Kitaro មានឈ្មោះពិតថា Masanori Takahashi គឺជាតន្រ្តីករជើងចាស់ (ពិតជាចាស់មែន) របស់ប្រទេសជប៉ុន ។ គាត់ធ្លាប់ទទួលបាន ពានរង្វាន់ Grammy ដ៏ល្បីល្បាញរបស់សហរដ្ឋអាមេរិក ។

នេះជាការសម្តែងបទ Matsuri (ប្រែថាពិធីបុណ្យ??? まつり) របស់គាត់ ។ អ្វីដែលគួរអោយសរសើរ គឺសកម្មភាពរួមគ្នារបស់តន្រ្តីករ ទាំងឡាយ ក្រោមការដឹកនាំរបស់ គីតារ៉ូ ។ មើលទៅពួកគេដូចជាសប្បាយរីករាយនឹងតន្រ្តីណាស់ ។ សូមទស្សនាដោយមេត្រីភាព

s-au amanat putin repetitiile si am venit sa mai scriu cate ceva.

Mi-am amintit ca in urma cu vreo doi ani, in timp ce ascultam o piesa am avut o revelatie foarte interesanta . Se facea ca treceam intr-o alta dimensiune, dupa indelungate suferinte si pierderi fizice si sufletesti. In aceasta dimensiune totul era nedefinit in jur. Singurele forme pe care le recunosteam erau niste SFERE foarte fragile, doar ca erau sfere  de LUMINA VIE . Ele pluteau intr-un echilibru perfect si emanau o stare inuman de fericita, o STARE DIVINA …uneori se uneau unele cu altele si deveneau mai mari…

la intalnirea cu ele, spiritul meu a simtit cea mai pura stare de fericire.

Imaginati-va ca acele sfere erau sufletele dragi pe care suntem nevoiti sa le “pierdem” aici pe pamant, in speranta de a le regasi mai apoi, undeva unde speram sa ne desavarsim.

ACEASTA E PIESA CU PRICINA

Reconozco que llevaba varias semanas con esta entrada en barbecho, no sé si por pereza o por que no encontraba el momento oportuno para escribirla. Pero hoy he leído un artículo que me ha animado de una vez por todas.

El caso es que me he puesto a leer sobre el tema de los suicidios en Japón, y me he quedado alucinado. Son más de 30.000, los japoneses que se quitan la vida al cabo del año, e incluso tienen diferentes nombres dependiendo de su tipo. El más conocido fue el “harakiri” o “seppuku” que realizaban los samurais para salvar su honor. Pero también existe el “joshi”, que es el suicidio por amor entre dos personas, el “shinju” que es el cometido por más de una persona a la vez, o el suicidio familiar denominado “ikka shinju”.

Parece ser que es habitual, que muchos de ellos, decidan suicidarse en las vías del tren, y esto ocasiona numerosos retrasos y pérdidas económicas en dichas líneas. El hecho debe ser grave, ya que una compañía hace unos años, pidió a los suicidas que no lo hicieran en sus líneas de tren. Hoy en día, las compañías presentan una demanda a la familia del suicida, por las perdidas económicas que ha ocasionado su familiar al suicidarse, ya que si los trenes no andan, las compañías no ganan.

Y preguntareis que coño pinta el tema de los suicidas japoneses en un blog de música. Pues aprovechando que el Pisuerga pasa por Valladolid, hoy les voy a dar la receta a estos nipones para que se suiciden antes, o no lo hagan (mejor esta última opción), siempre dependiendo de sus gustos musicales. Para ello no tienen que irse muy lejos, ya que en su propio país tienen a uno de los grandes compositores de música New Age de los últimos tiempos. Su nombre es Masanori Takashi, más conocido como Kitaro y su música es muy adecuada para relajarse. Quizás muchos de vosotros lo conozcais de vuestra época estudiantil, ya que son muchos los que utilizan su música para estudiar.

Bajo la lapidaria frase “La naturaleza me inspira. Yo sólo soy un mensajero”, este japonés sin educación musical, encarna el autodidacta por antonomasia, ya que fue aprendiendo a tocar diferentes instrumentos debido a las deserciones de alguno de los componentes de los grupos a los que perteneció en su juventud. Todo esto ocasionó que se convirtiera en un brillante multi instrumentista.

El hombre siempre aplica la modestia ya que sobre su música dice:

Esta música no proviene de mi mente. Es del cielo, pasa a través de mi cuerpo y sale por mis dedos convirtiéndose en una composición. A veces me maravillo. Nunca practico. No leo ni escribo música, pero mis dedos se mueven. Me pregunto, ‘¿De quién es esta canción?’ Escribo mis temas pero no son mis temas.

