关于介绍日本的英语文章
日本多火山,多地震,是自然灾害频发的国家。在这种环境中生活的日本人形成了纤细敏感的性格,他们时感人间万物变化无常。下面是学习啦小编带来的关于介绍日本的英语文章，欢迎阅读!
关于介绍日本的英语文章篇一
11个震惊外国游客的日本习俗
Japan has a unique culture with a very strict code of etiquette.
日本有着独特的文化和严格的礼仪。
]There are specific ways to eat noodles, good practices for accepting gifts, and certain rules to follow to avoid insulting a host.
吃面条也有着特殊的方法，收礼物也要有好的方式，更别说要遵守一些规则避免侮辱招待你的人了。
This complex web of social rules and traditions can be overwhelming for those traveling to Japan, so we compiled a list of some of the things foreigners find most shocking when visiting the country.
这个复杂的社会规则和传统网可能会让一些刚来日本的人觉得倍受打击，所以我们制作了一个的表单囊括了那些会让外国人震惊的规则。
Here are 11 customs you should know before traveling to Japan.
这里是你去日本旅行之前需要知道的11项习俗。
1. No. 4 is avoided at all cost.
尽量避免数字4。
In Japan, the number "four" is avoided because it sounds very similar to the word for death. In the same vein as No. 13 in Western culture, No. 4 is extremely unlucky and is used as little as possible. You must always avoid giving anyone something in fours because it can be seen as a very ominous gift.
在日本，数字"4"因为听起来像"死"字所以被尽量避免。就像西方文化避免数字"13"一样，"4"代表着极端的不幸。你必须避免给别人"4"样的东西，因为它是不详的礼物，
Elevator labels will often be missing a fourth floor — and in extreme cases, they will not have floors 40 to 49. No. 49 is especially unlucky, as it sounds similar to the phrase that means "pain until death."
电梯标签经常会刻意忽略第4层，在极端的情况下，楼内不会有40到49的楼层。而49被认为是特别不幸运的，因为它听起来像"痛苦至死"。
The practice of avoiding No. 4 is called "Tetraphobia," and it is common in many East Asian and Southeast Asian regions.
避免"4"的习俗被称为"四的禁忌"，这在很多东亚和东南亚地区十分常见。
2. Blowing your nose in public is considered rude.
在公共场所擤鼻子是十分粗鲁的行为。
Blowing your nose in public is seen as not only rude, but simply disgusting. Instead people will general ly sniffle until they find somewhere private. If you simply must blow your nose, it is recommended that y ou do so as discreetly as possible.
在公共场所擤鼻子不但会被认为十分粗鲁,还会让人觉得十分恶心。通常人们会吸着鼻涕直到找到一个私密的地方。如果你必须要擤鼻子，建议你做得越小心越好。
The Japanese are also repelled by the idea of a handkerchief.
曰本人也很抗拒手帕这种东西。
3. Tipping can be seen as insulting.
给小费会被认为是侮辱。
Tipping is considered rude 8imdash; and can even be seen as degrading. Tipping will oftencause confusion ,and many people will chase after you to give you back your money.
给小费是很粗昔的，也会被认为是故意侮辱人。给小费通常会令人感到糊涂，而很多人会追着你把钱还给你。
If someone has been particularly helpful and you feel absolutely compelled to leave a tip. RoughGuides suggests leaving a small present instead
如果你真的对某些帮了你大忙的人特别感激而一定要给他小费,我们建议你留下一份小礼物吧。
4. Walking and eating is seen as sloppy.
边走边吃会被认为很邋遢
Although walking and eating is often convenient and widely accepted in many Westerncultures, the practice is looked down upon in Japan. Many also consider it rude to eat in publicor on the trains.
虽然边走边吃在很多西方国家都是方便且可以接受的行为，日本人却瞧不起这些行为。很多人认为这同样是粗鲁的表现，特别是在公共场合或者火车里吃东西的时候。
There are just a few exceptions to this rule, including the fact that it is OK to eat an ice-creamcone on the street.
但这个规则也有几个例外，包括在街上吃冰淇淋甜筒是没问题的。
5. There are designated people who will push you into a crowded subway car.
有特定的人会把你推进拥挤的地铁里。
Oshiya, or "pushers," wear uniforms, white gloves, and hats and literally push people into crowded subway cars during rush hour.
