little Thing and Ayumi Hamasaki became popular in 1990s, new names in the late 90s included Hikaru Utadaand Morning Musume. Hikaru Utada’s debut album, First Love, went on to be the highest-selling album in Japan with over 7 million copies sold, whereas Ayumi Hamasaki became Japan’s top selling female and solo artist, and Morning Musume remains one of the most well-known girl groups in the Japanese pop music industry. Momoiro Clover Z is known for its energetic dance performances. They are heavily choreographed and feature acrobatic stunts.[13] The energetic performances also incorporate elements of ballet, gymnastics, and action movies.[14] Although the girls’ voices are not very stable when coupled with an intense dance, they never lipsynch.[15] A 2013 survey shows that Momoiro Clover Z attracts the highest level of interest of all the femaleidol groups in Japan.[16] Rock[edit source | editbeta] In the 1960s, Japanese rock music bands imitated Western rock musicians such as The Beatles, Bob Dylan, and the Rolling Stones, along with other Appalachian folk music, psychedelic rock,mod and similar genres; this was called Group Sounds (G.S.). John Lennon of The Beatles later became one of most popular Western musicians in Japan.[17] Group Sounds is a genre of Japanese rock music that was popular in the mid to late 1960s.[citation needed] After the boom of Group Sounds, there were several influential singer-songwriters. Nobuyasu Okabayashi was the first who became widely recognized.[citation needed] Wataru Takada, inspired by Woody Guthrie, also became popular.[citation needed]. They both were influenced by American folk music but wrote Japanese lyrics. Takada used modern Japanese poetry as lyrics, while Kazuki Tomokawa made an album using Chuya Nakahara’s poems. Tomobe Masato, inspired by Bob Dylan, wrote critically acclaimed lyrics.[citation needed] The Tigers was the most popular Group Sounds band in the era. Later, some of the members of The Tigers, The Tempters and The Spiders formed the first Japanese supergroup Pyg. Homegrown Japanese folk rock had developed by the late 1960s.[citation needed] Artists like Happy End are considered to have virtually developed the genre. During the 1970s, it grew more popular.[citation needed] The Okinawan band Champloose, along with Carol (led by Eikichi Yazawa), RC Succession and Shinji Harada were especially famous and helped defin e the genre’s sound. Sometimes also beginning in the late sixties, but mostly active in the seventies, are musicians mixing rock music with American-style folk and pop elements, usually labelled â€Å"folk† by the Japanese because of their regular use of the acoustic guitar. This includes bands like Off Course, Tulip, Alice (led by Shinji Tanimura), Kaguyahime, Banban, and Garo. Solo artists of the same movement include Yosui Inoue, Yuming, and Iruka. Later groups, like Kai Band (led by Yoshihiro Kai) and early Southern All Stars, are often attached to the same movement. Yellow Magic Orchestra in 2008 Several Japanese musicians began experimenting with electronic rock in the early 1970s. The most notable was the internationally renowned Isao Tomita, whose 1972 album Electric Samurai: Switched on Rock featured electronic synthesizer renditions of contemporary rock and pop songs.[18] Other early examples of electronic rock records include Inoue Yousui’s folk rock and pop rock album Ice World (1973) and Osamu Kitajima’s progressive psychedelic rockalbum Benzaiten (1974), both of which involved contributions from Haruomi Hosono,[19][20] who later started the electronic music group â€Å"Yellow Magic Band† (later known as Yellow Magic Orchestra) in 1977.[21] Most influentially, the 1970s spawned the electronic music band Yellow Magic Orchestra, led by Haruomi Hosono. In the 1980s, Boà ¸wy inspired alternative rock bands like Shonen Knife, Boredoms, The Pillows and Tama & Little Creatures as well as more mainstream bands as Glay. In 1980, Huruoma and Ry Cooder, an American musician, collaborated on a rock album with Shoukichi Kina, driving force behind the aforementioned Okinawan band Champloose. They were followed by Sandii & the Sunsetz, who further mixed Japanese and Okinawan influences. Also during the 80s, Japanese metal and rock bands gave birth to the movement known as visual kei, represented during its history by bands like X Japan, Buck-Tick, Luna Sea,Malice Mizer and many others, some of which experienced national, and international success in the latest years. In the 1990s, Japanese rock musicians such as B’z, Mr. Children, Glay, Southern All Stars, L’Arc-en-Ciel, Tube, Spitz, Wands, T-Bolan, Judy and Mary, Asian Kung–Fu Generation, Field of View, Deen, Ulfuls, Lindberg, Sharam Q, The Yellow Monkey, The Brilliant Green an d Dragon Ash achieved great commercial success.