Chapter 5:
Music of Japan
Introduction to World Music; SMSU
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Japan
Culture old and new, Eastern and Western
 Outside cultural influences include writing
system from China; Buddhism from India
through Korea and China
 Musical elements connections with Korea
and China; European and American
influences in 19th and 20th centuries, but
Japan, somewhat isolated in the past, has
developed many of its own music traditions 2

Although more involvement with new
music in past 100 years, traditional music
remains viable
 Kabuki and bunraku theaters in larger cities
 Concerts of traditional instrumental and
vocal music
 Private and televised instruction in
shakuhachi and shamisen
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Haiku
Traditional Japanese poetry; today, a 17syllable verse form consisting of three
metrical units of 5, 7, and 5 syllables.
 Words contain a sentiment, idea, or
emotion, often only describing around the
concept.
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Haiku Examples

Basho, Matsuo
Fallen sick on a journey,
In dreams I run wildly
Over a withered moor

Kato, Shusan
I kill an ant and realize
My three children
Have been watching

Ryusui
In all this cool
Is the moon also sleeping:
There, in the pool?
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Music in Japan
Musical elements from Korea and China;
European and American influences from
19th century to present
 In art music, appreciation for unpitched
sounds, flexibility of pulse; tempo often
accelerates to show excitement in theater
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Japanese Traditional Music
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Use of pentatonic scales (In and Yo) Compare to
pentatonic from earlier in the course
Timbre: use of unpitched sounds
Melody: use of ornamentation and a nasal, somewhat
“pinched” sound
Harmony: not a feature of this music
Rhythm: flexibility of pulse in many pieces
Form: mostly based on jo-ha-kyu
– Jo: slow introduction
– Ha: building tempo
– Kyu: rushing tempo, then slowing at end
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Example of Shakuhachi Music
CD IV:1: “Tsuru no sugomori” or “Nesting
Cranes”
 Performed in the kabuki theater
accompanied by shamisen
 Ma - space or interval - the timing of a
piece including rests and relationship
between sound and silence.
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Kouta
Song form that evokes many images and
allusions in a short time; dates from midnineteenth century
 Women played key role in teaching this
music to generations of male performers
 Shamisen and Voice
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Iemoto Guilds
Several different guilds may be involved
with a single type of music
 Player must decide which style he or she
wants to learn; become affiliated with the
guild that follows that style
 Guilds also control quality; new
composition in many genres was
discouraged or even forbidden
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Example
CD IV:2: “Hakusen no” (“A White Fan”)
 Image of a white fan and the beauty of
nature are used as metaphors for romantic
commitment
 For wedding banquets or private parties
 Geisha still trained to entertain at such
occasions, but fewer than in the past
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Minyo (Folk Song)
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Accompanied everyday activities; not as
relevant as they used to be, but still very
popular; has become more professional and
standardized
“Nikata-bushi” (CD IV:3) from the region
of Akita in northwestern Japan
Instrument (shamisen) plays nearly steady
pulse while voice has a flexible rhythm
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Matsuri-bayashi

Yatai (The Festival Wagon) IV:4
Shirabe, Ödaiko, and Flute
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Popular Music
Much Western influence; Karaoke has
become popular around the world; an outlet
for stress
 Enka composers have adapted songs to the
tastes of younger generation; background
accompaniment; “Upbeat” with faster
tempos and optimistic lyrics
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Examples of Enka
CD IV:5 “Nonki-bushi”
 CD IV:6 “Naite Nagasaki” (“Crying
Nagasaki”)
 Typical of old-fashioned enka
 Images evoked are common to many enka
songs: romantic associations, crying in the
windy night, rain; sad mood
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Taiko Groups
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Kodo:
– http://www.kodo.or.jp/frame.html
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San Jose Taiko:
– http://www.taiko.org/main.html
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Summary
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Most Japanese music we’ve studied is
traditional, but there are also many pop
genres.
Traditional Characteristics in rhythm,
melody, timbre and form - ?
Highly influenced by Chinese music, and
more recently by European and American
models.
“Classical” and “Folk” traditions are kept
alive by a few.
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