Es muy curioso lo que dice sobre su primer sintetizador y que realza su perfil de autodidacta.

En esa época yo tocaba teclados, y luego descubrí el sintetizador. Este fue una revelación. Primero que todo, las instrucciones del instrumento estaban en inglés, así que no podía leerlas. ¡Trataba de producir sonidos pero no podía! Trataba durante todo el día pero no salía ningún sonido porque no sabía cómo programarlo ni como instalarlo. Finalmente, el primer sonido que salió de ese aparato fue un sonido parecido al del viento pero yo estaba tan eufórico, porque había logrado en realidad producir un sonido, que no me importó. Giré lentamente una de las perillas para hacer más del mismo sonido pero ahora como ruidos.

El caso es que debió aprender muy rápido, ya que fue el primero en el mundo en reproducir con un sintetizador cuarenta instrumentos diferentes en un concierto.

Se podrían hablar páginas y páginas de este curioso músico. Pero se puede resumir todo en que es un autentico maestro en fusionar en su música, influencias de culturas y etnias totalmente diferentes entre si.

La consagración a nivel internacional de Kitaro, le vino de la mano de su banda sonora para la serie documental La ruta de la seda (“Silk Road”), creando uno de los temas más bellos de los años para gusto de muchos. En un principio, solo hizo la música para el episodio piloto de la serie, pero tuvo tanto éxito que se le encarga musicalizar el resto de la serie.

Quizás otro día hable más en profundidad sobre este verdadero genio de la música New Age. Aquí os dejo videos, para que os hagáis idea de su música y más abajo un grandes éxitos de su obra para descargar.

Silk Road. (Música del documental del mismo nombre)

Matsuri

Kokoro

Heaven & Earth (Banda Sonora de la pelicula de Oliver Stone).

Si quieres descargar un recopilatorio de lo mejor de Kitaro hasta el año 1995, pincha sobre la carátula.

I was at SM Manila today wandering around and wondering aloud when the last hurrah of such establishments as Odyssey Records and Astroplus will be. There were absolutely no customers inside. I wonder, given the level of piracy on and off the Internet, how can record stores survive? Prices of pirated music is 80 – 90%  cheaper and over on the Internet, the music you get can be quantified as free. How do you compete with free?

I used to love going to record stores and still remember the time when Music One and Tower Records at least had a respectable number of customers and a wide range of music titles. When they first opened, I’d usually go over the foreign titles available. These days, I hardly have the time to visit them because I get tired traveling to Makati. So Odyssey is the next best thing.

Unfortunately with Odyssey, the salesladies are clueless about the titles they are selling. You can read one of my older posts on how a trip to Odyssey can be an odyssey in real comedy. Also, they don’t have as many titles as you’d wish them to have. It’s quite understandable because theirs isn’t a business that must stock much inventory.

I just hope stores like them continue to exist and persist even in the face of piracy.

If you’ve been to SM Manila, you will note that a restaurant called Kitaro is just across Odyssey. It was dinnertime when I was still at the mall and I noticed that Kitaro was the lone restaurant with no patrons. The waiters and even the cook was outside waiting for any patrons they could welcome.

I pity establishments that have no business. It must be the entrepreneur in me. Perhaps they don’t have any good food or good products to sell, or they have the wrong pricing, or lousy service, or whatever. The point is when I see stores that have no business, it can also mean that the economy is bad. In this instance, I think they just have the wrong proposition because other restaurants were filled with people.

I am actually sad when I see businesses that are not being patronized. (Of course, I am talking about legitimate businesses.) The reason? Lost jobs when the business closes down. No job means no money for the employee and his or her family. Tsktsk.

Caravan by Kitaro

some of the best music made in our lifetime..these are Ramli’s Favourites

O nosso cérebro é realmente algo fascinante. A cada dia novos estudos revelam novas facetas do órgão que nos diferencia dos demais animais. Há algum tempo eu já vinha percebendo que atividades mais artísticas e também mais prazerosas me faziam sentir mais o lado direito do meu cérebro. Estudando um pouco mais afundo o assunto eu descobri que é exatamente isso o que acontece. O lado esquerdo de nossos cérebros é o lado mais racíonal e também é o lado dominante, o que é estímulado na maioria das pessoas através do raciocínio lógico (cartesiano, sequêncial, linear) deixando o lado direito menos desenvolvido o que afeta diretamente a imaginação criativa, a intuição, a capacidade de síntese e facilidade de memorizar. Para equilibrar os dois hemisférios, você pode estímular o seu lado direito e então sentir a atividade do lado direito de seu cabeça. Estudos comprovam que a música New Age diminui o ritmo cerebral, contribuindo para que haja equilíbrio entre os dois hemisférios o que causa as condições propícias para o aprendizado e também atividades artísticas e criativas.