[citation needed] B’z is the #1 best selling act in Japanese music since Oricon started to count.[citation needed], followed by Mr. Children.[citation needed] In the ’90s, pop songs were often used in films, anime, television advertisement and dramatic programming, becoming some of the best-selling forms of music in Japan.[citation needed] The rise of disposable pop has been linked with the popularity of karaoke, leading to criticism that it is consumerist: Kazufumi Miyazawa of The Boom said â€Å"I hate that buy, listen, and throw away and sing at a karaoke bar mentality.† Of the visual kei bands Luna Sea, whose members toned down their on-stage attire with on-going success, was either very successful, while Malice Mizer, La’cryma Christi, Shazna, Janne Da Arc, and Fanatic Crisis also achieved commercial success in the late ’90s.[citation needed] Green Stage of the Fuji Rock Festival The first Fuji Rock Festival opened in 1997. Rising Sun Rock Festival opened in 1999. Summer Sonic Festival and Rock in Japan Festival opened in 2000. Though the rock scene in the 2000s is not as strong, newer bands such as Bump of Chicken, Sambomaster, Flow, Orange Range, Remioromen,Uverworld, Radwimps and Aqua Timez, which are considered rock bands, have achieved success. Orange Range also adopts[clarification needed] hip hop. Established bands as B’z, Mr. Children, Glay, and L’Arc-en-Ciel also continue to top charts, though B’z and Mr. Children are the only bands to maintain a high standards of their sales along the years. Japanese rock has a vibrant underground rock scene,[citation needed] best known internationally for noise rock bands such as Boredoms and Melt Banana, as well as stoner rock bands such as Boris and alternative acts such as Shonen Knife (who were championed in the West by Kurt Cobain),Pizzicato Five and The Pillows (who gained international attention in 1999 for the FLCL soundtrack). More conventional indie rock artists such asEastern Youth, The Band Apart and Number Girl have found some success in Japan[citation needed], but little recognition outside of their home country. Other notable international touring indie rock acts are Mono and Nisennenmondai. Punk rock / alternative[edit source | editbeta] Further information: Japanese hardcore Early examples of punk rock in Japan include SS, The Star Club, The Stalin, Inu, Gaseneta, Bomb Factory, Lizard (who were produced by the Stranglers) and Friction (whose guitarist Reck had previously played with Teenage Jesus and the Jerks before returning to Tokyo) and The Blue Hearts. The early punk scene was immortalized on film by Sogo Ishii, who directed the 1982 film Burst City featuring a cast of punk bands/musicians and also filmed videos for The Stalin. In the 80s, hardcore bands such as GISM, Gauze, Confuse, Lip Cream and Systematic Death began appearing, some incorporating crossover elements.[citation needed] The independent scene also included a diverse number of alternative/post-punk/new wave artists such as Aburadako, P-Model,Uchoten, Auto-Mod, Buck-Tick, Guernica and Yapoos (both of which featured Jun Togawa), G-Schmitt, Totsuzen Danball and Jagatara, along with noise/industrial bands such as Hijokaidan andHanatarashi. Ska-punk bands of the late nineties extending in t he years 2000 include Shakalabbits and 175R (pronounced â€Å"inago rider†). Heavy metal[edit source | editbeta] Japan is known for being a successful area for metal bands touring around the world and many live albums are recorded in Japan. Notable examples are Judas Priest’s Unleashed in the East, Iron Maiden’s Maiden Japan, Deep Purple’s Made in Japan and Dream Theater’s Live at Budokan. From the international bands, such as Angra, Sonata Arctica and Skylark especially with their singerKiara Laetitia have had major success in Japan.