Traditional Music of the Japanese Aristocrat

 

Ladies in Chiyoda Palace - Playing Koto

Introduction & Background:

Readers of the 11^th century Japanese novel Tale of Genji (by Murasaki Shikibu) will come across many references to the playing of music by its aristocratic characters. These are often important moments in the plot, where characters — both men and women — express their artistic skill and aesthetic taste, and make connections with others, both political and romantic. A gentleman will be walking along the street when he hears the dulcet tones of a lady’s koto, resounding from her garden-side rooms; he will decide to stop and turn in at her gate, pulling out his flute and beginning to play an accompaniment. If she appreciates his artistry, she will continue to play, and they will begin another song together (a set of blinds and curtains between them, for modesty). This traditional Japanese music, at its most affecting (and effective), was described as “touching” and melancholy, and it was meant to remind the listener of the transience of the world.

While this scenario takes place in a novel, the emphasis on a refined aesthetic sense in music-making (as well as in other arts) was not just a romantic piece of fiction. Murasaki’s tale was reflective of the real importance of music to the classical Japanese aristocrat, particularly during the Heian period (794–1185), but also after, in the following Middle Ages. When I first read the Tale of Genji, the references to various ancient instruments left me wondering what they sounded like, and how they were so affecting to the characters (and the historical personages these characters represented). A quick Google search will show that many of these instruments are still in use, letting us hear, in part, what was so moving, and understand how that tradition continues today.

To represent the sounds of traditional Japanese music, I’ve chosen to highlight a couple pieces played on the koto (zither), biwa (lute), and shinobue (flute). The biwa is usually accompanied by voice, but I’ve chosen an instrumental, to better hear its sound.

Description:

Before listening, there are a few things that we can be aware of, to deepen our appreciation of these pieces. One traditional influence in Japanese composing, that continues to this day, is the aesthetic concept of jo-ha-kyū. New Music USA describes it like this: “A quiet beginning (jo) proceeds to a complex middle section (ha) and then to a fast conclusion (kyū) followed by a final brief stasis.” It was famously explained by Zeami (1363–1443), who “compared it to the flow of a river: beginning slowly, then reaching rapids and white water and finally ending as a waterfall splashing into a pool of water,” (Traditional Music of Japan, para 10).

Related to this concept, traditional Japanese music often attempts “to represent natural sounds, and the sounds of life, through percussion, wind and stringed instruments.” One also often notices a certain minimalism at work, as part of the aesthetic preference: “An interesting feature … is its sparse rhythm and absence of regular chords … silence is an important part of the songs,” (Audio Network, paras 14–15). Regarding timbre, juxtaposed with this minimalism, is a certain “twanginess.” We can hear this in both the playing of the koto, where the strings are manipulated by the player to achieve this effect, and in the biwa, where the instrument naturally “twangs”; the shinobue can also reach a certain level of twang when sliding between notes, as we will hear. All these effects together create a distinctive flavor that becomes immediately recognizable as traditional Japanese.

Examples:

First, a rendition of the folksong “Sakura, Sakura” (“Cherry Blossoms”) performed by Shirley Kazuyo Muramoto (US, 2020) on the koto. This example highlights both the characteristic twang and jo-ha-kyū composition (and preference for melancholy).

 

Here is an example of the same song, this time played by a koto and shinobue together, with a different arrangement (Japan, 2021, performed by Nozomi Kanda and accompanist on koto).

 This last example makes great use of silence, and also a very subtle jo-ha-kyū, evincing the characteristic minimalism. (Japan, 2023, performed by Kahoru Nakamura). (Ends around 12:04):

 Personal Response:

Listening to these three selections definitely gets me into a different headspace. Overall, the impression is one of melancholy, or at least quiet reflection, and a sense of distinctly Japanese refinement. My favorite is probably the first “Sakura” rendition, as it allows the distinctive sounds of the koto to really shine. Muramoto’s artistry and mastery of her instrument is apparent in each note, and we can hear and see how she carefully controls the sound by choosing to either pick or pluck the strings, and manipulates the “twang” with her left hand.

In the second video, the smooth and connected articulation of the shinobue make this rendition even more melancholy (perhaps pushing it a bit too sad, for me). The sound of the flute seems to mimic the wind or a lonely bird’s cry, and gives the piece an almost haunting feeling, which is quite affecting. The jo-ha-kyū composition is also more apparent in this one, because of the way the instruments work together to create more complication in the middle, which contrasts with the short ending section that is slower and simpler.

Finally, the biwa performance is the most minimalistic and reflective of all — sparse, with a significant use of silence, and a measured, open rhythm. The preferred twanging timbre is also apparent with this instrument; the way the performer snaps the string at times to emphasize it is very intentional, and adds to the overall aesthetic. Personally, I have to be in a particular mood to enjoy this one, as it’s so slow and sparse.

Conclusion:

Overall, these pieces have a distinctively traditional Japanese flavor, one of melancholic refinement, and they give us a good sense of what kind of music Japanese aristocrats both played and listened to over a thousand years ago. Having listened to them, I can now understand a little better what was considered “good music” to the characters that populated the first novel ever written, and also how this tradition continues to be enjoyed today, much like the novel itself is still enjoyed.

 

Sources:

Dieter Wanczura. “Japanese Koto,” Artelino, 22 Mar. 2007, www.artelino.com/articles/japanese-koto.asp.

 “History of Japanese Music,” Audio Network, 18 July 2019, blog.audionetwork.com/the-edit/music/history-of-japanese-music.

 “Japanese Music - Predominant Musical Traits.” Encyclopædia Britannica, 2019, www.britannica.com/art/Japanese-music/Predominant-musical-traits.

“Koto.” Guzheng 箏 Alive, JB, guzhengalive.com/koto.

“4種の琵琶（楽琵琶・平家琵琶・薩摩琵琶・筑前琵琶）解説と演奏,” Youtube, uploaded by Promusica Nipponia, 26 Dec. 2023, “Biwa Performance” 8:22 to 12:04, www.youtube.com/watch?v=ZvZo51QYMxw.

Scallon, Rob. “The Koto (13 String Japanese Traditional Instrument),” YouTube, 22 Feb. 2020, www.youtube.com/watch?v=3K6KpkFXKdM.

Schlefer, James Nyoraku. “The Intersection of Genres - New Music USA.” Newmusicusa.org, 15 Feb. 2018, newmusicusa.org/nmbx/the-intersection-of-genres/.

“Sakura, Sakura (Cherry Blossoms), on koto during corona virus, at home...,” Youtube, uploaded by Shirley Kazuyo Muramoto, 9 Apr. 2020, from 1:31, www.youtube.com/watch?v=-wwV7QN186s.

“Sakura sakura koto & shinobue,” Youtube, uploaded by NOZOMI Flute & shinobue, 21 Oct. 2021, www.youtube.com/watch?v=lFu-XEKqXGc.

“Traditional Music of Japan.” Encyclopedia of Japan, doyouknowjapan.com/traditionalmusic/.