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JAPANESE MUSIC AND MUSICAL INSTRUMENTS ^4 4 m—^ WILLIAM P. MALM JAPANESE MUSIC AND MUSICAL INSTRUMENTS Because of the integral role music has long played in the life of the Japanese people, as well as the exotic fascination to be found in a highly evolved musical tradition quite unlike that of the W...

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JAPANESE MUSIC AND MUSICAL INSTRUMENTS

^4

4

m—

^

WILLIAM

P.

MALM

JAPANESE MUSIC AND MUSICAL INSTRUMENTS Because of the integral role music has long played

in the life of the

Japanese people, as well found in a highly

as the exotic fascination to be

evolved musical tradition quite unlike that of the West, visitors to Japan, students, and

have long been attracted

sicians

music

in

one or more of

its

many

to

mu-

Japanese

vital forms.

Nevertheless, not since 1893 has there been any

major attempt in a Western language to deal comprehensively with the subject. With the tools of

modern musicology

at his

command

results of Japanese research at Mr. Malm makes available in this interesting and authoritative book the essential facts about the various forms of Japanese music and musical instruments and their place in

and the

latest

his disposal,

the overall history of Japan.

For the benefit of the layman much general information has been included, while the musicologist will find the stimulating discussions

on more technical matters of special interest. The book has three main orientations: the history of Japanese music, construction of the in-

struments, and analysis of the music

itself.

After giving a historical outline and an ex-

planation of the general structure of Japanese music, the book covers in a lucidly written text

and

a wealth of fascinating photographs

drawings the main

and

forms of musical expression,

including koto, shamisen, shakuhachi,

biwa,

court and classical-dance music, music of the

noh and kabuki theatre, music.

Many

religious music, folk

readers will find the useful hints

on purchasing instruments, records, and books especially valuable, and for those who wish to pursue the matter further there

is

a selected

bibliography and a guide to Tokyo's somewhat hidden world of Japanese music. Thus, whether one's interest is in a special form of Japanese music, music in general, theatre, Japanese culture, or simply intellectual curiosity, this will It

book

prove both informative and entertaining.

will

be found an invaluable aid to the un-

derstanding and ajjpreciation of an important,

but

little-known,

and fascinating aspect of

Japanese culture.

Jacket design by

M. Kuwala

I.-

0'

JAPANESE MUSIC AND MUSICAL INSTRUMENTS

1.

The dance pantomime "Okame" accompanied by

this typical folk

du'-ing

ensemble (hayashi) is seen frequently in Japan. See page 49.

fall festivals

JAPANESE MUSIC AND MUSICAL INSTRUMENTS

ty

WILLIAM

P.

MALM

CHARLES E TUTTLE COMPANY RUTLAND, VERMONT

TOKYO, JAPAN

Representa ci ves For Continental Europe:

BoxERBOOKS.

Inc..

For the British

Zurich

Isles:

Prentice-Hall International,

Inc.,

London

For Canada

HuRTiG

Publisher!!,

Edmonton

For Australasia

Book Wise (Australia)

Pi

v.

Ltd.

104-108 Sussex Street, Sydney 2000

Published by the Charles E. Tuttle

Company,

Inc., of

Rutland, Vermont

Japan, with editorial

Suido 1-chome,

2-6,

&

Tokyo

offices at

Bunkyo-ku, Tokyo

Copyright in Japan, 1959

by Charles E. Tuttle Co.,

Inc.

All rights reserved

Library of Congress Catalog

Card No. 39-10411 International Standard Book No. 0-8048-0308-0 First edition,

1959

Eighth printing, 1978

Book design and typography by Kaoru Ogimi Line drawings and layout of

by

.M.

Kuwata

Manufactured

in

Japan

illustrations

Dedicated to The

traditional musicians

May

their art flourish

And

of Japan:

their creativity be reborn

CONTENTS foreword prologue: the o-matsuri i.

the present and past of japanese music 1

.

2.

n.

Japan's Musical Life

23

Music and Japanese History

24

RELIGIOUS MUSIC 1.

Shinto Music

41

41

Introduction

Mi-kagura

42

Sato-kagura 2.

47

Buddhist Music

64

Theory and Practice

64

Buddhist Folk Music and Festivals

III,

3.

Christian Music

4.

Summary

71

74

75

GAGAKU, THE COURT MUSIC OF JAPAN 1.

The

2.

The Instruments

History of Court Music

Percussion Strings

Winds 3.

91

91

93

95

Theory and Practice

100

77

COXTENTS

IV.

NOHGAKU, THE MUSIC OF THE NOH DRAMA 1.

Introduction

2.

The

History of Noh Music

3.

