Brief Consideration for Japanese rtistic ongsThough as always there s - PDF document

1 Brief Consideration for Japanese rtistic
Brief Consideration for Japanese rtistic ongsThough as always, there should be some exceptions, in principal, Japanese artistic songscan be definedwith following three points Japanese songs1)Music and songs from ancient times of JapanFrom ancienteranumber of Japanese musichas beendevelopedFollowings are some examples of Japanese music genres.olk Musicolk ongullabusic for olk erforming Artistic Music:gaku(court music)Kumikyoku (Japanese instrumentalmusic)Music for & Kyogen raditional masked dancedrama)JiutaeikyokuNagautaJoruriDanmono (Music for Koto without singing)eligious usicBuddhismchanting)BuddhistSongTraditional Popular usic okyokutories of loyalty and human feeling accompanied by the hamisen here are variousgenresof music and each of the genrestotally differentAbove arejust a part of themWhat is notable about Japanese music is that mos t of th em are songs; they consist of voice music or story - telling music. There are some exceptionsuch as gaku, Kumikyoku and nmonoose are pure instrumental music, however, origin of those instrumental music are usually songs. t is worthwhile to understand that from ancienttime, ongdevelopmusicmore than pure instrumentalin Japan. 2)Japanese compulsory education and songsJapanese new government started compulsory educationin 1867after Meiji revolutionNew governmentthought that it needs the edution system uniform andopen to the general public as those in European countriesWestern music c

2 ompulsoryeducation is started infor elem
ompulsoryeducation is started infor elementary school when educational system was promulgated in 1872. It is the firstlaw to establish modern schools. The music subject is called Shokawhich teachessingingof officially recommendedwestern songs.The fact that western music education in Japan started from “singingis essentialfor Japanese music historysince it reveals that Japan value singingin music.3)The beginningmusic subjecthoka”As you can imagine, at Meiji revolution era, there were neither teachers nortextbooks for teaching Shokasubject of learning western song. In order to organize ShokaThe Ministry of Education, Science, Sports and Culture establishOngaku Torishirabe Gakari (the predecessor of the Tokyo University of the Arts) in October,1879. The credit goes to Shuji Izawa (18511917), who was dispatchedthe United States to learn Western music and musical education.To prepare music textbooks, Shuji Izawa invited Luther Whiting Mason (1818or18281896) as a teacher for Ongagu Torishirabeakari. Shuji and Luther have developedthe first music textbook in Japan, callehogakuShokashu(the official recommendedsongs for elementary school)in November of 1881. One of the characteristics of songs in this hogakuShokashuis that Japanese l yric s (not always translations) were adopted for Western folk songs and popular songs. Of coursethere were a few songs composed by Japanese, although foreignsongs with Japanese yrics hadbeen s

3 ung more often hough, over time, for som
ung more often hough, over time, for some songs, their titles or yricchanged from original hose Japanisedsongs havebeen sung by successive generationseven today, for yearsThe characteristicof Japanese songpartiallydefined by this origin. It is the subject of elementary school compulsoryeducation and Japanese learn songs which developedas the combination of pure imported western musicwithJapanese yric 4)Europeanization policy and the development of hot cant be helped to accept the criticismthat Japanese music education ght after Meiji revolution is blind imitationof western music. The music education inJapan is forced to start from the absolute ground zerobecause it eliminated traditional Japanese music. One of the reasons of it is becauseyricof those traditional songs are usually depictingpopular topics and targetingfor adultLyricsBecause of the theme of the Lyricsthose are labeledas vulgarmusic from the new government. That saidin principle, Japanese government forced to learn only western music in compulsoryeducation because it is aligned with national policy, rapid Europeanization.Based on that national policy and contents of the musicsubject of compulsoryeducation, Music education gradually started to mean only western style music education and the word definition of music for Japanese became western music. Ongaku Torishirabe Kakari became to Tokyo Music University (the predecessor of the Tokyo University of the Artsand establis

