Overview of Japanese Music - Essay Example

Introduction Japanese music has held long traditions and several musical styles throughout history. From the past musical styles and contemporary music are diverse ways of expression that are used for culture. Defining the various aspects of Japanese music also shows how the evolution of music has occurred in this country as well as what the perceptions are with the way in which this music is heard and performed. The discovery of Japanese music furthers the ideologies of theories within music as well as what is understood in terms of expression that is linked directly to the culture and society of Japan. When looking at the several styles and concepts of Japanese music, it can be seen that there are several attributes that create a different theory as well as philosophy that is based on how the music has formed. Historical Background of Japanese Music Traditions of Japan The traditional music of Japan is known for its rich history and several styles. There are various types of music played for specific occasions as well as different categories which depict what is heard within the region. The music consists of solo music, chamber pieces, court music, festival and folk, theater music, percussion, epic singing and religious music. Each of these is developed either for occasions or to show a specific character that is a part of the surrounding culture and society while telling a story about a different element of society. All music is played with a ritualized form, typically which consists of expected notations and types of instruments, followed by dance or poetry that is incorporated into the different types of music. It is also known that all of the music is depicted by showing a religious belief or spiritual side that drives forward the song, such as consisting of attributes that one should carry in a given situation. While the music was known for creating a different atmosphere for specific occasions, morality and the nature of the music was as important as the songs performed. To do this correctly, the Japanese musicians thrived on creating a sense of self – mastery and discipline in learning the music of the culture (Garfias, 3). 3,000 BC – 794 BC The first Japanese music has been traced back to 3,000 BC. However, most of the music was anonymous and was passed down through monks and religious leaders, making most of the music lost to more than oral tradition. The first writings and definitions of music have been depicted in the Nara period of 553-794 BC. This occurred because of a shift in government in which there was an order to change the social and intellectual character of both China and Japan. This was done by depicting the culture and the music in a way which could be traced and remembered for a specific intellectual character. The music that was developed into the 1700s was based on learning music through a sense of self mastery and by defining specific styles of playing that could be used for musicians (Trasher, 4). The 1500s It was during the 1500s that a transformation of Japanese music occurred from the traditional categories into new methodologies of understanding and playing music. Many of the instrumental concepts began to change and progress with new structures and sounds that were a part of the instruments. This was furthered by the influence from the open area of Japan that was connecting to the Western world and different music of various regions of the world. This specific influence created a difference in the pitches, scales and the overall variety that was in Japan. Each of the types of music which were used traditionally began to expand with forms that carried on the tradition of Japan while progressing into styles that were interested by more Western influences. During this time, there was the ability to expand and change the poetry as well as the instrumental structures and ideals that were used for Japan. The characteristics then began to combine with musical form, pitch, timbre, melody and harmony used throughout Japan (Titon, Fujiie, 159). Historical Styles of Music Shinto Religious Music There were several branches of music in Japan that created a specific atmosphere and setting in the culture. One was the religious music that expanded during various time frames. The three forms of religious music included Shinto, Buddhist and Christian forms of religious music. Shinto is the oldest expression of religious music in Japan as an indigenous form of music in the region. The meaning is the way of the Gods and is expressed as a form of mythical expression. Most Shinto music is played in village settings as a part of religious traditions and rituals at specific times. This begins with prayers that are offered in temples on a daily basis, followed by prayers of remembrance. The Shinto then begins with the concept of being in eternal debt for the prayers that are offered. The ceremonies then begin with blessings and purification as the main objective. The same practices and music are also used with the Buddhist ceremonies, making both forms of music essential to the music of Japan (Malm, 48). The Shinto music is divided into eight main categories that are dependent on written repertoires. This includes kagurauta songs, Azumbi Asobi, Onaibiuta, or night songs, yamatouta and outa, or big songs. There are also ruko, or funeral songs and kumeuta, or palace guard songs, and