sejarah music japan

Main article: Traditional Japanese music The oldest forms of traditional Japanese music are shōmyō (声明 or you could use 聲明), Buddhist chanting, and gagaku (雅楽), orchestral court music, both of which date to the Nara and Heian periods.[citation needed] Gagaku is a type of classical music that has been performed at the Imperial court since the Heian period[citation needed]. Kagurauta (神楽歌), Azumaasobi(東遊) and Yamatouta (大和歌) are relatively indigenous repertories. Tōgaku (唐楽) and komagaku originated from the Chinese Tang dynasty via the Korean peninsula[citation needed]. In addition, gagaku is divided into kangen (管弦) (instrumental music) and bugaku (舞楽) (dance accompanied by gagaku). Originating as early as the 13th century are honkyoku (本曲 "original pieces"). These are single (solo) shakuhachi (尺八) pieces played by mendicant Fuke sect priests of Zen buddhism[citation needed]. These priests, called komusō ("emptiness monk"), played honkyoku for alms and enlightenment. The Fuke sect ceased to exist in the 19th century, but a verbal and written lineage of many honkyoku continues yesterday, though this music is now often practiced in a concert or performance setting.[citation needed] The samurai often listened to and performed in these music activities, in their practices of enriching their lives and understanding[citation needed]. [[Image:Noh3.jpg|thumb|210px|right|Noh is usually accompanied by music1363 – 1443). In particular Zeami provided the core of the Noh repertory and authored many treatises on the secrets of the Noh tradition (until the modern era these were not widely read). Another form of Japanese theater is the puppet theater, often known as bunraku (文楽). This traditional puppet theater also has roots in popular traditions and flourished especially during Chonin in the Edo period (1600–1868)[citation needed]. It is usually accompanied by recitation (various styles of jōruri) (浄瑠璃) accompanied by shamisen (三味線) music. [edit] Folk music [edit] Biwa hōshi, Heike biwa, mōsō, and goze The biwa (琵琶 - Chinese: pipa), a form of short-necked lute, was played by a group of itinerant performers (biwa hōshi) (琵琶法師) who used it to accompany stories.[citation needed] The most famous of these stories is The Tale of the Heike, a 12th century history of the triumph of the Minamoto clan over the Taira[citation needed]. Biwa hōshi began organizing themselves into a guild-like association (tōdō) for visually impaired men as early as the thirteenth century. This guild eventually controlled a large portion of the musical culture of Japan.[citation needed] In addition, numerous smaller groups of itinerant blind musicians were formed especially in the Kyushu area[citation needed]. These musicians, known as mōsō (盲僧 blind monk) toured their local areas and performed a variety of religious and semi-religious texts to purify households and bring about good health and good luck. They also maintained a repertory of secular genres. The biwa that they played was considerably smaller than the Heike biwa (平家琵琶) played by the biwa hōshi.[citation needed] Lafcadio Hearn related in his book Kwaidan: Stories and Studies of Strange Things "Mimi-nashi Hoichi" (Hoichi the Earless), a Japanese ghost story about a blind biwa hōshi who performs "The Tale of the Heike" Blind women, known as goze (瞽女), also toured the land since the medieval era, singing songs and playing accompanying music on a lap drum.[citation needed] From the seventeenth century they often played the koto or the shamisen. Goze organizations sprung up throughout the land, and existed until recently in what is today Niigata prefecture.[citation needed] [edit] Taiko Taiko performing The taiko is a Japanese drum that comes in various sizes and is used to play a variety of musical genres.[citation needed] It has become particularly popular in recent years as the central instrument of percussion ensembles whose repertory is based on a variety of folk and festival music of the past. Such taiko music is played by large drum ensembles called kumi-daiko. Its origins are uncertain, but can be stretched out as far back as the 7th centuries, when a clay figure of a drummer indicates its existence. China influences followed, but the instrument and its music remained uniquely Japanese.