Traditional Music of Japan

Ensemble of Traditional Musical Instruments of Japan - Traditional Music of Japan

When in the Fifth, Sixth and Seventh centuries Japan imported a part of Chinese art, a large measure of it was music, and upon which the Japanese temperament exercised its originality and soon absorbed and transformed into its own. "Japan is a Universe in full creation", says Yefime. A tree, a rock, a mountain, a waterfall, hold a fascination to which no Japanese is insensitive, because these objects are "shintai" (the body of kami), that is, inhabited by an almost divine spiritual force. Japan itself is of celestial origin, because it was raised from the sea by Izanagi, one of the two mythological divinities while they were fishing in the waters around the islands of the Japanese archipelago.

The art of constructing Japanese stringed instruments has reached a high level of perfection by way of accurate methods that have followed ancient traditions. Even minute details attest for a heritage whose date of origin would be difficult to trace. For the Japanese people, no object, event or custom can be considered truly acquired unless it has a history of several thousand years. Two or three centuries have no importance in measuring the value of time. Even instrumental music, which occupied and still occupies an important place in the daily life of the Japanese, has been cultivated with passion by composers and performers who have transformed it into a delicate but potent art form; a science which is often subtle and clearly innovating.

The Ensemble of Traditional Musical Instruments of Japan was founded in Tokyo by three women soloists of the 13 and 17 string koto, and actively participates in concert exchanges with the West through the Min-on Concert Association of Tokyo which was founded by Daisaku Ikeda. Nothing is more revealing and pleasurable than to listen to these performers of the koto and to the prodigious flutist who are the soloists of the group. From their instruments they are able to create sounds and colours of incomparable delicacy and beauty. The grace and refinement of their interpretations are completely dazzling from the point of view of interpretation and free expression of the soul.

The koto is a kind of zither, of Chinese origin, imported to Japan in the Seventh century. It consists of a long, narrow body which tapers slightly towards the rounded lower end and is treated with a special varnish. The surface of the key-board is constructed of sound-holes and moveable bridges over which are stretched from 13 to 17 strings, traditionally made of waxed silk, which in turn are constructed of 243 threads, all of the same tension, and are tuned individually by way of the mobile bridges which are made to pass under them. In ritual music the tuning varies according to the month. The instrument is placed on the floor and the player plucks the strings with ivory plectra worn on the thumb, the index and middle finger of the right hand, while the left hand is used to complete the main tonal scale with auxillary tones and secondary tones. The koto also permits glissandi effects similar to those of the Western harp. The 17-stringed koto was invented in 1921 by the famous blind contemporary Japanese composer Michio Miyagi who died tragically in 1948 when he fell from a moving train. It is interesting to note that koto are almost always blind, ever since the blind musician Yatsuhashi "Kengyo" made this instrument popular in the early 17th century. He is also the originator of modern musical forms. Koto players, more than any other musicians, remain faithful to classical traditions. They execute three types of sound: open resonant sounds, those produced by the left hand pressing the strings of the keyboard, and plucked sounds. The first two are tonal while the third are harmonics. The chords must be touched "as the dragonfly touches the water and as the bee and butterfly rest upon flowers".

The shakouhachi also originated in China and first appeared in Japan in 1335. This is a thick, vertical bamboo flute which owes its name to its length (54 cm.) "shaku" (1 foot) "hachi" (8 inches). The average internal diameter of the flute is 4, 5 cm., and is lacquered, while the external surface is in its natural state. Its timbre is particularly suited to Japanese music, a delicate and graceful art in which the virtuosity of the performer plays a significant role.

The tzuzumi, also imported from China during the 8th century, has been slightly modified. It is an hour-glass drum made of clay, with a central belt made of horsehide which is fastened with metal rings. This belt serves to maintain the tension of the drumhead. The instrument is usually played with the fingers or with the palm of the hand. (from the liner notes)

Released in 1975 on LP.

Tracklisting:

Side A

1. The Road to Izumo: a) The Sun Sets on the Temple of Kyoto {5:17}

2. The Road to Izumo: b) Festivities {3:44}

3. The Road to Izumo: c) Sun Rays on the Lake {4:39}

4. The Plover {4:45}

5. Themes from "Rokoudan" {6:39}

Side B

1. Image for Japanese Instruments {6:20}

2. Caprice for Three Kotos: a) First Koto {6:38}

3. Caprice for Three Kotos: b) Second Koto {4:01}

4. Caprice for Three Kotos: c) Third Koto {5:49}

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