tauta, or field songs. Most of these are inclusive of poetry and lyrics as the driving force as well as dance that accompanies the main ceremonies. The songs begin with singing as a solo instrumental sound that is joined by a chorus. There are typically one to four instruments that are used to accompany the music. The first is a shakubyoshi, which is a set of small, wooden clappers that have a sharp sound when struck. This instrument is seen in the image below. The second is a wagon, which is inclusive of an early wagon, or a zither, which includes a set of six strings that play a countermelody to the main singing as seen in the image below. The tuning is done with a V bridge and change pitch according to the singer, usually which creates a pentatonic scale. The flute is the third instrument used to accompany the main Shinto music (Malm, 54). Gagaku Court Music of Japan The Gagaku Court music of Japan was another form that was expressed from the ancient times of Japan. The term Gagaku means elegant music and was performed in the courts for centuries, including the 19th and 20th century. There were three main repertories that were a part of the imperial music, including the Shinto religious music, komegaku, or music from the three kingdoms and togaku, which was music influenced from China. The music began to be performed in the 7th century in the courts. Typically, there were only two instruments involved, including a gakuso, also known as a zither, and a gakubiwa, which was similar to a lute. This changed in the 1860s with more instrumentation that was added, which consisted of established woodwind instruments and the percussion instruments of a kakko, shoko and taiko. A sample of an ensemble is seen in the image below. The music would be performed with either background music in mind or would be a central part of the performance, specifically to attract those who wanted to be entertained within the Imperial Court (Alves, 17). Gidayu – Bushi: Music of the Puppet Theater Not only were there specific relationships to the more formal occasions, but also music which was established to different forms of theater. The theater that was in Japan consisted of dramatic works performed on stage as well as different artistic forms that were used for smaller audiences. One was the puppet theater, also known as the Gidayu – Bushi. This was founded in the 1600s by Takemoto Gidayu who was interested in creating musical narratives. Typically, the puppet theater is performed only by one singer and an accompanying instrument of the shamisen, a stringed instrument introduced into Japan during the 1600s. The text that is used is passed down through written traditions; however, the music and the style is highly interpreted by the puppeteer, usually which is passed down through a teacher. Most of the pieces are divided by the type of drama that is displayed, such as historical pieces, epics and comedic types of puppet theaters. The musical structure consists of spoken dialogue, followed by musical narrative to move between the concepts and to create a flow with the main drama presented. It is known that there is little to no musical pitch or melody in the music and instead includes modulation, also known as kotoba, from one pitch to the next. The modulation consists of a pattern known as iro – ji – iro – ji – fushi, all which are different notes and pitches that the singer moves between, which creates not only as sense of music but also of structure in the music performed (Tokita, 200-211). A sample of the puppets can be seen in the image below. Instrumentation Koto Music Another form which was popular in Japan for a given time frame was Koto music. This music also became popular during the 7th century and was played until the war in Japan arose. After this time, many of the songs were lost to the destruction of the war. The songs consisted of representations on nature and the elements of the surrounding country side, considered as a part of the folk music of the era. Songs such as “Sakura” or Cherry Blossoms, were some of the most popular songs written during this time. The music was all played with a Koto, which was the stringed instrument of Japan, similar to a sitar. The instrument consisted of an average of 13 strings that were able to play both the melody and the harmony as a part of the song, as seen in the following images. Many of the songs were further depicted by changing the main tune from the Koto instrument and into a vocal melody that was folk like, with the Koto as the harmony that was a part of the instrument. The instrument was able to play the complex harmonies and countermelodies that followed either the voice or a part of the instrument with the main tune (Johnson, 15). An example of this can be heard in the following sound file: Video / Sound File: http://www.youtube.com/watch?v=AK51LblcEOw&feature=watch_response Shakuhaci Another instrument which was well known throughout various time periods in Japan was the Shakuhaci, or the flute. This was an end blown flute that first became popularized with Gagaku music in the 9th century. The first flutes had six holes and played a pentatonic scale. The instrument is made of bamboo and is divided by various sizes, all which create a different scale and tone to the instrument. The instrument slowly led into a development of not only folk music but also formed into a type of chanting among