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Lorraine Sakata

Biographic Data

ID158473
NAMELorraine Sakata
GIVEN NAMESLorraine
FAMILY NAMESakata
SIGNATURESAKATA L
AFFILIATIONSUniversity of Washington
VERIFIEDNo
TOTAL WORKS10
TOTAL CITATIONS0
AUTHOR COUNT10
EDITOR COUNT0
FIRST PUBLICATION YEAR1966
LATEST PUBLICATION YEAR1999
H-INDEX0
  • Madahkhani, Ghazalkhani, Dafsaz

    Lorraine Sakata, Jan Van Belle•ARTICLE•Yearbook for Traditional Music•1999

  • The World of Islam, Images and Echoes

    George Dimitri Sawa, Ellen-Fairbanks Bodman et al.•ARTICLE•Ethnomusicology•1987

  • A Report on the Available Recordings of Middle Eastern Music in the United States

    Open Access•Lorraine Sakata, Charlotte F Albright et al.•ARTICLE•Middle East Studies Association…•1978

    Recordings of Middle Eastern music are too numerous to list and discuss individually here, but certain exemplary recordings and labels will be noted in this report. Generally speaking, there are two types of recordings of Middle Eastern music available in the United States. One type is intended for general audiences and includes popular music sung by internationally known singers such as Um Kalthum and Fairuz, and orchestral ensembles playing wha…

  • Music in the Karakorams of Central Asia

    Lorraine Sakata, David Lewiston•ARTICLE•Asian Music•1977

  • The Concept of Musician in Three Persian-Speaking Areas of Afghanistan

    Lorraine Sakata•ARTICLE•Asian Music•1976

    It is not surprising then, to find that the concepts of musician in all three areas are based on the assumption that entertainment music is religiously unpraiseworthy because of its associations with activities specifically prohibited by religion such as the drinking of intoxicating liquors, adultery, and gambling. Therefore, the musicians themselves are suspect and looked down upon by other members of traditional society. Although not all musici…

  • Afghanistan

    Lorraine Sakata, Peter Ten Hoopen•ARTICLE•Asian Music•1974

  • Afghanistan

    Lorraine Sakata, Verna Gillis et al.•ARTICLE•Ethnomusicology•1974

  • The Music of Afghanistan

    Lorraine Sakata, Mark Slobin•ARTICLE•Ethnomusicology•1974

  • Folk Music of Afghanistan

    Mark Slobin, Tom Sakata et al.•ARTICLE•Ethnomusicology•1973

  • The Comparative Analysis of Sawari on the Shamisen

    Lorraine Sakata•ARTICLE•Ethnomusicology•1966

    The shamisen is a long-necked, spiked lute from Japan. Like its Chinese ancestor, the san-hsien, the shamisen has three silk strings and a body covered with skin. Because the first Japanese shamisen players were biwa players, several important changes were made. Players began to use the plectrum used for the biwa instead of their fingers to pluck the instrument and found that the snake skin could not take the heavy blows of the plectrum, thus cat…

No prominent works on this page.

  • The Comparative Analysis of Sawari on the Shamisen

    Lorraine Sakata•ARTICLE•Ethnomusicology•1966

    The shamisen is a long-necked, spiked lute from Japan. Like its Chinese ancestor, the san-hsien, the shamisen has three silk strings and a body covered with skin. Because the first Japanese shamisen players were biwa players, several important changes were made. Players began to use the plectrum used for the biwa instead of their fingers to pluck the instrument and found that the snake skin could not take the heavy blows of the plectrum, thus cat…

  • Folk Music of Afghanistan

    Mark Slobin, Tom Sakata et al.•ARTICLE•Ethnomusicology•1973

  • Afghanistan

    Lorraine Sakata, Peter Ten Hoopen•ARTICLE•Asian Music•1974

  • Afghanistan

    Lorraine Sakata, Verna Gillis et al.•ARTICLE•Ethnomusicology•1974

  • The Music of Afghanistan

    Lorraine Sakata, Mark Slobin•ARTICLE•Ethnomusicology•1974

  • The Concept of Musician in Three Persian-Speaking Areas of Afghanistan

    Lorraine Sakata•ARTICLE•Asian Music•1976

    It is not surprising then, to find that the concepts of musician in all three areas are based on the assumption that entertainment music is religiously unpraiseworthy because of its associations with activities specifically prohibited by religion such as the drinking of intoxicating liquors, adultery, and gambling. Therefore, the musicians themselves are suspect and looked down upon by other members of traditional society. Although not all musici…

  • Music in the Karakorams of Central Asia

    Lorraine Sakata, David Lewiston•ARTICLE•Asian Music•1977

  • A Report on the Available Recordings of Middle Eastern Music in the United States

    Open Access•Lorraine Sakata, Charlotte F Albright et al.•ARTICLE•Middle East Studies Association…•1978

    Recordings of Middle Eastern music are too numerous to list and discuss individually here, but certain exemplary recordings and labels will be noted in this report. Generally speaking, there are two types of recordings of Middle Eastern music available in the United States. One type is intended for general audiences and includes popular music sung by internationally known singers such as Um Kalthum and Fairuz, and orchestral ensembles playing wha…

  • The World of Islam, Images and Echoes

    George Dimitri Sawa, Ellen-Fairbanks Bodman et al.•ARTICLE•Ethnomusicology•1987

  • Madahkhani, Ghazalkhani, Dafsaz

    Lorraine Sakata, Jan Van Belle•ARTICLE•Yearbook for Traditional Music•1999

History (8 works) · Art (6 works) · Politics and Conflicts in Afghanistan, Pakistan, and Middle East (6 works) · Ancient history (3 works) · Visual arts (3 works) · Diverse Musicological Studies (2 works) · History (2 works) · Islamic Studies and History (2 works) · Literature (2 works) · Psychology (2 works)

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