Ouça a música abaixo e comprove!

“It is indeed a conundrum,” Master Tokuyazamo said in his soft, almost inaudible voice. His was as a whisper; one strained to hear the words, and in the very act of straining, the dichotomy between the word and the sound of the word was often split in half, as the two wings of a butterfly rise to become one, then to part with a fluidity of colors, and as when one’s imagination of what was said, what one thought was said, and what must have been said, often becomes a mystery. His pupils, gathered in a semi-circle, all cross-legged in meditative posture, leaning ever so slightly, wide-eyed and ranging from ages 6 to 15, with an eagerness that made him smile with youthful glee. For, who was the child, the Master or the pupil, the withered hands of an old man or the fumbling feet of a gangly boy? Was it the mind which determined the age, or the weathered hands, leathery and sunburned, of he who planted the rice fields carved in the sculptured steps of the Totoyama district? On a linear spectrum, his life was arriving at the entrance of the exit; he did not view the convergence of being, time and the soulful call of his yearning mind in such an unbending fashion. And, perhaps that was the paradigmatic problem when the Jesuit gai-jin had visited his sanctuary, the Monastery which had been his home, his garden, his peaceful center of solitude which he tended as a gardener cares for the exotic in that moment of bursting revelatory fragrances when the flower opens the fullness of its beauty, only to reach its pinnacle of being, and then to wilt, wither and die; but for that mysteriously delightful, brief moment, and that is how he viewed his monastic temple, where he swept the rock gardens with such care and precision, where each pebble was a droplet in an ocean of singularity, but at the hands of the Zen Master, pebble upon pebble became a work of art. Ah, but what incisiveness, and that sharp mind, and to have reached such heights of knowledge only to be a lowly sweeper of pebbles? Was the servant not the God of the gai-jin? Would it that he was happier as the carpenter’s son, than a sweeper of pebbles in a Zen garden?

But the Jesuit gai-jin had insisted upon doctrine; he pointed to his sacred Book, and translated for him the wise words of his master, who was God and Man all at once. He could not deny the truth, for the words fit beautifully; the logic of God was irrefutable; the parables were insightful and profoundly moving; but in the end, it was the insistence in his voice which marked the rudeness of his teaching. And, moreover, the cross was too rigid, and did not flow as life must. A river winds through the soil and finds the bend of the rocks, smooths the hardness of creation, and whittles away at the rough edges. So must the words of persuasion, and while he could sense the softness of the voice of that God of Palestine, the harsh tone of the gai-jin grated upon him, and the manner in which he grasped at the wooden cross hanging from his neck on a leather chain, his stubby fingers clasped and somehow unable to encircle the horizontal piece of wood which seemed to jut out discordantly in an abrasive, offending manner; it was unlike the waving bends of the ink of Sumi-e, where life flows as a stream of quietude, curving and dancing and adapting to nature’s winding pathways. Was it so personal? Was the dislike of the gai-jin the basis of his refutation? But that enlightenment would defy such pedantic reasons, but being human, oh so human, meant otherwise.

His pupils wanted answers.

“A story!” Saburo, the abandoned boy left at the stone steps leading to the temple gates at the age of 4, shouted with gleeful abandonment.

“Yes, a story!” joined in the chorus of other boys.

Roshi Tokuyazamo played his best to put on a look of censure and reproof; eyebrows furrowed, his right arm cocked stiffly against the flow of art, elbow up with palm against his thigh, he grunted with disapprobation. “Have you all … lost your sense of decorum?” he roared, narrowing his eyes with exaggerated fierceness, jaw jutting outward, his lips pursed. Nevertheless, his voice still was barely audible.

Silence befell the youthful sea of eager looks. Furtive glances askance; quiet, and deathly silence; then, from the depths of the youngest, a giggle, uncontrollable, squeaking upward until it could not be contained; and the single burst of air restrained, broke forth, and then another, and another, and soon the sea of youthful semi-circle roared into a singularity of unrestrained giggling, until some of the older boys who were still unsure of their position as young elders before the Master, as examples to behold in their position as students before the learned and wise one, smiled hesitantly, until the giggles turned to open laughter, the laughter into guffaws of boisterous untidiness in a temple of Zen. The Master cleared his throat, himself unable to contain the wrinkle of his lips. “Well, then,” he said. “Since decorum cannot be attained, perhaps a story must be told!”

Immediate silence befell the youthful pandemonium, as an axe falls, so laughter is shattered, and silence overwhelms. For to hear a story from Master Tokuyazamo was to learn a lifetime of lessons, one which went beyond decorum, beyond laughter, and beyond self.