[5] Taiko drums during this period were used during battle to intimidate the enemy and to communicate commands. Taiko continue to be used in the religious music of Buddhism and Shintō. In the past players were holy men, who played only at special occasions and in small groups, but in time secular men (rarely women) also played the taiko in semi-religious festivals such as the bon dance. Modern ensemble taiko is said to have been invented by Daihachi Oguchi in 1951[citation needed]. A jazz drummer, Oguchi incorporated his musical background into large ensembles, which he had also designed. His energetic style made his group popular throughout Japan, and made the Hokuriku region a center for taiko music. Musicians to arise from this wave of popularity included Sukeroku Daiko and his bandmate Seido Kobayashi. 1969 saw a group called Za Ondekoza founded by Tagayasu Den; Za Ondekoza gathered together young performers who innovated a new roots revival version of taiko, which was used as a way of life in communal lifestyles. During the 1970s, the Japanese government allocated funds to preserve Japanese culture, and many community taiko groups were formed. Later in the century, taiko groups spread across the world, especially to the United States. The video game Taiko Drum Master is based around taiko. One example of a modern Taiko band is Gocoo. [edit] Min'yō folk music [[Image:Geishashamisen053.jpg|thumb|left|A Japanese folkswoman with her shamisen, 1904]] Main article: Min'yō Japanese folk songs (min'yō) can be grouped and classified in many ways but it is often convenient to think of four main categories: work songs, religious songs (such as sato kagura, a form of Shintoist music), songs used for gatherings such as weddings, funerals, and festivals (matsuri, especially Obon), and children's songs (warabe uta). In min'yō, singers are typically accompanied by the three-stringed lute known as the shamisen, taiko drums, and a bamboo flute called shakuhachi. Other instruments that could accompany are a transverse flute known as the shinobue, a bell known as kane, a hand drum called the tsuzumi, and/or a 13-stringed zither known as the koto. In Okinawa, the main instrument is the sanshin. These are traditional Japanese instruments, but modern instrumentation, such as electric guitars and synthesizers, is also used in this day and age, when enka singers cover traditional min'yō songs (Enka being a Japanese music genre all its own). Terms often heard when speaking about min'yō are ondo, bushi, bon uta, and komori uta. An ondo generally describes any folk song with a distinctive swing that may be heard as 2/4 time rhythm (though performers usually do not group beats). The typical folk song heard at Obon festival dances will most likely be an ondo. A fushi is a song with a distinctive melody. Its very name, which is pronounced "bushi" in compounds, means "melody" or "rhythm." The word is rarely used on its own, but is usually prefixed by a term referring to occupation, location, personal name or the like. Bon uta, as the name describes, are songs for Obon, the lantern festival of the dead. Komori uta are children's lullabies. The names of min'yo songs often include descriptive term, usually at the end. For example: Tokyo Ondo, Kushimoto Bushi, Hokkai Bon Uta, and Itsuki no Komoriuta. Many of these songs include extra stress on certain syllables as well as pitched shouts (kakegoe). Kakegoe are generally shouts of cheer but in min'yō, they are often included as parts of choruses. There are many kakegoe, though they vary from region to region. In Okinawa Min'yō, for example, one will hear the common "ha iya sasa!" In mainland Japan, however, one will be more likely to hear "a yoisho!," "sate!," or "a sore!" Others are "a donto koi!," and "dokoisho!" Recently a guild-based system known as the iemoto system has been applied to some forms of min'yō; it is called. This system was originally developed for transmitting classical genres such as nagauta, shakuhachi, or koto music, but since it proved profitable to teachers and was supported by students who wished to obtain certificates of proficiency and artist's names continues to spread to genres such as min'yō, Tsugaru-jamisen and other forms of music that were traditionally transmitted more informally. Today some min'yō are passed on in such pseudo-family organizations and long apprenticeships are common. See also Ainu music of north Japan. [edit] Okinawan folk music Main article: Ryukyuan music Umui, religious songs, shima uta, dance songs, and, especially kachāshī, lively celebratory music, were all popular. Okinawan folk music varies from mainland Japanese folk music in several ways. First, Okinawan folk music is often accompanied by the sanshin whereas in mainland Japan, the shamisen accompanies instead. Other Okinawan instruments include the sanba (which produce a clicking sound similar to that of castanets), taiko and a sharp finger whistling called yubi-bue (指笛?). Second, tonality. A pentatonic scale, which coincides with the major pentatonic scale of Western musical disciplines, is