Traditional Japanese Music and Musical Instruments 4770023952, 9784770023957

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New, revised edition, CD included

SAN FRANCISCO PUBLIC LIBRARY

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INSTRUMENTS

TRADITIONAL JAPANESE MUSIC and

MUSICAL INSTRUMENTS When William Malm published his wide-ranging study of traditional Japanese music in 1959, it was the first time in the twentieth century that such a work had been brought out in a Western language. Malm’s book has still not been replaced as the single most interesting and authoritative text on the subject. But until now it was never revised or updated, nor were its illustrations ever changed. With the present publication, however, an extensively improved edition that includes a CD of sample music has been made available. Professor Malm’s aim has always been to attract the lay¬ man reader as well as the musicologist, which has given this book its strength and durability. The writing is clear, lively, and informed, the scope of his study being broad¬ ened by frequent comparisons with other traditions, East and West. Accompanying it all is a generous number of drawings and photographs of the players and their various instruments. The book opens with a brisk and eloquent history of Japan’s musical life, then moves on to its religious music, Shinto, Buddhist, and Christian; its court music; the music of the noh drama; and the music of specific instruments: biwa, shakuhachi, \oto, and shamisen. After examining the components of \abut{i music, it closes with a chapter on folk music, popular musical arts, and the music of other ethnic groups in Japan. For the more technically inclined, there is a detailed appendix on notation systems. Lastly, to put all this in a practical context, a CD is provided, giving nineteen examples of these different genres. Whether your interest is in a particular form of Japan¬ ese music—the marvelous sonority of the bamboo flute, the sharp but wistful sound of the shamisen—or just in music in general, Malm’s book will more than satisfy your curiosity.

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TRADITIONAL JAPANESE MUSIC and

MUSICAL INSTRUMENTS

3 1223 06098 1348

TRADITIONAL JAPANESE MUSIC arid

MUSICAL INSTRUMENTS The New Edition

William P. Malm

KODANSHA INTERNATIONAL Tokyo • New York • London

The Yamaguchi Kan Series

Publication of this book was assisted by a generous grant provided by Ms. Yamaguchi Kan of Tsuchiura City, Japan. A select number of interesting works in English on Japan have been given such assistance.

Funding for the production of the CD was provided in part by the Uni¬ versity of Michigan Office of the Associate Provost for Academic Affairs, as well as the Center for Japanese Studies. Thanks are also due to the Henry Luce Foundation.

Originally published in 1959 by Charles E. Tuttle Company under the title Japanese Music and Musical Instruments.

Distributed in the United States by Kodansha America, Inc., 575 Lexing¬ ton Avenue, New York, NY 10022, and in the United Kingd om and con¬ tinental Europe by Kodansha Europe Ltd., 95 Aldwych, London WC2B 4JF. Published by Kodansha International Ltd., 17-14 Otowa 1-chome, Bunkyo-ku, Tokyo 112—8652, and Kodansha America, Inc. Copyright © 2000 by Kodansha International Ltd. All rights reserved. Printed in Japan. ISBN 4-7700-2395-2 First edition, 2000 00 01 02 03 04 05

10 9 8 765432 1

Dedicated to the traditional musicians of Japan. May their art flourish ten thousand years.

Digitized by the Internet Archive in 2020 with funding from Kahle/Austin Foundation

https://archive.org/details/traditionaljapanOOOOmalm

List of Plates

11

List of Figures

14

List of CD Contents Preface

15

17

Foreword

19

Prologue: Omatswi

25

The Present and Past of Japanese Music 1. Japan’s Musical Life (1957) 2. Music and Japanese History

29 31

Religious Music 1. Shinto Music

47

Introduction

47

Kagura in the Palace

48

Shinto Instruments and Tone Systems Kagura in Large Shrines

54

Local Kagura and Festival Music A Snow Festival in Nagano Modern Shinto 2. Buddhist Music