The

Structure of a

4.

The Ensemble The Noh

105

VI.

VII.

VIII.

108

119 122

The Singing

V.

Play

119

Flute

The Drums

5.

Noh

105

127

Summary

130

BIWA MUSIC 1.

Introduction

2.

The

3.

The Instrument and

133

History of Biwa Music

133

the Music

138

THE SHAKUHACHI 1.

The

2.

The Instrument and

History of the Shakuhachi

151

the Music

158

KOTO MUSIC 1.

Introduction

2.

The

3.

Japanese Music Teaching

4.

The Instrument and

165

History of the Koto

THE SHAMISEN AND 1.

2.

ITS

1

Music

70 177

MUSIC

The Instrument and

The

Its

165

Its

Background

185

History and Construction of Shamisen Music

Katarimono

188

Gidayu-bushi

Utaimono Nagauta

199

203

205

CONTENTS

IX.

X.

KABUKI MUSIC

213

1.

The Components of Kabuki Music

2.

The Texture of Kabuki Music

213

228

FOLK MUSICAL ARTS

235

1.

Introduction

2.

Folk Songs

3.

Folk Theatricals and Dances

235

236 248

EPILOGUE

253

A Time

APPENDIX

I.

APPENDIX

II.

APPENDIX

in.

Where

APPENDIX

IV.

Recommended Recordings

An

Chart of Japanese Music History

Outline of Japanese Music Notation Systems to

Hear Japanese Music

in

Tokyo

255 261

276 279

BIBLIOGRAPHY

281

INDEX AND GLOSSARY

287

5

1

OF ILLUSTRATIONS

LIST

PLATES (Frontispiece).

I

A

me dancer 2. Tomb figurine 3.

4.

folk

hayashi and oka-

of a

wagon player

Devil dancers of the Vasurai festival Yasurai festival dancers with atari-

gane

A

dancer-priestess with suzu Lion dancers 7. Folk kagura dancer from Shimane 8. Yuki Matsuri dancer with hin-sasara 9. The "Modoki" dance from the Yuki Matsuri 10. Shinto chanting at the Yuki Matsuri 1 Mokugyo and Buddhist priests 12. Buddhist wasan singing 13. Edo-period musicians 14. Itinerant shaman with uchiwa-daiko 15. Gocika dancing of the Jodo sect 16. Bon-odori from Miyakcjima 17. Buddhist folk festival from Nagano 18. A deer dance from Twate 5.

6.

1 .

19. Street

20. Screen

musicians of modern Tokyo

27 53

54 55

29.

A

55

30.

56 56

31

57 57 58 58 59 59 60 60 61 61

62

showing 80

court music of the time 22.

The

ancient

"Genjoraku"

court

dance Four early court-music instruments 24. Scene of ancient party music 25. A masked bugaku dancer 23.

83

imperial bugaku orchestra

bugaku ensemble

at

the

84

Gion

Shrine

Four Japanese

85 85 86 86

flutes

The

large da-daiko drum shoko gong 33. An outdoor performance .

32.

A

on

the

wagon 34.

Buddhist

35.

A

82

monk

with hichiriki

87 88

small court-music ensemble from

Hiraizumi

88

36.

The noh

37.

Mibu-kyogen performance of Kyoto 114 from the noh haya-

stage

113

38. Noh-flute player shi

115

An

"O-shirabe" session before a noh 1 1 performance 116 40. Ko-tsuzumi lessons 117 41 The ko-tsuzumi hand position 117 42. Assembling the ko-tsuzumi 118 43. Taiko playing the kashira stroke 139 44. Biwa scene from the Genji scroll 140 45. A Satsuma-biwa performance 141 46. A Chikuzen-biwa performance 39.

.

79 scroll

Shrine

The

eenth-century completion ceremony at the Todaiji

Ise

28.

painting showing an eight-

21. Fourteenth-century

Bugaku dancers at the palace music half 27. An outdoor bugaku performance at

26.

4

80

47.

81

48.

8

49.

82

Three types of biwa The making of a biwa

141

A

155

shakuhachi performance 50. Four end-blown flutes

142 155

ILLUSTRATIONS

51.

A komuso with basket hat and shaku-

hachi

The finale of Momiji Gari 216-17 The michiyuki section of Momiji Gari 218 The kabuki stage during Kanjincho 219 The geza musicians of kabuki 220

76.

156

77. 78.

A jiuta ensemble A home koto performance

173

53.

174

79.

54.

The

175

80. Folk hayashi

55.

Two

175

81.

176

82. Devil dancers with

52.

koto hand position types of kokyu

56. Edo-period street musicians 57.

The Gidayu

couple of the bimrakii

puppet theatre 58—69.

