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Chapter 5: Music of Japan

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finn-goff
17 diapositives · 306 Views · Nov 18, 2014

This chapter explores the rich tapestry of Japanese music, emphasizing its blend of traditional and modern influences. Rooted in cultural exchanges with Korea, China, and beyond, Japan's music evolved uniquely over centuries, fostering a vibrant traditional scene alongside contemporary genres. Key elements of music are examined, such as the importance of the shakuhachi and shamisen, the role of haiku, and the structure of jo-ha-kyu. The impact of Western music in the 19th and 20th centuries is discussed, illustrating how Japan balances its cultural heritage with globalization in music today.

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Chapter 5: Music of Japan
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  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

  3. 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

  4. 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.

  5. 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?

  6. 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

  7. Japanese Traditional Music • 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

  8. 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.

  9. 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 • Shamisen and Voice

  10. 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

  11. 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

  12. 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 IV:3) from the region of Akita in northwestern Japan • Instrument (shamisen) plays nearly steady pulse while voice has a flexible rhythm

  13. Matsuri-bayashi • Yatai (The Festival Wagon) IV:4 Shirabe, Ödaiko, and Flute

  14. 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

  15. 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

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

  17. 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.