The Master spoke: In the rocky pathways of the countryside, deep in the valleys of the Koishi Mountains, where the tributary of the Saitomo, Shinshiro and Kotaichi rivers converge, a stranger ventured unknowingly into the valley of the ronin, where bandits roamed the countryside. The stranger was attacked, robbed, stripped of his earthly possessions, then thrown down into a deep pit, the barren bowels of the earth, where he was left to die. For days he cried out, calling for help. It rained. He cupped his hands and, crippled and unable to stand, he whimpered like a dying mongrel, sipping upon the scarce handfuls of rainwater to extend the life that was no longer his to determine.

Master Tokuyazamo looked slowly around the semi-circle of young faces. Each of the faces revealed a stern serenity, a mask of serious concern; of them, he had a heart for Saburo, of that youth who, though never to be learned or wise, would have the heart of a man to feel the pain, and pain of others was often the pathway to enlightenment. This, few would understand.

He continued: From whence the Saitomo River flowed, a religious figure walked. The holy man of the Saitomo Province heard the mongrel’s whimpering, and at the mouth of the pit, he looked down and saw the dog of a man, half alive, famine-stricken with sunken eyes — and their eyes met. But it happened to be upon a day when God had set such a day apart, where human exertion was not allowed, the sacred laws of doctrine prevented the holy man from helping and…

“But, how could that be, Master!” came an interrupting shout from the semi-circle of youth. A loud chorus of “Shhh!” and “Shush!” and “Quiet!” and such reprimands quickly encircled the semi circle.

The holy man walked around and started away, saying to the dying figure below, “I will pray for you.”

Then, almost immediately upon the fading footsteps of the first holy man, from whence the Shinshiro River flowed, another religious figure walked. The holy man of the Shinshiro Province also heard the mongrel’s whimpering …

“But what about the first holy man – he cannot have been that holy to begin with!” blurted out a voice of youthful exuberance with an undisguised harrumph, only to be again shushed and reprimanded.

This holy man from Shinshiro Province viewed the world as merely the dream of a butterfly, and had achieved a state of cognitive and physical presence, or non-presence, as you might say, that only a Master of such Arts could achieve…

Silence. For, in the youthful semi-circle, even the exuberance of impatience inherent, wanting to burst forth, and helplessly unrestrained in the fertile minds of those lacking in years, could nevertheless recognize that this second holy man was a reflection of the temple pond. No chastisement was required, because the self-reflecting pool of thoughts and recognition, and the anticipation of hearing the story lead to a triumphant declaration of the feats and legendary discoveries and conquests at the hand and mind of the Master from Shinshiro Province, awaited with eager and hungry eyes. The Roshi surveyed the faces of inexperience and naivete, and smiled ever so slightly, as appearance paralleled the inaudible, and with wan acceptance, continued:

This second holy man was considered by many to be wise, though wisdom was always of a fleeting nature, as the soft film left behind when a man holds the wings of a butterfly in his hands. Ever the fragile being, the soft fluttering, yet when the predator snatches upon its wings and destroys a large portion, nevertheless the strength of the butterfly can tear itself away, partially destroyed and torn; yet, even then, the butterfly can continue to navigate skillfully for the remainder of its days with the aid of its antennas and adapt to its malformed and crippled essence; for neither the essence nor the being of the butterfly is defined by its wings, but rather the inner strength which propels its beauty, its dominance, and the dreams of those who fathom a world and universe apart from pain and pleasure. And, as the butterfly denotes the essence of this universe, so the Master from Shinshiro Province contained nothing more than the dream of the butterfly; for in the chasm where the suffering of such a man, gaunt with hunger, crying out with pleas for help, for pity, for…love. But if the nothingness is of no greater value than the mongrel, if pain is no more of reality than the one who feels the pain; if dreams converge in a world where that which appears is of no greater substance than that which is, then love cannot be of much consequence. The Master from Shinshiro Province looked down upon the blackness of the pit, and into the eyes of this pitiful, pitiable human mass of insignificance, and despite his wisdom, his age, his enlightened state of being, he could offer no help, because he could not feel the love of pain which the man below experienced. And so he turned his back and walked away…

“Good for him!” came a shout of triumph. The Roshi had his head bent downward, but his head tilted ever so slightly to spy upon the source of the statement. It was not Saburo, and for this he was glad. It was instead the fat boy, Kitaro, who sat with his arms crossed, fists beneath each opposing armpit, head tilted backward with an air of arrogance and triumph. “The man deserves to die for being so stupid! In any event, it will teach him to meditate and accept his fate with grace and dignity!”

