The study presents a room acoustical investigation of a representative sample of eight Kabuki theaters as the most important public performance venues of pre-modern Japan. Room acoustical parameters according to ISO 3382 were measured for the unoccupied and simulated for the occupied
condition. In comparison with European proscenium stage theaters, they have lower room heights in the auditorium, with usually only one upper tier, and no high stage house for movable scenery. The lower volume per seat results in lower reverberation times, The wooden construction and the audience
seating arrangement on wooden straw mats on the floor instead of upholstered seats leads to a mostly flat frequency response up to 4 kHz, resulting in an excellent speech intelligibility, as documented by values for definition (D50) and the speech intelligibility index (STI). The
acoustical conditions support the dynamic acting space created by pathways extending the stage from the front through the audience to the rear of the auditorium. They allow great contrasts in the perceived acoustical proximity depending on the selected acting position, and support a high degree
of immersion of the audience into the dramatic action.
In 1915–1916, a coalition under the joint leadership of the military officers Cai E, Tang Jiyao, and Li Liejun fought the National Protection War 护国战争 to prevent Yuan Shikai from restoring the monarchy in China. Their declared goal was to defend the Republican polity, yet despite their victory, the Republic did not resurge. I argue that the actions of these men were motivated by two interdependent ideas that decisively contributed to the later rise of warlordism: the assumption that the professional soldier ought to play a prominent role in the Chinese nation-state-building project and the belief that the military man was obligated to defend the Chinese nation against all threats. By tracing the origins, implementation, and reception of these ideas, I focus on the previously neglected intellectual foundations of Chinese warlordism. The victory of Cai and his comrades-in-arms and the overwhelming public appreciation of their actions following the war would come to encourage an ever-growing number of military men—who soon were to be decried as “warlords” 军阀—to also intervene in political affairs.
BnBassoon BRIR binaural room impulse response CAD computer-aided design
Cb
Contrabass, double bass
Cl Clarinet
CMS
Content management system
Map of TokyoThe drawing of the map of Tokyo is intended to illustrate the locations of all performance venues examined. Only a selection of the map is shown to achieve a sufficient level of detail to illustrate the locations of the venues in question. The map was created on the basis of a source from the year 1941, (Tourist Industry Division, Ministry of Transportation 1941), provided to the author by Steve Sundberg, (OldTokyo.com). A number of the rooms displayed was destroyed in the 1923 earthquake and no longer existed at the time the source for this drawing was created. These rooms are nevertheless shown at the location where they would have been situated and indicated by underlining their names. For the three venues in Hibiya Park (the Hibiya Public Hall, the first bandstand, and the second bandstand), only the Hibiya Public Hall is shown, a detailed drawing of the Hibiya Park is given in Figure 3.24.
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