Chapter 5: Music of Japan

1. Chapter 5:Music of Japan Introduction to World Music; SMSU

2. 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

4. Introduction to World Music; SMSU

5. Introduction to World Music; SMSU

6. Introduction to World Music; SMSU

7. Introduction to World Music; SMSU

8. 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

9. Haiku • Traditional Japanese poetry; today, a 17-syllable 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.

10. 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?

11. 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

12. Japanese Traditional Music • Use of pentatonic scale • Timbre: use of unpitched sounds • Melodies differ per instrument & tradition, often made up of small repeated sections; little in the way of “harmony.” • 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

13. Gagaku music; Japanese; “elegant music” protected in the imperial court for more than 1,000 years, retains the style, sound, music of ancient Japan.

14. Gagaku ensemble

15. Koto, a 13-string board zither with movable bridges.

16. Shakuhachi • Bamboo flute; four holes in the front, one hole in the back • Allows for versatility in pitch and tone qualities; sometimes breathy, almost like white noise • Between 1600-1857, Buddhist monks (komuso - emptiness monks) created repertoire of meditative, rhythmically free pieces for shakuhachi.

17. Example of Shakuhachi Music • CD 1:23: “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.

18. Shamisen • Three-stringed long-necked lute, producing banjo-like sound • Associations with austere spirituality and meditation; outpouring of emotion and drama for the theater (such as Kabiki) • Covered with snakeskin, cat skin, or dog skin; wooden box roughly square in shape

19. Kouta • Song form that evokes many images and allusions in a short time; dates from mid-nineteenth century • Women played key role in teaching this music to generations of male performers

20. 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

21. Example • CD 1: 24: “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

22. Minyo (Folk Song) • Accompanied everyday activities; not as relevant as they used to be, but still very popular; has become more professional and standardized • “Nikata-bushi” (CD 1: 25) from the region of Akita in northwestern Japan • Instrument (shamisen) plays nearly steady pulse while voice has a flexible rhythm

23. 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

24. Example of Enka • CD 2:1 “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

25. Taiko (Drum Ensemble) • CD 1:26 • Relatively new tradition, stemming from Ondekoza, and Kodo. • Originally professing an austere lifestyle and highly synchronized music, groups now may have gender inclusive performances and much flair in showmanship.

26. Instruments of Taiko ensemble • Performance drums (Kabuki, noh, minyo) • Okedo taiko (barrel-bodied drums) • Shime taiko • Shrine drums • Nagado taiko (large bodied drum) • Hirado taiko (wide bodied drum) • Cymbals • Flutes

27. Taiko Groups • Kodo: • http://www.kodo.or.jp/frame.html • San Jose Taiko: • http://www.taiko.org/main.html

28. Gagaku Instruments Sho (Sheng in China)

29. Gagaku Instruments Hichiriki

30. Summary • 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.

31. Homework (Due Monday, 3/13) • Part I: Online Quiz, Chapter 5 • Part II: Questions from p. 191: • #3 • #7