Now, with silent footsteps came another holy man – from the flowing Kotaichi River, where is it said that the soft breath of the gods push the warm waters of the river, in such purity of rushing sounds that the animals from all of the surrounding provinces make their way up the extra mile to drink from its banks. Now, this holy man was somewhat peculiar; he wore a cross which hung from his neck -

Without looking, the Roshi could sense the faces of disdain sweep about the semi-circle – but for one.

He was what we call a Krish-chan, a gai-jin. Now, this holy man, upon hearing the whimpers of the dying man, immediately ran to cut some vines off of the trees, weaving the thickest of the wild vines into a triple-weave, and created a rudimentary but sturdy rope, fashioning a loop at the end, and lowered it down to help the man. After patiently prodding, directing, and with a gentle voice of encouragement, he was able to coax the weak and dying man to place the loop around and under each arm, and with that, the holy man pulled him ever so delicately up to the mouth of the pit. As he pulled, however, what he and the dying man were unaware of suddenly turned the circumstances of impending triumph into an unexpected tragedy. But of course, all of you boys know of this, do you not? For to think of life as mere pleasure and joy is to leave the other half undone; and to view the world of circumstances as a trifle of misery and hardships is the ignore the first half as unfinished; and so it is that life must always be a completed circle; and just as the wings of a butterfly do not constitute the essence of its being, so to expect life only as a vision of triumphs is to live only a half-life. In the deep crevice of the black pit was a nest of poisonous snakes, and as the half-man of a mongrel reached to steady his ascent to life, the fangs of fate struck, vipers of deadly venom, shooting death into the veins of the mongrel. He screamed. He jerked back in excruciating pain, pulling the rope-vine away from the grasp of the Krish-chan, and falling with a dull thud back into the blackness of the death-pit, whimpering as only a weakling could muster from the depths of a depraved and ravaged soul. The desperate, resigned and desolate sobbing of the poor, pitiful mongrel echoed from below, from the depths of darkness, with a despair of submission and surrender so profound, that the Krish-chan at first thought that it must, indeed, be another creature – a dog in pain, perhaps, downriver. He quickly realized, however, that the vine he held in his hands had burned and sliced his palms open, and he felt the sting of bleeding, and the momentary disparity and interlude between seeing the blood forming in clotting pools in his cupped hands, facing upwards toward the blazing sun, and the rush of pain which came thereafter to merge and coalesce into the knowledge that he had lost the one he was attempting to save. The sun was slowly fading into the unknown of the other world, that world between twilight and the ethereal red dusk of the mountain provinces. It is said that the tributary deep in the Koishi Mountains was where the goddess of beauty wept because, in a moment of anger, she looked down into the depths of the still waters and saw the darkness of her own heart, and realized that beauty is indeed but a fleeting figment; and in that instance the essence of beauty became shattered, man became revealed, and the knowledge that man was merely mortal became an undeniable truth. Ah, but that the pool of blood forming in the gai-jin’s hands could bring such clarity as the brightness of the red mountain dust in the dusk of the Koishi Mountains! Are we such saps that we believe that Zen is the only way to truth? Bah!

There was, indeed, curiosity in the faces of youth – even in the titled head of Kitaro. He stole a glance towards Saburo – were they eyes of tears? He could not tell. Whether of tears or merely of lost thoughts, or whether he merely wished that the boy would feel such pathos revealing wisdom in such tender years, he could not discern. He continued:

And so the gai-jin was lost.

Harrumph! came the huffiness from the direction of Kitaro. The Roshi pretended not to notice. In the blackness of the pit below, as the sun was setting and the gods of shadows appeared in a realm of mirroring Kabuki movements, where figures danced in the periphery of one’s imagination simultaneously as fear and foreboding clash in a war of the real, the dreaded, and the trickling sweat of fear, the gai-jin could smell the sweat of his body, mixed with the blood on his hands, and as he peered downward, he could barely make out the figure of the whimpering man. And, indeed, the man was crouched in a grotesque curl of fetal hugging, but whether on his back with his legs up, or on his knees tucked beneath, he could not tell, but the shadows of darkness playing tricks of skeletal outlines, blurring the boundaries between form and substance, as a cross might bear a crucified man but lost in the starkness of the wooden pillars. The sobbing heaves of the dying man bounced within the echo chamber of the rocky pit, and as the venom coursed through the veins of this mongrel, the Krish-chan looked down. Without a sound, he crouched close to the mouth of the pit, and slid down the deep throat of the seemingly bottomless chasm of darkness. He was lithe and skillful enough to land away from the crippled body, now rasping for life. He could smell the stench of impending death. He knelt beside the dying man, and cradled the limp body in his arms. “Holy man,” the dying mongrel rasped, “what are you doing? There is no rope, no way for you to return…”

I am here to comfort you, said the holy gai-jin.