51

56

61

65 66

Theory and Practice

66

A Buddhist Ceremony and Its Musical Instruments Buddhist Folk Music and Festivals 3. Christian Music 4. Summary

80

78

75

70

Gogaku, the Court Music of Japan 1. The History of Court Music 2. The Instruments Percussion

102

103

Strings

105

Winds

106

3. Theory and Practice Tone Systems Rhythm

113

113

115

The Jo-Ha-Kyu Concept Form

97

115

116

Nogaku, the Music of Noh Drama 1. Introduction

119

2. The History of Noh Drama 3. The Structure of a Noh Play

120 123

4. Musical Conventions of a Noh Play 5. Aesthetics

128

6. Vocal Music

129

Singing Styles

129

Tone Systems

130

Rhythm

131

7. Instruments of the Hayashi The Nodari

133

The Kotsuzumi The Otsuzumi The Tait^o 8. Drum Music

137 139

140 141

9. Performance Practices 10. Summary

146

145

133

126

Biwa Music 1. Introduction

149

2. The History of Biwa Music

150

3. The Instrument and Its Music

156

The Shakuhochi 1. The History of the Shahuhachi

165

2. The Instrument and Its Music

171

Koto Music 1. Introduction

193

2. The History of the Koto 3. Music Lessons

193

200

4. Instruments of the Koto Ensemble 5. Koto Music

IjpjP

204

207

The Shomisen and Its Music 1. The Instrument and Its Background

213

2. The History and Form of Shamisen Music

217

Katarimono—Narrative Shamisen Music Gidayubushi—The Music of Bunrahu Utamono—Lyrical Shamisen Music

224 229

Nagauta—The Heart of Kabuli Music Twentieth-Century Shamisen Genres

217

231 237

Kabuki Music 1. The Components of Kabuli Music 2.

llli

The Music of One Kabuki Scene

239 250

Folk and Popular Musical Arts 1. Introduction 2. Folk Songs

261 262

3. Characteristics and Performance Practices

Tone System Form

264

265

Rhythm

265

Performance Practices

265

4. Other Ethnic Groups in Japan 5. Folk Theatricals 6.

Urban Music

7. Summary

Epilogue

263

266

268

271

273

275

Appendix I Japanese Music Notation Systems

279

Appendix II CD Contents and Text Translations Appendix III Audio-Visual Materials 313 A Selective Annotated Bibliography 317 Glossary/Index 333

301

LIST OF PLATES

L The dance pantomime “Okame” accompanied by this folk hayashi is seen frequently during fall festivals in Japan.

24 Following Page 80

2. Some tomb figurines (hamwa) evoke the music, song, and dance of ancient Japan. 3. An outdoor performance on the wagon zither. Note the high bridges. 4. The bagura azuma asobi dance costume shown in the Bugabuzu (1905). 5. On the right, a dancer-priestess {mikp) with suzu. 6. A shirabyoshi dancer from Kabu ongabu i~yabushi (1888). 7. A young festival ensemble travels on a yatai cart during the Sanja festival in Asakusa, Tokyo. 8. The atarigane is played inside the gong. 9. The devil dancers of the Yasurai festival in Kyoto use a gong called thesurigane. They also carry taiko drums. 10. A satobagura performance of the white fox in Asakusa, Tokyo. Note the suzu bell tree in his hand and the accompanying daibyoshi drum. 11.

A lion dance (shisht mat) is popular in Japanese festivals whether done by two dancers

or only one. 12. Drums, rattles, a flute, and a giant flowered hat are part of a dengabu ceremony at the Kasuga shrine in Nara. From Kasuga dmiya wabamiya gosaireizu (1716). 13. The opening procession of the yubj matsuri in the mountain village of Niino in Nagano prefecture, 1956. Two firemen in uniform protect the box of dance masks. 14. The binzasara rattle and drums on the baguraden at the yubj matsuri reflect old tra¬ ditions seen in Plate 12. 15.

Shinto chanting (semmyo) with drum and bell tree accompaniment at the yubj matsuri.