[citation needed] Japanese heavy metal bands started emerging in the late 1970s, pioneered by bands like Bow Wow, formed in 1975 by guitarist Kyoji Yamamoto, and Loudness, formed in 1981 by guitarist Akira Takasaki. Although there existed other contemporary bands, like Earthshaker, Anthem and 44 Magnum, their debut albums were released only around the mid eighties when metal bands started getting a major exposure. First oversease live performances were by Bow Wow in 1978 in Hong Kong and at the Montreux Jazz Festival in Switzerland, as well played at the Reading Festival inEngland in 1982.[22] In 1983, Loudness toured United States and Europe, and started focusing more on an international career. In 1985, the first Japanese metal act was signed to a major label in th e United States. Their albums Thunder in the East and Lightning Strikes, released in 1985 and 1986, peaked at number 74 (while number 4 in homeland Oricon chart), and number 64 in theBillboard 200 charts respectively.[23][24] Till the end of the eightes only two other bands, Ezo and Dead End, got their albums released in the United States. In the eighties few bands had a female members, like all-female band Show-Ya fronted by Keiko Terada, and Terra Rosa with Kazue Akao on vocals. In September 1989, Show-Ya’s album Outerlimits was released, it reached number 3 in the Oricon album chart.[25] Heavy metal bands reached their peak in the late ’80s and many disbanded until the mid-1990s. Concert of pioneer of visual kei, X Japan atHong Kong in 2009 after their 2007 reunion. In 1982, some of the first Japanese glam metal bands were formed, like Seikima-II with Kabuki-inspired makeup, and X Japan who pioneered the Japanese movement known as visual kei, and became the best-selling metal band.[26] In 1985, Seikima-IIs album Seikima-II – Akuma ga Kitarite Heavy Metal was released and although reached number 48 on the Oricon album chart exceeded 100,000 in sales, first time for any Japanese metal band. Their albums charted regularly in the top ten until mid ’90s. In April 1989, X Japans second album Blue Blood was released and went to number 6, and after 108 weeks on charts sold 712,000 copies.[27] Their third and best-selling album Jelaousy was released in July 1991; it topped the charts and sold 1.11 million copies.[27] There were released more two number one studio albums, Art of Life and Dahlia, a singles compilation X Singles, all selling more than half a million,[28] and since the formation had thirteenth top five singles, disbanding in 1997.[29] Extreme metal[edit source | editbeta] Japanese extreme metal bands formed in the wake of American and European wave, but didn’t get any bigger exposure until the ‘90s, and like overseas the genre is usually treated as an underground form of music in Japan.[citation needed] First thrash metal bands formed in the early ’80s, like United, whose music also incorporates death metal elements, and Outrage. United’s first international performance took place in Los Angeles at the metal festival â€Å"Foundations Forum† in September 1995 and had few albums released in North America. Formed in the mid ‘80s, Doom played a gig in the United States in October 1988 at CBGB, and was active until 2000 when disbanded. The first bands to play black metal music were Sabbat, who is still active, and Bellzlleb, who was active until early ‘90s. Another notable act is Sigh. Doom metal has also gained an audience in Japan. The two best-known Japanese doom metal acts are Church of Misery and Boris, b oth of whom have gained considerable popularity outside the country. Hip-Hop[edit source | editbeta] Main article: Japanese hip-hop Hip-hop is a newer form of music on the Japanese music scene. Many felt it was a trend that would immediately pass. However, the genre has lasted for many years and is still thriving. In fact, rappers in Japan did not achieve the success of hip-hop artists in other countries until the late 1980s. This was mainly due to the music world’s belief that â€Å"Japanese sentences were not capable of forming the rhyming effect that was contained in American rappers’ songs.†[30] There is a certain, well-defined structure to the music industry called â€Å"The Pyramid Structure of a Music Scene†. As Ian Condry notes, â€Å"viewing a music scene in terms of a pyramid provides a more nuanced understanding of how to interpret the significance of different levels and kinds of success.