Oshiya或者是“助推员”，他们穿着制服，白手套还有帽子，如字面的意思会在繁忙时段把人推进拥挤的地铁里。
They are paid to make sure everybody gets in and doesn't get caught in the doors.
他们被请来确保所有人都能上车而不被车门夹到。
6. People will sleep on the trains with their head on your shoulder.
其他人会把头靠着你的肩膀睡觉。
If someone in Japan falls asleep with his or her head on you shoulder, it is common practice to just tolerate it. People have very long commutes and work dreadfully long hours, so many will often fall asleep on the train.
在日本如果有人把头靠着你的肩膀睡觉，这是很常见的事情，而你最好学会忍受它。日本人从工作地点回家要很长的时间，而他们已经很累了，在火车上经常有人睡着。
"There is a tolerance that if the person next to you falls asleep and their head kind of lands on your shoulder, people just put up with it," Sandra Barron told CNN. "That happens a lot."
“如果有人在你旁边睡着而且把头靠在你的肩膀上，大家通常都会忍受这种为。”Sandra Barron告诉CNN。“这经常发生。”
7. There are toilet slippers for the bathrooms.
有厕所专用的拖鞋。
It is customary to change into slippers when entering a Japanese home, a traditional restaurant, temples, and sometimes museums and art galleries, according to Rough Guides. Basically any time you come across of row of slippers in Japan, you should just put them on.
进日本屋子、传统餐厅、庙宇和一些博物馆艺术馆之前换拖鞋是惯例。基本上你只要看见拖鞋，穿上它就对了。
There are even special toilet slippers kept inside the bathroom, so you'll take off your house slippers and put on the toilet slippers.
甚至于厕所也有专用的拖鞋，所以你需要脱下家居拖鞋换上厕所拖鞋。
8. You must always bring a host a gift.
你需要经常预备礼物给招待你的人。
It is an honor in Japan to be invited to someone's home, and if this happens, you must always bring a gift. The gift should also be wrapped in the most elaborate way possible, and lots of fancy ribbons are suggested.
在日本被请进别人家里是个荣耀，如果这真的发生了，你需要带个礼物。礼物应该被精心包裹，最好再加上饰带。
You should also never refuse a gift once offered — but it is good practice to strongly protest the gift at first.
你也不应该拒绝一份礼物，但在收下之前推辞一番也是必要的。
9. Pouring you own glass is considered rude.
给自己的杯子倒酒被认为是粗鲁的。
It is customary in the US (and many other countries in the world) to serve others before you serve yourself, but in Japan you are never supposed to pour yourself a drink. If you have poured for others, another guest will hopefully see that your drink is empty and pour for you.
在美国和很多国家你应该先给别人倒酒再给自己倒酒，但在日本你不应该给自己倒酒。如果你给别人倒了，其他人会希望你的杯子是空的，以便他们给你倒酒。
You must also always wait for someone to say "Kanpai" (cheers) before drinking.
你也必须要等到别人说“Kanpai”(干杯)后才能喝酒。
10. Slurping noodles is not only seen as polite — but it also means you have enjoyed your meal.
吸溜面条时发出声音是礼貌的，而且还表示你很享受你的食物。
Slurping is considered polite in Japan because it shows that you are enjoying your delicious noodles — in fact, if you don't eat loudly enough, it can be mistaken as you not enjoying your food.
吸溜面条时发出声音是礼貌的，因为这代表你享受这碗美味的面条——事实上，如果你不大声的吃，你会让人误会你并不享受你的食物。
Slurping noodles is not entirely for the sake of politeness, but also to avoid having a burnt tongue. Japanese soup and noodles are generally served steaming hot — hot enough to burn — and slurping helps to cool down the food.
吸溜面条不但是为礼貌，而且还为了避免烫伤舌头。日本的汤面在端上来的时候是非常热的——热得足以烫伤你——而吸溜面条有助于冷却食物。
But unlike in some other Asian nations, it is still considered rude to belch at the table.
但不像其他亚洲国家，在饭桌上打嗝还是很粗鲁的。
11. Sleeping in capsule hotels in rooms barely bigger than a coffin is very common.
在仅比棺材大一点点的胶囊旅店睡觉是很常见的。
Capsule hotels are used as cheap accommodations for guests who purely want a place to sleep. They are used most often by businessmen working or by those who have partied too late and have missed the last train home.