What kind of a man are you? rasped the dying mongrel.

I am merely an ordinary man, who has an extraordinary Lord. As my Lord washed the feet of sinners, so I am here to give you comfort during your last moments of life in this world. For the comfort I may give to you this moment does not begin to compare with the suffering and sacrifice of my Lord, who died because of the abundance of His Love.

Silence. It is always the unspoken word which reveals the essence of being. For, it is words which create a conceptual, parallel universe, that which serves as the skin of the lizard; but for the elegance of a butterfly, whose silent folding wings leave but a residue of the warm breath of gods, Saburo was silently sobbing; but on the other side, to the triumph of the Roshi, it was Kitaro who had turned aside to wipe a single tear which had found the tributary of pores, as the rushing waters of the Kotaichi River grew louder and the soft flutter of a butterfly’s dream faded into the distant echoes of man’s soul, deep in thought, in prayer, and in silence.

Source : Bluray
Video Bitrate: 5413 kbit/s
Audio : English AC3
Rars : 94×50mb
imdb : http://www.imdb.com/title/tt0879812/


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~*♥*~Kitaro – Theme From Silk Road~*♥*~

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Hello my sweet friends. Hope this finds you all well.. I want to Thank all of you for the Love and Support you have given me and for the time you all take to watch all my videos, rate them and for leaving me your kind, generous comments and messages.. Ty for your friendship and for making a DIFFERENCE!!.. WE ARE ONE!! Much Love, Peace, Love & Light.. Huggies Kassandra

Sekitar tahun 1995 yang lalu saya mulai menyukai artis yang namanya Kitaro. Musiknya itu seperti membawa kita ke negeri “entah berapa”… Kitaro berjenis musik New Age yang biasanya digunakan untuk musik relaksasi, inspirasi, meditasi atau yoga. Meskipun ada kontroversi tentang fatwa MUI yang menyatakan bahwa yoga itu haram, tapi menurut saya yang ga begitu ngerti tentang hal-hal tersebut, semua itu tergantung bagaimana cara kita menyikapinya, positif atau negatif.

Ketika  kita menikmati musik ini, kita serasa diajak bersatu dengan alam sekitar disertai alunan suara instrumen elektronik yang kadang-kadang dilengkapi dengan bunyi-bunyian seperti ombak, angin, dll., terutama terdapat pada album-album terdahulu. Nah, kita dapat menyikapinya secara positif, bahwa kita diajak bersatu dengan alam yang merupakan ciptaan Allah SWT. Dengan demikian mungkin kita dapat mengagumi dan merenungi atau mentafakkuri kebesaranNya.

Tapi ga boleh salah paham dulu ya, soalnya tafakkur itu bukan berarti meditasi lho, karena menurut saya, tafakkur itu adalah berfikir atau merenungi tentang alam ciptaan Allah SWT., biasanya  disertai dengan dzikir (maaf kalo penjelasan saya ini salah), sedangkan meditasi itu adalah mengosongkan fikiran, dan hal tersebut dilarang dalam Islam. Dan lagi, bahwa tentu saja dzikir dalam tafakkur itu tidak dapat disatukan dengan musik. Lalu gimana donk? Ya terserah masing-masing deh, karena dalam tulisan ini saya tidak akan menjelaskan hal tersebut dari sudut pandang agama, karena hal itu diluar kemampuan saya (jujur…). Tapi bagi umat muslim, mendengarkan murottal Al-Qur’an tentu merupakan solusi yang paling baik.

Lagu favorit saya adalah Towa No Michi atau Everlasting Road.

Dibawah ini adalah biodata serta diskografi dari Kitaro. Referensi selengkapnya temen-temen bisa lihat di http://id.wikipedia.org/wiki/Kitaro atau http://en.wikipedia.org/wiki/Kitar%C5%8D. Bagi yang seneng ngedonlot, beberapa album bisa dicari di http://rapidlibrary.com atau http://www.4shared.com. Nah, selamat ngedonlot dan menikmati. SATU HAL YANG PENTING…!!!  JANGAN MENDENGARKAN MUSIK INI SAMBIL TIDUR….!!!, karena kalo sambil tidur mana bisa kedengeran…he..he..gariiing ahhh…..