4 hed as a center of the music education w
hed as a center of the music education whereto “train music teachers and music master. It mainly aught western music until 1907. As Tokyo Music University is the head of the music educationthe policy ofvalue western music led all school to think music education is equal to import western music. Neverthless, since ound, one of the most importantOngaku Torishirabe Gakari tasks wascombine eastern and western style createnew musicThe task accomplishedfirstby two text booksinnjo hougaku okuhonn hoka”(textbook of songs for elementaryschool student) published in July 1910and “Jinjo hougaku hoka”(songs for elementary school)which consistof six volumes (one volume for each grade from 1 to 6). Theywere longawaited textbooks. Songs on these books were all composed by Japanese. here is a discussion that the composition techniqueand yricwritten in literary style may notbe appropriateas compulsory education text book(I will discuss it later).However, we shall not forget that after 20 years of “Shougaku Shokahu” creation, foundation of music education in Japan was established by songs developed by Japanese composers and yricists. From this foundation, Japanese music and song world started its endeavorin variousways.Progressionfrom Sho~the birth of Japanese artistic songsThe concept of Japanese artistic songsemerged around The originof Japanesesong (and it was also the first Japanese artistic song) is Kojo no Tsuki The

5 Moon over the Ruined Castlecomposed by R
Moon over the Ruined Castlecomposed by Rentaro Taki, composed 10 years before “Jinjo hougaku okuhonn Shoka n later 1890’s, songs composed by Japaneseereeagerlyanticipated because critics surged for unnaturalness towardearly stage hoka songs whichforcibly appliedJapaneseyricto western songsRentaro Taki also thought it was deplorableto apply Japanese for western songs.He especially thought that only plugging Japanesewords in the songcorruptthe beauty of the original songsTo solve the issue, Rentaro first decidethe yrics, and then compose melodyby applying appropriate sound forthe words and the content of the yricsLyricof “The Moon over the Ruined Castle” writtenin Shichigo Cho Japanese ancient format of poetryseven and five syllable meter. It is repeating units consist of opening seven syllables and consecutivefive syllables.)Rentarohad composed it in Western scale (seven notescale)based on his study and beliefto the poetry written by Bansui Doi.he Moon overthe ruined castle” is the stunning first Japanese artistic song which successfullyblendedproper technique of estern music and distinctive Japanese sensibility. The song clearlyshowsthe high artistryachieved by integritof yricand melody thatno songs in Japan ever had.The first appearance of “The Moon overthe ned astle” was in “Chugaku ka (songs for juniorhigh schools, edited by Tokyo Universityof music)” published in March 1901.However, i

6 t might haomposed in 1900 becausethis so
t might haomposed in 1900 becausethis song iscomposed for commissionedyricfromTokyo University of Musicin the year. Tokyo University of Music offered composition publically to develop Chugaku ShokaHence thesong should have composed in 1900.entaro also composed Shiki Suiteconsists of 4 songs of solo, duet and quartet, with accompanied by piano and organ. This suit applied quite innovative method at that periodAlso In 1901 March,“Chugakkorei hiko isoku” (Enforcement egulationsfor JuniorHigh School Ordinancewas publishedwhich includeda word Japanese songsin the section explainingthepurpose of Shoka subject in its statementas follows:Purpose of teaching hoka is to learn the skill of singing Japanese songs, cultivatesense of beauty, acquinobility, as well as foster virtuousness (Ministry of Education article 12, chapter one, No.3 of 1872)This is also a good evidence to know that the concept of Japanese songs started its development from around 1900.Fromthis point of view, we believe Japanese songoriginatedin 1900.Progressionfrom Shoka Doyo (childrens songs) movementLyrics adopted for shokadescribed in above section, are mostly in literary style written by poetsrelated to Ministry of Education or the Court.The yricthemes are mainly ethics, praising nature like landscapepaintingsand supporting Japan to be a mighty nationDoyo movement, which callsfor reformism of children songs, was originally proposed from poets who questioned narr

7 ative and moralizedtheme of hoka.The bel
ative and moralizedtheme of hoka.The belief of the poets supporting oyomovement is Songs for children need to unlockcolorful expression of childrensuch as joy and sorrowinstead of binding them stereotyped songs in textbooks” In 1918, Miekichi Suzuki (18851942)launched the premierissue of childrenliteraturemagazine Akai Tori (Red Bird)his considered as the starting point of oyomovement.Manytop ranked creatorsagreed to the motto of Akai Tori(Red Bird)written on the opening page of the first issue, protect and develop children’s genuinepurenesswe would like to gather sincere efforts of top artistsof modernera, as well as welcomeyoungtalentsfor young children.”Hakushu Kitahara(18851942) who was in charge of the section for oyo children’s songAkai Tori (Red Bird)defined oyo“True oyo has to be written in simple words that children can understand, and sing emotion of childrenwhile provide profound meaning even for adults.”This definition means oyo pursuedfrom poem. The first songof Doyois “Kanariya”(composed TamezoNarita[18931945], yricby Yaso Saijo[18921970]) which appeared on March issue of “Akai Tori (Red ird” in 1919In 1919, Kin no Fune sha (Golden Vessel company”” founded by Sajiro Saito (18931983) launched Doyomagazine “Kinno Fune (means Golden Vessel, renamed to “Kin no Hoshimeans Golden Starin 1922)” Ujo Noguchi (18821945) was nominated for the first chief ed