胶囊旅店为那些只想随便找地方睡一晚的客人提供便宜的住宿。通常那些生意人和开派对太晚错过火车的人会住在这种地方。
The sleeping quarters are small capsules that are not much bigger than a coffin, and the beds are stacked side by side and on top of one another. The concept has been around in Japan since the 1970s, but it has begun to spread to a few other countries around the world.
睡觉的地方就像一个胶囊，只比棺材大一点点，而这些胶囊上下左右的挤在一起。这个概念在1970年代的日本已经有了，但最近已经开始传播到世界上的某些国家了。
The setup is a cheap alternative to a hotel, as a bed costs only a night, but it should be avoided for anyone who suffers from even slight claustrophobia.
这是旅店的一种便宜替代品，一张床只要一晚，但任何有有闭恐惧症的人都应该避免住在这里。
关于介绍日本的英语文章篇二
你不好奇吗?为什么日本上空有如此多的高压电线
OKYO —Something many visitors to Japan notice is the abundance of overhead powerlines.Whether you're in the suburbs, city center, or even rural communities,it's rare to look up atthe sky or towards the horizon without the view being criss crossed by thick, black cables.
东京——来日本旅游的游客可能会注意到日本天空中有大量的高压电线。不管是在郊区，还是在市中心，甚至在农村地区，当你抬头看天空或者遥望远处时总会看到这些厚黑的电线。
So why does Japan have so many above-ground power grids when so many other countrieshave gone subterranean? The easy answer is cost, but there're also somepurportedadvantages to stringing cables up on poles, and the country hasn'tquite reached a consensuson which is the better option.
在其他国家都把电线藏到地底的情况下，为什么日本的地表上面会有这么多的电网呢?简单的答案就是成本，但据说把电线绑在电线杆上还有其他的好处，而且日本还没达成共识到底那种方式更好。
Starting with the budgetary side of things, subterranean systems are a lot more expensive.With the added expenses of digging the ditches and properly installing thelines and conduits,the cost can balloon to ten times that of a comparablysized network of above-ground poles.
先从预算角度来说，将电网埋藏在地下成本更高。首先要挖沟，然后将电线和导线埋在里面，所以其成本甚至可以是地表电网成本的十倍。
Still, some contend that, economic advantages aside, this isn't the place to cutcorners. Sincethe mid-1980s, the Japanese government has been enacting initiatives to replace existingpoles with underground lines. Not only do suchmoves please those who're tired of power linesmarring the scenery, there areeven safety and durability benefits, as below-ground powergrids are less exposed to the elements, making them resilient against wind and snow thatcandamage above-ground equipment.
然而有些人认为如果不考虑成本，埋在地底下其实更好。自80年代中期以来，日本政府采取措施用地下线路替代地表的电线杆。这样做不仅满足了某些人的审美需求(美丽的风景不再被这些电线所破坏)，还有安全和耐用上的优势，因为地底线缆更少的暴露在恶劣天气中，所以风雪不会对其造成影响。
A further safety benefit has been observed during earthquakes, according to the NPONon-PoleCommunity. The organization says that during the Hanshin Earthquakethat struck Kobe in1995, neighborhoods with above-ground power lines were muchmore extensively damaged.Non-Pole Community's Secretary Toshikazu Inoue alsoreferred to toppled poles blocking roadsand preventing emergency vehicles fromswiftly reaching victims in the disaster's aftermath.
根据非营利性组织“不要电线杆社区”的看法，另外一个安全方面的好处是在发生地震时显露出来的。该组织称在1995年袭击神户的阪神大地震中，那些拥有地表电线的社区被破坏的程度更甚。这些倒地的电线杆阻碍了道路，并阻止了紧急车辆在地震后对灾民进行救援。
Still,the majority of Japan's power grid remains above ground. One argument againstsubterranean systems has been put forward by the Tokyo Electric Power Company,or TEPCO.While the company itself has publicized the superior aesthetics anddurability against windand snow mentioned above, it also acknowledges certainadvantages to the more commonabove-ground system. “In the events of floodingor landslides, it's harder to isolate damagedareas of a subterranean system,”the company points out. “That can increase the amount oftime necessary torestore power to damaged areas.”