Biodata:
Nama : Masanori Takahashi
Lahir : Toyohashi, Prefektur Aichi, Jepang, 4 Februari 1953

Genre : Instrumental Elektronik, New Age

Album:
An Ancient Journey
Ancient
An Enchanted Evening
Ashu Chakan (Asian Cafe)
Asia
Asia Tour Super Live
Asian Cafe
Astral Voyage Aka Ten-Kai
Best Of Kitaro
Best Of Kitaro II, The
Best Of Kitaro III, The
Best Of Kitaro Vol.1
Best Of Kitaro Vol.2
Best Sixteen Hits, Kitaro’s
Best Collection
Best Of Silk Road (rar: part1, part 2)
Best Of Ten Years (rar: part1, part2)
Cave Down To Earth, The
Cirque Ingenieux
Cloud
Dansu
Dream
Endress Journey
Far Out
Essential Kitaro, The
Essential Collection, The
Essential Collection II, The
Freedom Chants
From The Roof Of The World
Full Moon Story
Gaia-Onbashira (rar: part 1, part 2)
Gyuto Monks (rar: part 1, part 2)
Healing Forest
Heaven And Earth
India Aka Ten-Jiku
In Person Digital, Kitaro
Journey To The Heart I
Journey To The Heart II
Journey To The Heart III
Journey To The Heart IV
Karuna
Ki
Kitaro Best
Kitaro Special
Kitaro’s World Of Music
Kojiki
Lady Of Dreams
Light Of The Spirit
Live In America
Live In Osaka
Mandala
Millennia, Aka Queen Millennia
Mizu Ni Inorte
Music For The Spirit
Music For The Spirit Vol, 2
Music For The Spirit Vol. 3
Music For The Spirit Vol. 4
My Best
Nile
Nipponjin
Noah’s Ark
Oasis
Parallel World
Peace On Earth
Sacred Journey Of Kukai
Sacred Journey Of Kukai Vol. 2 (rar: part 1, part 2)
Sacred Journey Of Kukai Vol. 3
Shikoku 88 Places (rar: part 1, part 2) password: kold9.com
Silk Road
Silk Road Collection
Silk Road Vol. 1
Silk Road Vol. 2
Silk Road Suite (rar: part 1, part 2) password: kold9.com
Silver Cloud
Soong Sisters, The
Spiritual Garden
Super Best
Tamayura
Tenku
Thinking Of You
Tokusen 1 + 2 (rar: part 1, part 2)
Tonko
Toward The West
Tunhuang
Twin Best
World Of Kitaro, The
Yakushi-Ji

The epitome of spaced out music. Used to sleep to this one and Paul Winter’s Callings every single night. Put this on and drift.

An electronic masterpiece.

Try

The epitome of spaced out music. Used to sleep to this one and Paul Winter’s Callings every single night. Put this on and drift.

An electronic masterpiece.

Try

Ki-1979

Sensitively woven, tranquil textures of sound wash through the mind of the listener on this album from sound master Kitaro. The instrumentation includes synthesizers, slide guitar, mellotron, percussion, tabla and Irish harp.

Tracklist:

1 – Revelation
2 – Stream Of Being
3 – Kaleidoscope
4 – Oasis
5 – Sun
6 – Endless Water
7 – Tree
8 – Cloud In The Sky

