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Japanese Music
By Tom Takihi
Music in Japan is called ongaku, which when directly translated can be taken to mean as sound for comfort. Although mostly identified nowadays by the outside world for its pop, “bubblegum” type of songs, Japanese is essentially an eclectic combination of musical influences from all over the world. Much as it is steeped in local tradition and history, the scales, instruments and styles however were borrowed and loosely adapted from neighboring countries such as China, Korea and Indonesia and has evolved to integrate Western musical styles such as jazz, rock, ska and reggae.
There is a definitive emphasis on words rather than the instrumentation and one East Asian musical scholar has attributed this to the Japanese “love for storytelling and preoccupation with ritual.” Some examples of this would be the shomyo, or Buddhist chanting and the Japanese folk songs or min’yo. There are all sorts of min’yo but can be generally categorized according to occasions when they are sung. There are work songs, religious songs, songs used during special gatherings like weddings, funerals and celebrations and songs for children or lullabies. These songs are most often passed or transmitted through family generations. One old form of traditional coming from the Ainu people in northern Japan would be the yukar, or mimicry – a form of epic poetry or epics in songs.
Most Japanese genres even up to the present make use of the shamisen, or a three-stringed musical instrument most commonly referred to as the Japanese guitar. In kouta, or short songs typically sung by geisha and nagauta or long songs as those performed in Japanese theatres noh and kabuki, the shamisen provides the backbone for instrumentation. An evolution from the jiuta or the earthy, classical style of shamisen and developed by blind musicians Shirakawa Gunpachiro and Takahashi Chikuzan is the tsugaru-jamisen where there is more free improvisation and
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