8 itor. Ujopublishedsongs such as “Ju
itor. Ujopublishedsongs such as “Jugoya otsukisan(Full Moon),” “Nanatsu no koeven Children),” “Aoime no ningyou(BlueEye Doll)composed by Nagayo Motoori [18761947]) and “Shoujouji no anukiayashiRaccoonMusic & Dance at Shojoji Temple)composedby Shinpei Nakayama [18871952]).Doyois oftenseparately discussed on literature aspect and music aspect.Tatsuyuki Takano (18761947)one of the compilers for Ministry of Education Shokatextbook (thus, he could be critical toDoyomovement) expressed his personal thoughts toward Doyopoetry in his book “Minyo/Doyoron (Idea of Traditional Japanese Music and Childrens Music, published by Shunjuusha/1929)”as followings.oyos literature advantage is Fresh themes and relevantwordinghowever, since as it takes free form style for poem, the flexibility make it difficult to composeto the poem or thecomposition method for Doyopoem, Tatsuyuki pointed (Though Lyricarein Doyostyle,) I doubt the method is in Western folk children’s songs,further to say, it applies Shokastyle which Doyocomposers would like o excludeI have been asked “What is the difference between Shoka and Doyo?” for quite many times. asically the differenceis that Shokais regulated by the governmentand Doyois a counter to Shoka. However, even I, the researcher of Japanese songs,think thereis only very vague differencethe style of composition.ThusJapanese may not be able to clearly recognize the diff

9 erenceand the definition may be able to
erenceand the definition may be able to stay in vagueFrom my point of view, it is more important to be aware that “Creation for childrensongs” such as Shokaand Doyohas played a significantrole in the Japanese songsand Japanese music history. This is tremendous difference between western and Japanese music history. In Japan, childrens songs development precedartistic songs and pure instrumental musicdevelopment Consequently, I consider Doyomovement provida trigger forpoets and composers to be co nscious about their own creations, compared to the previous times when Shokawascomposed in a council system. 7)istoy of Japanese Artistic SongsJapanese artistic songswereborn in 1900as I previously definedparallel with Shokaand DoyoJapanese artistic songgenre began to be clearly established by KosakuYamada (18861965) and Kiyoshi Nobutoki (18871965)both of them learned music in Berlin, GermanyI will leave the subsequenthistoryto other articles which explaineachcomposerandmusicTwo elements influenced Japanese artistic songs deeply. One is German songcomposers who apply poetry of Romanticism literatureas Lyricfor their songs. Another isJapanese tendency which values belletristicliterature. As a result, ain stream of Japanesesongis to deal with emotions bymusic and yrics. From this starting point, which depicts emotionas main theme of songs, yricof Japanese song aredevelopedand influential enough to alter Japanese pronunciationand w

10 riting method. Compositiontechniques are
riting method. Compositiontechniques are also developed by applying French composition technique and attempting the fusion of Japanese traditional music and western music.In the endI wonder why there were almost no Japanese composers whodedicatedto composeinstrumentalin genesis era of western music composition in JapanThisay bequite unique compared to other countries. One the one hand, it is natural outcome as the direction of the government to start western music compulsory educationto begin with songs. In additionto the government direction, Japanese mentality thatpreferstandard (or tooism) might enhance the tendency to value songs.However, I believe we centersong becauseof our originour tradition from ancienteradevelopedWaka, traditional formatted poetry, andread them loud with melodiesfrom nearly 1300years ago.(Unfortunately it’sphonetic or music records are very limited.)It is a big challengeto spread Japanese songs because the song is deeply integrated with Japanese culture, environment, history, and Japanese sensibilityHowever as I know excellent membersof FosterJapanese Songs project correctly understandwhat Japanese song is. This project doesnot work with the simple minded philosophysuch as music has no border. It tries to overcome the high hurdle of language and cultural barrier and provide the heart of Japanese songs to the world.I truly hope that numbers of songs developedby Japanesethe people born withsongwill penetr