†[31] The levels are as follows (from lowest to highest): fans and potential artists, performing artists, recording artists (indies), major label artists, and mega-hit stars. These different levels can be clearly seen at a genba, or nightclub. Different â€Å"families† of rappers perform on stage. A family is essentially a collection of rap groups that are usually headed by one of the more famous Tokyo acts, which also include a number of proteges.[32] They are important because they are â€Å"the key to understanding stylistic differences between groups.†[33] Hip-hop fans in the audience are the ones in control of the night club. They are the judges who determine the winners in rap battles on stage. An example of this can be seen with the battle between rap artists Dabo (a major label artist) andKan (an indie artist). Kan challenged Dabo to a battle on stage while Dabo was mid-performance. Another important part of night clubs was displayed at this time. It showed â€Å"the openness of the scene and the fluidity of boundaries in clubs.†[34] Electropop and club music[edit source | edi tbeta] See also: Electronic music, Synthpop, and Electro music Electronic pop music in Japan became a successful commodity with the â€Å"Technopop† craze of the late 70s and 80s.[citation needed], beginning with Yellow Magic Orchestra and solo albums ofRyuichi Sakamoto and Haruomi Hosono in 1978 before hitting popularity in 1979 and 1980. Influenced by disco, impressionistic and 20th century classical composition, jazz/fusion pop, new wave and technopop artists such as Kraftwerk and Telex, these artists were commercial yet uncompromising.[citation needed] Ryuichi Sakamoto claims that â€Å"to me, making pop music is not a compromise because I enjoy doing it†. The artists that fall under the banner of technopop in Japan are as loose as those that do so in the West, thus new wave bands such as P-Model and The Plastics fall under the category alongside the symphonic techno arrangements of Yellow Magic Orchestra. The popularity of this music meant that many popular artists of the 70s that previously were known for acoustic music turne d to techno production, such as Taeko Onuki and Akiko Yano, and idol producers began employing electronic arrangements for new singers in the 80s.[citation needed] Today, newer artists such as Polysics pay explicit homage to this era of Japanese popular (and in some cases underground or difficult to obtain) music.[citation needed] And the all trio girls band Perfume,who debuted with Tokuma Japan in 2005,are also a techno-pop band, taking on electronic, dance and pop music taking on Auto-Tune, vocoders, and electrohouse upon their signing to a major label. They are currently considered as one of the most popular bands in Japan. Roots music[edit source | editbeta] In the late 1980s, roots bands like Shang Shang Typhoon and The Boom became popular. Okinawan roots bands like Nenes and Kina were also commercially and critically successful. This led to the second wave of Okinawan music, led by the sudden success of Rinkenband. A new wave of bands followed, including the comebacks of Champluse and Kina, as led by Kikusuimaru Kawachiya; very similar to kawachi ondo is Tadamaru Sakuragawa’s goshu ondo. Latin, reggae and ska music[edit source | editbeta] Further information: Japanese reggae and Japanese ska Other forms of music from Indonesia, Jamaica and elsewhere were assimilated. African soukous and Latin music, like Orquesta de la Luz (ã‚ ªÃ£Æ' «Ã£â€š ±Ã£â€š ¹Ã£â€š ¿Ã£Æ' »Ã£Æ'‡ãÆ' »Ã£Æ' ©Ã£Æ' »Ã£Æ' «Ã£â€š ¹), was popular as was Jamaicanreggae and ska, exemplified by Mice Teeth, Mute Beat, La-ppisch, Home Grown and Ska Flames, Determinations, and Tokyo Ska Paradise Orchestra. Noise music[edit source | editbeta] Main article: Japanoise Another recognized music form from Japan is noise music. The noise from this country is called Japanoise. Its most prominent representative is Masami Akita with his project Merzbow. Theme music[edit source | editbeta] Theme music composed for films, anime, Tokusatsu, and Japanese television dramas are considered a separate music genre. Several prominent musical artists and groups have spent most of their musical careers performing theme songs and composing soundtracks for visual media. Such artists include Masato Shimon (current holder of the world record for most successful single in Japan for â€Å"Oyoge! Taiyaki-kun†),[35] Ichirou Mizuki, all of the members of JAM Project, Akira Kushida, Isao Sasaki, and Mitsuko Horie. Notable composers of Japanese theme music include Joe Hisaishi, Michiru Oshima, Yoko