monks. This created a form of chanting sutras, also known as blowing zen. The flute is now attributed to playing honkyoku, also meaning original music. Different sect monks use the original music and this flute to depict solo works and to continue with different chanting methods that can be used for solo pieces (Ferranti, 67). An image of the Shakuhaci is seen below. Contemporary Music Music Since the 1900s The contemporary music in Japan consists of a progression that has been made since the 1900s. The music during this time has been influenced by the politics and culture that has begun to change, specifically by an opening of the region. The Japanese belief is one that has held onto the traditional aspects while holding an understanding of the need to have progression within society. The contemporary music that is a part of Japan is influenced specifically by the idea of nationalism first. Many of the instruments, such as the Koto, Shakuhaci and stringed instruments are now regarded as the national culture of Japan. The folk and religious music is also a representation of the national culture and identity. Many of the folk styles that are used are still held onto with changes in contemporary influences, such as Western sounds, alterations in rhythms and harmonies and expected alterations with progression of the music from a different understanding of the theories of the time (Takemitsu, 198). Popular Influences While there are several establishments that have saved traditions, the younger generations are also moving toward hip hop, rap and pop influences that are coming from Western cultures. This is being established through social groups, such as Karaoke, one of the leading and popular styles of music practiced among contemporaries. The concept of having social gatherings and singing the Karaoke is able to create a new influence in music where the pop and rock music of America and the UK is quickly moving into modern Japan and continuing to change contemporary styles. While the Karaoke grows, other influences with Japanese culture are also progressing. The desire to incorporate the Japanese pop music and other forms of rock are quickly becoming established. The use of technology, influences on how Karaoke and pop music is changing the styles of Japan and the progression into new forms of music that are based on popular styles are quickly taking over the younger generations preference of music in these regions (Mitsui, Hosokawa, 3). Educational Ideologies Another alteration which is occurring with the contemporary times is based on the educational influences that are a part of Japan. The educational system remains one of the strictest in the world and is based on discipline and creating individuals who can contribute to society through a variety of intellectual means. The contemporary music that is established from this is able to combine the traditional concepts that pass down the folk music that has been used from the beginning. However, there are several that are combining this with a global approach to folk music, contemporary songs and ideas that are of interest to the younger generations. Because of the establishment of popular music in Japan, there are also tendencies to change the music that is in the schools for a more diverse way of expressing music. This is changing the main influences and expressions of music in the region and is creating a different perspective that both holds onto the traditions of the past while incorporating contemporary styles into the music (Okano, Tsuchiya, 7). Conclusion The concepts that are associated with the music of Japan are diverse and include a continuous progression that is used within the culture. When examining the different styles of music, it can be seen that there have been several ways to hold onto traditions as well as to progress into contemporary music. The ancient types of music have been followed by several types and styles used for various means, specifically which were influenced by politics and culture that is in the region. This is followed by more contemporary trends that both incorporate the music as folk style while creating a different understanding of popular music that is causing Japan to move into alternative styles within society. Works Cited Alves, William. Music of the Peoples of the World. Thomson Schirmer: New York, 2006. Ferranti, Hugh. Japanese Musical Instrument. Oxford University Press: London, 2000. Garfias, Robert. Music of a Thousand Autumns: The Togaku Style of Japanese Court Music. University of California Press: California, 1975. Johnson, H. The Koto: A Traditional Instrument in Contemporary Japan. Hotei: Amsterdam, 2004. Malm, William. Traditional Japanese Music and Musical Instruments. Tuttle Company: New York, 1959. Mitsui, Toru, Shuhei, Hosokawa. Karaoke Around the World: Global Technology, Local Singing. Routledge: New York, 1998. Okano, Kaori, Motonori Tsuchiya. Education in Contemporary Japan: Inequality and Diversity. University of Cambridge: UK, 1999. Takemitsu, Toru. “Contemporary Music in Japan.” Perspectives of New Music 27(2), 1989. Titon, Jeff, Linda Fujiie. Worlds of Music: An Introduction to the Music of the World’s People. Schimer: New York, 2005. Tokita, Alison. The Ashgate Research Companion to Japanese Music. Ashgate Publishing: New York, 2008. Trasher, Alan. Chinese Musical Instruments. Oxford University Press: Oxford, 2000. Read More