然而，如今日本大部分的电网还是位于地面上空。日本东京电力公司也反对在地底建电网。该公司也承认说地底线缆不会对风景造成破会，也有利于抵御风雪，但是又称更加普遍的地上电网所具有的某些优势。“在发生洪水或者泥石流时，很难区分地底电缆系统的哪些部分遭到破坏，”该公司称。“这增加了抢救电力所需要的时间。”
TEPCO also mentions other, simpler roles performed by power poles, such as providing housingfor street lights and posting space for maps or address markers, whichcan be extremelyhelpful in navigating towns in Japan, where only a minusculefraction of streets have names.
该公司还指出了电线杆所扮演的其他简单的角色，比如可以用来布置街灯，为地图和地址标记提供定位空间，这对于日本的村镇导航来说非常有帮助，因为在这些小地方只有一小部分街道有名字。
关于介绍日本的英语文章篇三
日本人不了解自己的软实力
The more Japan's global relevance in economic, political and military terms seems to decline,the more it cares about projecting soft power. The government's "Cool Japan" projectsubsidizes "attractive products or services" that, according to the Ministry of Economy, Tradeand Industry, "make full use of the unique characteristics of Japanese culture and lifestyle."These include decorative washi paper, a cosplay-inspired clothing brand and a bonsai plantgrown with renewable energy.
日本在全球经济、政治和军事领域的重要性看似下滑得越厉害，它就越关心如何展示自己的软实力。政府推出了“酷日本”(Cool Japan)计划。经济产业省表示，该计划资助那些“充分利用了日本文化和生活方式独特性的诱人产品或服务”。其中包括装饰和纸、角色扮演风格的服装品牌，以及使用可再生能源的盆栽。
Despite this concern, both the Japanese government and the Japanese people seem unawareof the global impact of Japan's most successful cultural export to date: the so-called SuzukiMethod of music instruction.
尽管存在这种担忧，但日本政府和公众似乎都不知道，迄今为止，日本最成功的文化输出——名为“铃木教学法”(Suzuki Method)的一种音乐教学方式——具有怎样的全球影响力。
Originally conceived in the 1930s by the violinist Shinichi Suzuki, the Suzuki Method proposesthat all children can learn to play an instrument as naturally as they learn to speak their nativelanguage. According to the Talent Education Research Institute, an educational organizationfounded by Mr. Suzuki, about 400,000 children in 46 countries are now learning to play musicalinstruments the Suzuki way. But just 20,000 of them are Japanese. As the institute puts it,the method "has earned high acclaim overseas, more so than at home."
这个方法最初由小提琴家铃木镇一(Shinichi Suzuki)在20世纪30年代提出。它主张，所有小孩都能学会演奏乐器，就像他们学会讲自己的母语一样。铃木镇一创办了才能教育研究会(Talent Education ResearchInstitute)。该教育机构的资料显示，目前在46个国家有40万儿童正在铃木教学法的帮助下学习演奏乐器，其中仅有2万儿童是日本人。研究会指出，和在日本国内相比，该方法“在海外赢得了很高的评价”。
It's not the first time the Japanese seem to miss what of theirs is worth celebrating and need tobe told by outsiders. Ukiyo-e woodblock prints were used as wrapping paper for export wareswhen Japan began trading with the Western world in the second half of the 19th century. Theywere soon "discovered" by European Impressionist painters, who hailed them as a distinct artform. Modern Japan has repeatedly overlooked the merits of its own artistic and culturalproduction out of a blinding insecurity about its international standing.
日本似乎不知道自己的哪些方面值得珍视，反而需要外界来告知他们。这种情况已经不是第一次出现了。19世纪下半叶，日本开始与西方世界进行贸易往来时，浮世绘木版画被用来包装出口商品。欧洲的印象派画家很快就“发现”了它们，将其誉为一种独特的艺术形式。由于对自身的国际声誉存在一种盲目的不安全感，日本在近现代一再忽视自己的艺术和文化成就。
The Suzuki pedagogy was misunderstood from its very beginnings in the 1930s. Uponreturning to Tokyo from Berlin, where he had spent most of his twenties, Mr. Suzuki foundhimself in high demand as a teacher. His first young pupils were conspicuously more skilled thanothers at the time — when classical musicians of any age were rare in Japan — and were soonheralded by the Japanese media as prodigies and geniuses.