Kanno, Toshihiko Sahashi, Yuki Kajiura, KÃ… tarÃ…  Nakagawa and Yuuki Hayashi. Game music[edit source | editbeta] See also: Video game music, Chiptune, and Bitpop When the first electronic games were sold, they only had rudimentary sound chips with which to produce music. As the technology advanced, the quality of sound and music these game machines could produce increased dramatically. The first game to take credit for its music was Xevious, also noteworthy for its deeply (at that time) constructed stories. Though many games have had beautiful music to accompany their gameplay, one of the most important games in the history of the video game music is Dragon Quest. Koichi Sugiyama, a composer who was known for his music for various anime and TV shows, including Cyborg 009 and a feature film of Godzilla vs. Biollante, got involved in the project out of the pure curiosity and proved that games can have serious soundtracks. Until his involvement, music and sounds were often neglected in the development of video games and programmers with little musical knowledge were forced to write the soundtracks as well. Undaunted by technological limits, Sugi yama worked with only 8 part polyphony to create a soundtrack that would not tire the player despite hours and hours of gameplay. Another well-known author of video game music is Nobuo Uematsu. Even Uematsu’s earlier compositions for the game series, Final Fantasy, on Famicom (Nintendo Entertainment System in America) are being arranged for full orchestral score. In 2003, he even took his rock-based tunes from their original MIDI format and created The Black Mages. Yasunori Mitsuda is a highly known composer of such games as Xenogears, Xenosaga Episode I, Chrono Cross, and Chrono Trigger. Koji Kondo, the main composer for Nintendo, is also prominent on the Japanese game music scene. He is best known for the Zelda and Mario themes. Motoi Sakuraba is also another well-known video game composer. He is known for composing the Tales Series, Dark Souls, Eternal Sonata, Star Ocean, Valkyrie Profile, Golden Sun, and theBaten Kaitos games, as well as numerous Mario Sports games. Yuzo Koshiro is also noted for his work with games, having composed electronic music-influenced soundtracks for games like Revenge of Shinobi and the Streets of Rage series. The techno/trance music production group I’ve Sound has made a name for themselves first by making themes for eroge computer games, and then by breaking into the anime scene by composing themes for them. Unlike others, this group was able to find fans in other parts of the world through their eroge and anime themes. Today, game soundtracks are sold on CD. Famous singers like Hikaru Utada, Nana Mizuki and BoA sometimes sing songs for games as well, and this is also seen as a way for singers to make a names for themselves. ————————————————- See also[edit source | editbeta] * J-pop * Visual kei * All-Japan Band Association * Buddhist music * Chindonya * Enka * Group Sounds * Japanese hardcore * Japanese hip hop * Japanese ska * Japanoise * Oricon * RyÃ… «kÃ… ka * Shibuya-kei * ShintÃ…  music * Tokyo Kosei Wind Orchestra * List of Japanese rock bands * List of Japanese hip hop musicians * List of J-pop artists * In scale * Voice acting in Japan

NCMMOD5CA

A beneficial method to use during negotiations is called collaborative principled negotiations.   The idea is for both parties to enter into the collaborative process with the focus on the interest, not positions. Previously, the parties would enter into negotiations with certain positions in mind and the positioned negotiations proved to be long and unsuccessful. This paper will discuss how trust is used in during principled negotiations and how BATNA makes the negotiations more successful than the previous positioned negotiations. The ideal way to begin negotiations is to create a collaborative team environment and separate the parties from the problem. The way to achieve this is to encourage the people focus on the interest at hand and not their specific positions. Together the parties can brainstorm and create a variety of solutions before making a final decision. The final agreement can be based on objective external standards and both parties can work together, through trust to find the Best Alternative to a Negotiated Agreement (BATNA). â€Å"Integrating trust-building approaches into the collaborative team environment