Takemoto Tsudayu during a bun-

238 239

drums

Island 84.

raku performance 194—95 The Ryukyu jamisen 196 71. A full nagauta ensemble 196 72. The Gidayu shamisen player 197 73. Two types of shamisen 197 74. A geisha nagauta ensemble for the "Miyako-odori" 198 75. The kabuki stage 215

237

lion dancers

The "Oni-daiko" dance from Sado

83.

193

Masked

85.

A folk puppet play from Sado Island A country-kabuki performance of

240

Chushingiira

70.

The "Yasuda-odori" from

86.

.Shodo

Is-

land

241

87. Folk musicians 88. 89.

239 240

from Sado Island

241

Ainu women singing "Rckukkara" The Ainu tonkori

242 242

An An

243

FIGURES

6.

Tuning of the wagon The folk pentatonic scale The four wagon melodic patterns The Yuki Matsuri devil-dance music The ryo and ritsu scales The two gaku-so music patterns

7.

A hichiriki

1

.

2. 3.

4. 5.

version of "Etenraku"

11.

The pipes of the sho The twelve Japanese tones The six gagaku modes The yokyoku tone system

12.

A

8. 9.

10.

13.

14.

Heike-biwa vocal section

Chikuzen-biwa nagashimono

15.

The

evolution

of the

.

excerpt from a bon-odori from

Chiba Go-on-hakase symbols

23.

The

261

263

go-onfu

24. Karifu,

modified go-onfu, and meya-

263

sufu notations 25.

The koshiki-gomaten

27.

128

28. Hichiriki

sec-

245

22.

notation

Gagaku notation

265

29.

The chords and

30.

Noh-hayashi section in traditional

notes of the sho

31. Transcription of Figure

30 in West-

ern notation 152

32.

Taiko notation symbols

A

Shakuhachi music

160

33.

17.

Koto tunings

178

34.

18.

Shamisen tunings

187

35.

19.

Ozatsuma

205

transcription of chirikara-byoshi

Biwa notation Shakuhachi notation of the Kinko

school

265

266

notation

shakuhachi

263 263 264

and ryuteki notation sym-

bols

16.

patterns

excerpt from the "Ise-ondo"

101

149

mouthpiece

21

26. Noll vocal notation

146

tion

20.

101

145

Biwa tunings

A

44 44 45 63 66 94 97 99

267 268 269 270 271

14

ILLUSTRATIONS

36. Shakiihachi notation 37.

Koto notation symbols

38.

A

transcription of

symbols

Yamada

39. Ikuta koto notation

koto

271

40.

Shamisen notation

272 272 273

41.

A

273

transcription of shamisen music in

bunkafu notation 42. Gidayu-hiishi notation

274 274

FOREWORD Konakamura's Kabu Ongaku Ryakushi (A Short History of Song and Dance Music, 1887), ended his remarks by saying: "The result of his labours is a work which will be the despair of future investigators, leaving to them, as it would seem to do, nothing further to discover." Basil Hall

Chamberlain,

in

his introduction

to

Since that time there has actually been quite a bit to discover about Japanese music,

not only as

it

relates to

Sir Francis Piggott

dancing or singing, but also

was much wiser when he

in

instrumental development.

its

said that his

book on Japanese music,

published in 1893,* was only an introduction to the topic. Since the appearance of Piggott's book there have been no further major attempts in

any Western language

to deal at all

comprehensively with Japanese music, the few

papers on the subject being restricted to specialized aspects.

The Japanese have

duced several worthwhile books, but these have remained buried rity

The

of the Japanese language.

the Western world

may know

pro-

in the relative obscu-

present book, then, has been written in order that

the basic facts about the various forms of Japanese

music and musical instruments and their place in the over-all history of Japan. Like

most complex subject. I am draw upon than did Piggott. I have tried to include as much general information as possible for the layman and, for the musicologist, have included brief paragraphs and suggestions concerning more Piggott's book, this too can be but

fortunate, however, in having

technical matters. For those at the

an introduction

to a

had many more sources

who

to

wish to pursue the matter fiuther,

end of the book a bibliography, a

list

I

have also added

of recommended recordings, an outline of

musical notations, and a guide to Tokyo's somewhat hidden world of Japanese music. In general, the book has three main orientations: the history of Japanese music, the construction of the instruments, and the music tion are

itself.

The

drawn primarily from the Japanese sources

musical analyses are for the most part based on

materials for the history' sec-

my own

•

For

The

details

organization

concerning

this

is,

slight repetition

of in-

research.

each chapter a self-contained unit. This has necessitated some formation.

tried to

The make

listed in...