从20世纪30年代诞生开始，铃木教学法就遭到误解。铃木镇一20到30岁之间的大部分时间都在柏林度过，返回东京之后，有很多人想聘请他为师。他最初培养的一批年轻学生，明显比其他人更娴熟——当时在日本，任何年龄段的古典音乐演奏者都很罕见——而且很快就被日本媒体誉为神童和天才。
Mr. Suzuki abhorred such terms. He believed that the sheer joy of making music or learningjust about anything was accessible to all children. There was a pastoral element to hisapproach: Its main goal was not to mass-produce professional musicians but rather tomold individuals into sensitive and thoughtful human beings with "noble hearts."
铃木镇一讨厌这样的说法。他认为，搞音乐或学习任何东西都会带来纯粹的快乐感，也是所有孩子都可以享受到的。他的教学方式具有一种田园风格：主要目的不是为了批量培养专业音乐人，而是把个人塑造成敏感周到、有“高贵心灵”的人。
In "Powerful Education," published in September 1941, Mr. Suzuki called for reforming Japan'seducational system; he argued that teachers were too quick to give up on children who laggedbehind. He stressed the importance while, say, learning to play the violin of goal-setting,encouragement and repetition.
铃木镇一1941年9月发表《强大的教育》(Powerful Education)一文，呼吁改革日本的教育体系;他表示，老师们太急于放弃功课落后的孩子。他强调，在学习演奏小提琴等技能的过程中，设定目标、鼓励和反复练习很重要。
But this was too bold a proposal for the time. The Japanese empire had already embarked onits ill-conceived expansionist path, having started a war with China in 1937. Some of Mr.Suzuki's young students were called unpatriotic for playing music during a national emergency.
但是这个建议太超前了。当时日本帝国已经开始进行恶意扩张，在1937年与中国开了战。由于在国家处于非常时刻之际演奏音乐，铃木镇一的一些年轻学生被说成不爱国。
In this oppressive atmosphere, the kind of sweeping change Mr. Suzuki envisioned, whichrequired re-educating the educators, did not go down well. As Japan was beginning to lose yetanother war it had started, this one against the United States and its allies, he wrote anotherbook urging elementary school reform. The authorities prevented its publication.
在这种压抑的氛围下，铃木镇一设想中需要对教育者进行再教育的彻底改革没有被众人接受。日本也对美国及其盟友开了战，当它在这场战争中露出败象时，铃木镇一写了另一本书，呼吁对小学进行改革。当局阻止了该书的出版。
The war eventually ended and then, in March 1955, less than 10 years after Japan's utterdefeat, Mr. Suzuki gathered some 1,200 children in a gymnasium in Tokyo. Black-and-whitefootage shows the 56-year-old Suzuki doing some lithe footwork on a makeshift podium andwaving his bow like a wizard's wand as he conducts the young violinists through difficult pieces,including Bach's Double Concerto.
战争终于结束了。在1955年3月，距离日本战败不到10年的时间，铃木镇一把1200名儿童聚集在东京的一座体育馆内。黑白画面显示，56岁的铃木站在一个临时搭建的讲台上，当年轻的小提琴学生演奏一个又一个困难曲目时，比如巴赫的二重协奏曲，他会一边步履轻盈地走动，一边挥舞着琴弓，就像挥舞魔杖一样，指导学生们演奏。
News of this group concert, the first Suzuki performance to attract national attention,reached the United States. American instructors traveled to Mr. Suzuki's music school inMatsumoto, a scenic mountain town, hoping to discover the secrets of this Japanese miracle.
通过这次团体演奏，铃木镇一首次吸引了全日本的关注，并让消息传到了美国。美国教师前往铃木镇一音乐学校的所在地——风景秀丽的山地城市松本——希望能发现这个日本奇迹的秘密。
That concert was deemed all the more remarkable in the United States for seemingincongruous, because it featured Japanese children playing Western instruments. What'smore, had those young Japanese been born a few years earlier, they could easily have beenamong the soldiers American forces had fought. The Suzuki children represented the rebirth ofa softer, gentler kind of Japan.