part 1

part 2

Rar pass: kold9.com

Click

Kitaro  seorang handal memainkan instrumen yang enak didengarkan telinga ia berasal dari  jepang seorang instrumen terkenal. Sewaktu di SMU ia menyukai musik Soul dan Rhythm & Blues. Ia belajar bermain gitar listrik dan pentas dengan band-nya Albatross.
Pada masa itu ia sangat dipengaruhi oleh Otis Redding, seorang pemusik R&B . Rhythm and blues mempunyai suatu kedalaman emosi.
Penonton merasakan emosi yang sama dari msuik saya. Musik saya bukan rhythm and blues tetapi terasa seperti soul.”
Pada awal tahun 1970-an ia sama sekali berganti haluan dan bermain keyboard. Ia bergabung dengan “Far East Family Band” dan mengadakan kunjungan keliling dunia bersama band tersebut.
Di Eropa ia bertemu dengan pemusik synthesizer Jerman dan salah satu pendiri Tangerine Dream, Klaus Schulze. Schulze memproduksi dua album untuk band itu, dan memberikan beberapa petunjuk kepada Kitaro tentang bagaimana menggunakan synthesizer.
Pada 1976 ia meninggalkan band itu dan berkeliling di Asia (Tiongkok, Laos, Thailand, India).
Kembali ke Jepang, Kitaro memulai karier solonya pada 1977.
Dua album pertamanya Ten Kai dan From the Full Moon Story menjadi favorit para penggemar dari gerakan Zaman Baru yang baru saja lahir.
Tetapi musik untuk seri film NHK “Silk Road”lah yang terkenal, yang membuatnya menjadi perhatian dunia internasional.
Ia menandatangani perjanjian distribusi di seluruh dunia dengan Geffen Records pada 1986. Pada 1987 ia bekerja sama dengan berbagai pemusik, misalnya dengan Micky Hart (Grateful Dead) dan Jon Anderson (Yes) dan penjualan rekamannya melangit hingga 10 juta kopi di seluruh dunia.
Selain itu, ia dinominasikan dua kali untuk Grammy dan musik iringannya (untuk film “Heaven & Earth”) memenangi hadiah 1994 sebagai karya musik orisinal terbaik. Sukses musiknya yang terbesar adalah Hadiah Grammy 2001 untuk albumnya Thinking of You.
Kitaro adalah seorang bintang, tetapi ia sangat sederhana. “Alam mengilhami saya. Saya hanyalah seorang utusan,” katanya. “Bagi saya, sebagian lagu bagaikan awan-awan, sebagian lagi bagaikan air.” Sejak 1983 penghargaannya akan alam membuat Kitaro setiap tahun mengucap syukur kepada Ibu Pertiwi dalam sebuah “konser” khusus di Gunung Fuji atau di dekat rumahnya di Colorado.
Pada saat bulan purnama di bulan Agustus, ia memukul drum Taiko dari senja hingga fajar. Seringkali tangannya berdarah-darah, namun ia terus memukul.
kitaro memang seorang yang mempunyai jiwa seni yang sangat besar walaupun ia udah terkenal tetap masih kayak yang dulu.
Dari 1983 hingga 1990 ia hidup bersama istrinya yang pertama, Yuki Taoka. Yuki adalah anak perempuan Kazuo Taoka, godfather dari Yamaguchi-gumi, sindikat Yakuza terbesar.
Kitaro dan Yuki mempunyai seorang anak laki-kali, Ryunosuke, yang tinggal di Jepang. Mereka berpisah karena Kitaro bekerja umumnya di Amerika Serikat, sementara Yuki tinggal dan bekerja di Jepang.
Pada pertengahan 1990-an Kitaro menikah dengan Keiko Matsubara, seorang pemusik yang bermain pada beberapa albumnya. Dengannya dan anak laki-lakinya, Kitaro hidup di Ward, di pinggiran Boulder, Colorado (AS) di sebidang tanah yang luasnya 730,000 m²) dan mengarang lagu-lagunya di studio rumahnya “Mochi House” yang luasnya 230 m² (cukup luas untuk menampung sebuah orkestra dengan 70 orang pemain).
Begitulah Kitaro.
yang bikin kita sangat hayut dalam memainkan musiknya adalah yang berjudul “caravansary” lagu ini eank ditelinga.

Hey folks,

Beside video games, anime, horror movies, and Math, I also enjoy music. In fact, with my limited talent in the field, I can somehow play several pieces on my keyboard, yet only at the amateur level. Regardless, in today’s post, I’d like to introduce a genius musician, Kitaro.

Kitaro real name is Takahashi. Hes a Grammy award-winning musician that can play professionally on many type of instrument. I heard that in the beginning of his career, the guy taught himself how to play the guitar, then keyboard, then drum, then bass… (omg, they guy alone covers all the core positions in a band…)

Well, by looking at him, I have an impression of a homeless guy with really long and messy hair, or a tengu in Japanese mythology… However, the guy’s music rocks. Anyway, check out one of my favorite pieces, Matsuri by Kitaro

Did u all see how the guy jamming his THREE OR FOUR keyboards, and how he jumping up and down in the stage… Thats just so awesome…

Want more? Try this then… this is more about meditating music, good for listening at night when u cant sleep, but its still awesome

Thats it for this post, enjoy the music, folks.

Bonjour

voici notre nouvelle vitrine,remplie de monstres, de fantômes et autres revenants !!

vous pourrez venir voir notre sélection de livres, jeux et bidules que nous avons sélectionné avec soin,

comme Shrek de William Steig ( Albin Michel Jeunesse)

http://www.williamsteig.com/

ou bien le dernier Kitaro de Shigeru Mizuki au éditions Cornelius

http://www.cornelius.fr/

ou encore le grand album de Marie Caudry et Gauthier David,Venez nombreux, éditions Albin Michel Jeunesse

http://mariecaudry.blogspot.com/

pour ce qui est des bidules, que nous aimons tant, nous avons un nouveau fournisseur complêtement dément!!! ahahahahah

Nous vous avons déniché des nouvelles petites marionnettes à doigts monstres, des figurines zombies, des taille-crayon nez où la narine devient abrasive !

nous vous accueillerons aussi pour pousser quelques cris de joies en vous montrant nos nouveaux pansements LICORNE, pirates et plaies verte

et tout le reste car nos arrivages sont constants.

à bientôt