16. The “Modoki” is one of a series of dances performed in the all-night celebration of the yubj matsuri. 17. A large wooden fish-mouthed gong (mobugyo) sits ready for use as Buddhist priests chant while circling the altar. 18.

Buddhist wasan singing is often accompanied by the odaibo drum.

19. A print from the Seibyobu ruisan, vol. 5 (1839), showing various types of street music of Edo. Ogibyoshi, top left, saimon, top right, and nembutsu priests. 20.

Edo period bfldo sebjtyb, utabibuni, and yotsudab£ performers from the Seibyobu ruisan.

21. A chindonya trio in action, Tokyo 1956. 22. An itinerant priest on Enoshima chants prayers to the accompaniment of an uchiwadaibo drum. 23. Members of a Buddhist congregation of the Jodo sect performinggoeiba music and dancing. 24. Bon odori, such as this 1956 example from Miyakejima, are common Buddhistinspired folk dances in Japan. 25. The Iwate deer dance is one of the most spectacular folk theatricals (geind) in Japan. 26. This eighteenth-century screen painting of the great Buddha ceremony held at the Todaiji in the eighth century shows bugabu musicians and dancers performing before the temple. 27. Rinyugabu, an exotic form of court music still shown in the fourteenth-century Shinzeibogabuzu scroll.

28. The “Genjoraku” dance as pictured in the Shinzeikogakuzu scroll. 29. The raregogenbiwa from the Shosoin shows floral designs on its back and a Central Asian scene on the front. 30. Drawings copied in the Kabu ongaku ryakushi (1888) from the fourteenth-century Shinzeikogakuzu include the biwa lute and sho mouth organ along with instruments no longer heard in Japan such as the kug° harp and the hokyo rack of metal plates. 31. A courtly ensemble scene in the fourteenth-century Sumiyosht monogatan scroll. 32. The imperial gagaku orchestra in the palace music hall. They represent one of the oldest orchestral traditions in the world. 33. A bugaku ensemble accompanying dance at the Gion shrine in Kyoto. Note the lack of stringed instruments. 34. The bugaku dance “Taiheiraku." 35. Four kinds of flutes: (from the top) the kpmabue, kagurabue, ryutehi, and nok^n. 36. A giant W

the player uses when first learning the mu¬ sic by singing it. These mnemonics (shoga) are

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not a solfege, i.e., they do not represent specific pitches within a tone system like the Western do, re, mi, though they do imply ranges and

Figure 43. Gagaku wind notation from “Etenraku,” hyojo mode

conventional melodic patterns. Most of the characteristic melismas are learned while singing the mnemonic, so that they are seldom apparent to the eye. The smaller figures to the left of these syllables in Figure 43 represent finger¬ ings on the instrument, thus guiding the performer to specific pitches. Most fingering or pitch symbols are derived from earlier Chinese notations. The black dots to the right of the line represent time units, often (though not always) four beats apart. The meter and tempo of the music are listed below the title of the piece. The tiny rings in the column itself are breath marks. Ryuteki TV

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The next column in Figure 43 is the music for the hichiriki. It is orga¬ nized on exactly the same principle as the notation of the flute4 except that the mnemonics and fingering symbols are different. Figure 44 gives the pitches produced by the various fingerings on the ryutekj and thehichinfy. Since more than one note can be produced by a single fingering, further explanation is to no avail; one must either know the piece or find a teacher. The left-hand column of Figure 43 is the notation for the sho. Each symbol represents the bottom pitch of one of the eleven chords of the sho or, in some cases, the note itself. These notes and chords can be seen in Figure 45. Rhythm is shown in the same method as mentioned above for the ryuteki. (As a rule,gagaku music is not written in score form as shown in Figure 43;5 rather, there is a part book for each instrument which con¬ tains the basic repertoire organized according to the music of each mode.) Lastly, we come to the notation of the percussion instruments m gagaku. The notations for all three instruments are normally combined in a single column. Japanese numbers mark the beats. The taikp left-hand beat (zun) is indicated by a dot to the right of the column. The symbol chin (jfe) is placed to the left or right of the numbers to indicate the proper strokes on theshoko. When the sticks are used together, a chin is placed on both sides of the number. The kakh° notation consists of two symbols: the first, set (IE), indicates a stroke with the right stick; the symbol rai (5k), placed to the left

4. The same notation is used for all three flutes in gagaku ensembles. 5. This score was published for use in Tenrikyd religious ceremonies, not the court.