11 ateto the worldwith its center corand ga
ateto the worldwith its center corand gather the support to Foster Japanese Songs.September.2012 Yoshio TsukadaAdditional Notes: Efforts to develop masterpieces of Japanese SongsFollowings are the representativesof Japanese artisticsongs masterpiecesBookNihon no kakyoku19001964”(Japanese songs 19001964)ublished by Nihon Victore in 1964Contain total of 86 songs by 45 composers and 49 poets in 6 LP records.nclude solo andchorusmusicCD with Book/Sheet Music“Nihon kakyoku zenshu” (collections of Japanese songs) Published by Victor Ongakusangyo/Ongakunotomin 199132 volumes of CDs and sheet musics with603 songsOriginal product was 23 LP records. CD version is developedby enhancing with new recording to the original LP record version which won Record Academy Special Award for masterpieceselectionand planningHandbooks which explain each songs and composersare attachedSpecial featureCD is added to the original. This CD isperformance of viltuoso and composers themselveVolume of Renbtaro Taki” includes two piano solos and a suit called “Shiki” (includstyles other than solos)since it is the origin of Japanese songs and to grasp the conditions of musicof his eraCD/Event“Nihonno uta, 90 nenno keifu” (Japanese songs, its 90year historyCD releasedby Sony RecordThis is a live recording of a performance called Japanese songs, its year historyconducted by Agency of CulturalAffairs October in 1991 at Suntory Hall,

12 TokyoThe Performance planned to oversee
TokyoThe Performance planned to overseeJapanese song 90yearhistory from itsfirst appearanceat one nightThe performance is conducted in the style of Hyakunin Isshu (Hundred Poems by Hundred Poetsthe traditional Waka selection way to selectone song from one composer40 songs were performed in order of the composers’ year of birth, starting from Rentaro Taki to Akira Miyoshi.Sheet Music“Nihonkakyoku zenshu” (collections of Japanese songs)Published by Ongakunotomoshain 19931994Separate sets of “Nihonkakyoku zenshu” mentioned above, but some songs are added46 volumes.t is such a veryunfortunate thatthese recordings and publicationsintroduced above are mostly out of print and no longer available. As it is not past stuffI hope those will bereduplicatedin near futureIntroduction of Mr. Ryosuke Hatanaka (19222012)I cannot condone Mr. Ryosuke Hatanaka for his contribution for Japanese Songs research. Mr. Hatanaka participated all of above masterpieces not only in planning but also structuring and supervising.Mr. Hatanaka dedicated himself to promote Japanese songs while conduct researchfor Japanese songs to organize them. He started his devotion when he compiled “Shinsen Nihon Lied (New selection of Japanese Lied)publishedby Kawai Gakuhu in 1960. As you can see from the performance which I described in “Nihonno uta, 90 nenno keifu” (Japanese songs, its 90year history, Mr. Hatanaka is willing to strive to

13 realize complete works at that moment. H
realize complete works at that moment. His effort also can be seen from planningof a concert titled Nihon Kakyoku Hyakunen no Tabi Japanese songs 100 years of journey)With a hope that Foster Japanese Songsproject will take significant role in history of Japanese ongand its researchlet me conclude with the articlewritten y Mr.Hatanaka in “message fromsupervising editor” in the handbook of “Nihon kakyoku zenshu” (collections of Japanese songs)in 1991. “ It has been less than 100 years s ince the birth of Japanese songs (*this articleis written in 1991) . However, there alr eady are many excellent artistic songs composed by Japanese equal to those of Schubert, Schumann and Brahms . I cannot help wishing to highlight those new masterpieces in the years ahead. Those songs which Japanese composed for Japanese, and have been sung by Japanese have already started crossing the border of Japan. Wit sincere prayer, I long for a day that Japanese songs will be loved by the world …” Ryosuke Hatanaka ReferencesYumi Aikawa “Koredeiinoka, Nipponno uta” 1998 BungeishunjuTomikoKojima “Nihonno ongaku wo kanngaeru1976 OngakunotomoshaTomiko Kojima “Nihon ongakuno koso”1982 ShunjushaHiroo Sakata “Doyono tentai”1996 ShinchoshaIkuma Dan/Fumio Koizumi “Nihon ongakuno saihakken”1976 KoudanshaYuko Chiba “Doremi wo eranda nihonjin” 2007 Ongakunoto