often heard in min'yō from the main islands of Japan, see minyō scale. In this pentatonic scale the subdominant and leading tone (scale degrees 4 and 7 of the Western major scale) are omitted, resulting in a musical scale with no half-steps between each note. (Do, Re, Mi, So, La in solfeggio, or scale degrees 1, 2, 3, 5, and 6) Okinawan min'yō, however, is characterized by scales that include the half-steps omitted in the aforementioned pentatonic scale, when analyzed in the Western discipline of music. In fact, the most common scale used in Okinawan min'yō includes scale degrees 1, 2, 3, 4, 5, 6, 7, [edit] Traditional instruments Main article: Traditional Japanese musical instruments Biwa (琵琶) Fue (笛) Hichiriki (篳篥)　 Hocchiku (法竹) Hyōshigi (拍子木) Kane (鐘) Kakko (鞨鼓) Kokyū (胡弓) Koto (琴) Niko (二胡) Okawa (AKA Ōtsuzumi) (大鼓) Ryūteki (竜笛) Sanshin (三線) Shakuhachi (bamboo flute) (尺八) Shamisen　 (三味線) Shime-Daiko (締太鼓) Shinobue (篠笛) Shō (笙) Suikinkutsu (water zither) (水琴窟) Taiko (i.e. Wadaiko)太鼓～和太鼓 Tsuzumi (鼓) (AKA Kotsuzumi) [edit] Arrival of Western music [edit] Traditional pop music Main articles: Ryūkōka, Kayōkyoku, and Enka After the Meiji Restoration introduced Western musical instruction, a bureaucrat named Izawa Shuji compiled songs like "Auld Lang Syne" and commissioned songs using a pentatonic melody.[citation needed] Western music, especially military marches, soon became popular in Japan.[citation needed] Two major forms of music that developed during this period were shoka, which was composed to bring western music to schools, and gunka, which are military marches with some Japanese elements..[citation needed] As Japan moved towards representative democracy in the late 19th century, leaders hired singers to sell copies of songs that aired their messages, since the leaders themselves were usually prohibited from speaking in public. The street performers were called enka-shi.[citation needed] Also at the end of the 19th century, an Osakan form of streetcorner singing became popular; this was called rōkyoku. This included the first two Japanese stars, Yoshida Naramaru and Tochuken Kumoemon..[citation needed] Ichiro Fujiyama, influential ryūkōka singer Westernized pop music is called kayōkyoku, which is said to have and first appeared in a dramatization of Resurrection by Tolstoy. The song "Kachūsha no Uta", composed by Shinpei Nakayama, was sung by Sumako Matsui in 1914. The song became a hit among enka-shi, and was one of the first major best-selling records in Japan.[citation needed] . Ryūkōka, which adopted Western classical music, made waves across the country in the prewar period..[citation needed] Ichiro Fujiyama became popular in the prewar period, but war songs later became popular when the World War II occurred..[citation needed] Kayōkyoku became a major industry, especially after the arrival of superstar Misora Hibari.[citation needed] In the 1950s, tango and other kinds of Latin music, especially Cuban music, became very popular in Japan.[citation needed] A distinctively Japanese form of tango called dodompa also developed. Kayōkyoku became associated entirely with traditional Japanese structures, while more Western-style music was called Japanese pop.[citation needed] Enka music, adopting Japanese traditional structures, became quite popular in the postwar period, though its popularity has waned since the 1970s and enjoys little favour with contemporary youth.[citation needed] Famous enka singers include Hibari Misora, Saburo Kitajima, Ikuzo Yoshi and Kiyoshi Hikawa. November 2009}}, with Toru Takemitsu (famous as well for his avant-garde works and movie scoring) being the best known.[citation needed] Also famous is the conductor Seiji Ozawa. Since 1999 the pianist Fujiko Hemming, who plays Liszt and Chopin, has been famous and her CDs have sold millions of copies.[citation needed] Japan is also home to the world's leading wind band.[citation needed] , the Tokyo Kosei Wind Orchestra, and the largest music competition of any kind, the All-Japan Band Association national contest.Template:Ahmed mohamed eded Western classical music does not represent Japan's original culture. The Japanese were first exposed to it in the second half of the 19th century, after more than 200 hundred years of national isolation during the Edo Period.[citation needed] But after that, Japanese studied classical music earnestly to make it a part of their own artistic culture. Orchestras Gunma Symphony Orchestra Hiroshima Symphony Orchestra Hyogo Performing Arts Center Orchestra Japan Philharmonic Orchestra Kanagawa Philharmonic Orchestra Kyoto Symphony Orchestra Kyushu Symphony Orchestra Nagoya Philharmonic Orchestra New Japan Philharmonic