这场演奏会在美国引起的反响甚至比在日本更加强烈，因为它给人的感觉似乎不太协调，首先这是日本孩子在演奏西洋乐器，而更重要的是，如果这些年轻的日本人早几年出生，就很可能会和美国军队交火。铃木镇一学校的这些儿童，代表了更温和、更文雅的那部分日本精神的重生。
The rest of the world eventually took to the method because it worked. Starting in 1963, Mr.Suzuki regularly toured the United States with his Japanese students, stopping at the UnitedNations headquarters and Carnegie Hall. The Japanese government had little to do with thiscross-cultural dissemination: Much of it was the work of Mr. Suzuki and his supporters,including Masaru Ibuka, Sony's co-founder and himself a great early-childhood educationadvocate. By the 1970s, the Suzuki Method had become a worldwide phenomenon. Even inremote areas of India and Indonesia, places with no properly trained music teachers, peoplewere learning to play instruments on their own, thanks to Suzuki-compiled repertoires ofincremental difficulty.
世界上的其他地方最终采用了铃木教学法，因为它效果很好。从1963年开始，铃木镇一多次带着日本学生到美国交流，还去过联合国总部和卡内基音乐厅。对于这种跨文化传播活动，日本政府几乎没有参与，大部分工作都是铃木镇一及其支持者开展的。其中包括索尼公司联合创始人井深大(Masaru Ibuka)，他本人就是著名的儿童早期教育倡导者。到了20世纪70年代，铃木教学法已经在全球遍地开花。就连在印度和印度尼西亚的一些偏远地区，虽然缺乏训练有素的音乐教师，人们也可以使用铃木镇一编排的难度递增的曲谱，自学乐器演奏。
In June 1979, when President Jimmy Carter visited Japan with his family, his daughter Amy hada group lesson with Mr. Suzuki's niece, Hiroko Suzuki (the current president of the TalentEducation Research Institute). At a time of heightening U.S.-Japanese trade friction, theepisode marked a diplomatic success. Yet Mr. Suzuki was unsuccessful in his attempts toconvince successive Japanese prime ministers to incorporate his approach in publiceducation. In Japan, his method continued to be seen as a program for the exceptionallygifted.
1979年6月，时任美国总统吉米·卡特(Jimmy Carter)携家人访问日本。他的女儿埃米(Amy)和铃木镇一的侄女铃木裕子(Hiroko Suzuki，才能教育研究会的现任会长)一起参加了一堂集体课。在美日贸易摩擦不断加剧的时期，这件事标志着一个外交胜利。然而，铃木镇一却未能说服日本历届首相，把自己的方法纳入公共教育。日本人仍然认为，铃木教学法适合培养天赋秉异的学生。
Japan's long failure to claim as its own a globally attractive philosophy like Mr. Suzuki's revealsits chronic inability to see what is “cool” about itself.
长久以来，日本都未能宣扬本国具有全球吸引力的理念，铃木镇一的教学法就是一个例子。这暴露了日本在看清自己究竟哪些地方“酷”方面的长期无能。
This stands in stark contrast to Venezuela's publicly funded music education program ElSistema. That method also celebrates the idea that music can change the lives of children fromdiverse backgrounds. The parallel is not surprising since Takeshi Kobayashi brought theSuzuki Method to Venezuela in the late 1970s, teaching a group of underprivileged children toplay in an orchestra. But unlike the Japanese government, the Venezuelan government hasconsistently funded this cultural endeavor since the mid-1970s.
这与委内瑞拉政府资助的音乐教育计划“El Sistema”形成了鲜明的对比。该方法也主张，音乐可以改变孩子们的生活，无论他们的背景如何。它与铃木镇一的理念相类似。这并不奇怪，因为上世纪70年代末，小林武史(Takeshi Kobayashi)把铃木教学法带到了委内瑞拉，帮助那里的弱势儿童组成乐队，演奏音乐。但与日本政府不同的是，委内瑞拉政府自70年代中期开始，就一直在为这种文化事业提供资助。
The El Sistema movement is even making inroads in Japan. The Soma Children's Orchestra andChorus was established after the 2011 earthquake and tsunami ravaged the northeasternpart of Japan, to encourage children there to make music communally. Now Japanese aretaking up El Sistema: They recognize the merits of the method because it is dressed in exoticgarb, unaware that it has long been in their midst.
El Sistema运动甚至开始进驻日本了。2011年日本东北部遭遇地震和海啸灾难之后，为了鼓励孩子们一起演奏音乐，El Sistema推动成立了相马市儿童管弦乐与合唱团(Soma Children's Orchestra and Chorus)。现在，日本正在拥抱El Sistema的理念：他们之所以认识到这个方法的优点，是因为它具有异域风情，却不知道它早就在自己身边。
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