will help position teams and their respective companies for strategic competition in the marketplace† (Herzog, 2001,  ¶ 1). Any relationship involves giving a little and taking a little – cooperation, trust, and meeting expectations. Business relationships are no different; they too require trust, cooperation, and having expectations being met by both parties. Macoby says, â€Å"Profitable partnering relationships between companies are cemented by building trust, not by contracts. A relentless assault of trust and respect is a major factor in making alliances work †¦ trust [is] the single most important ingredient in making ventures work. You have to be allied with someone whom you can work through problems. (1997) Life and any business relationship is easier if both parties know that they can trust the partners or other parties to uphold an agreement. Additionally, knowing that the other parties is not just in the relationship for ulterior motives helps keep ethics and honesty at the forefront of the collaborative partnership. On successful and unsuccessful projects, collaborators begin the projects with perceptions regarding their own and their fellow collaborators' motives and expectations. Collaborative teams on successful projects participate in the shared conditions and processes identified in the research. The result is open and honest communication, collaborating team members getting along, and a trusting environment. The consequence of this is that high levels of trust are built between the collaborators, the project is successful, and consideration is given to continuing the relationship. (Herzog, 2001,  ¶ 15) On unsuccessful projects, the processes and conditions for success are present. However, without collaborative sharing of these conditions and processes, understanding of others and open and honest communication does not result, conflict and misunderstanding is normal, and levels of trust are low. Consequently, the projects will likely be unsuccessful, the collaborators will not establish trusting relationships, and new collaborative projects will not result. (Herzog, 2001,  ¶ 16) Hartman and Romahn (1999) extensively researched various types of trust described by others. They found that trust falls into the three main categories of emotional trust, competency trust, and ethical trust. If people are aware of how trust affects them, they are better able to build that trust in a relationship. For example, when working on a business relationship and one of the parties knows that the other party does not feel there is a great deal of competency than the first party can work harder to prove competence and help sustain the relationship and build greater trust. Hartman and Romahn developed a model that shows how combinations of these three types of trust influence collaborative levels of trust. This study suggests that â€Å"collaborative sharing† may be instruments through which emotional, competency, and ethical trust are built on collaborative project teams (1999). The whole idea is to give a little and work together. Collaborative project teams are designed because the parties involved can become more and provide more when working together and helping one another through areas of strength and weakness. By working together the final product or service is superior to just party doing it alone. Principled negotiations are all about working together. Using principled negotiations helps the team collaborative effort because the effort is put forth to achieve success in the end rather than immediate gratification for one party or another. Trust is essential and strong foundations are built on trust and once both parties involved in the negotiations knows that the trust is present and unwavering, the ability to contribute more becomes more apparent and negotiations become a very successful result and future negotiations are less of a problem. References Hartman, E, & Romahn, E. (1999). Trust: A new tool for project managers. Project Management Institute 1999 Seminars & Symposium, Philadelphia, PA: Papers presented October 10 to October 16, 1999 [CD-ROM]. Newtown Square, PA: Project Management Institute. Herzog, V.L. (2001). Trust building on corporate collaborative project teams. Project Management Journal. Sylva: Mar 2001.Vol.32, Iss. 1; pg. 28, 10 pgs Macoby, M. (1997). Building trust is an art. Research Technology Management, 56-57.