285

Figure 46. Noh hayashi notation from “Chu no mai”

of the numbers, indicates a left-stick roll, while a rai on both sides of the numbers indicates a two-stick roll. Rat never appears by itself on the right.6

HAYASHI NOTATION FOR NOH DRAMA The three drums of the noh orchestra and the noh flute have developed notation systems based on the eight-beat phrase (yatsubydshi). The nota-

6. For details see Harich-Schneider, Eta, “The Rhythmical Patterns in Gagaku and Bugaku,”

286

Ethno-musicologica, Vol. 3

(Leiden: E. ). Brill, 1954).

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tions of all four instruments are written in vertical columns. As a rule, each instrument has its own part book, in which one occasionally finds (as in Figure 46) the half beats represented by the line and the beats by the space, though the normal procedure is to place the beats on the line.

287

Figure 46, containing the first thirty-two beats of the second section (dan) of the dance music for “Chu no mai,” is from a rare score that notates all the instruments together. It places the beat in the middle of each square. The first column to the right is the kptsuzumi part, the second the otsuzumi, and the third contains both the taikp and the flute music. In the original score, both the kptsuzumi and the taiko parts are printed in red. In the right-hand column a circle is used for the sound pon and a triangle for ta. A dot, used for chi and pu, is not shown in this notation,7 8 though the first of the two closely joined circles is usually a pu. The drummer’s calls (kakpgoe) are seen between the symbols, and the names of patterns appear along the right-hand side of all the drum columns. Though the two most frequent calls are written ya (A) and ha (/^), the actual sounds are closer to “yo” and “ho,” and neither can really be described as “singing” or “call¬ ing,” the voice being literally otherworldly. In the otsuzumi notation (the second column from the right), the trian¬ gle represents the strongest beat, chon, while a circle is the deader tone, don, and the dot indicates the light tone, tsun or chin. The drummer’s calls are also marked between the symbols. The taiko part (third column from the right) involves three types of symbols: (1) those showing the rhythm and strength of the beat, (2) mnemonic syllables to further clarify the beats and aid memory, and (3) drummer’s calls. All three are transcribed in Figure 47. The strengths are indicated by the size of the dots used. When played quietly (small dots), the sticks deaden the sound (osameru), but they let the skin sound (kpsubi) for all other strokes (large dots).9 10 Only the mnemonics of the flute part are transcribed in the top line of Figure 47, for the resulting melody varies from school to school as well as in different pieces."1 Since flute music consists of many standard melodies (see Figure 16) played in a given order (Figure 17), the four patterns played,

7. From the eighth page of “Taiko chu no mai” in Biblio. ref. 4-9. 8. In other notations it is often written with the kana 7”. 9. Modern notation differs. See Komparu Soichi, Kompamryu taiko zensho (Tokyo: Hinoki Shoten, 1953). 10. Biblio. ref. 4-9 lists the guild sources as follows: flute, Morita; kptsuzumi, Ko;

otsuzumi, Okura; and taiko, Komparu.

288

though not named in the score, are those of a second dan opening: dan nofu, ryo no chu, ryo, and oroshi. The taikp transcription on line two of Figure 47 places the mnemonic above the drum part and the drummer’s calls below it. The four eight-beat taibp patterns played are named in boxes above the mnemonics, starting with tsuhegashira. The two tsuzumi parts appear on the third and fourth lines along with the names of the patterns they play. Note that the name of the sixteen-beat otsuzumi pattern is nidanme, or “second dan'' Like the flute part, it sonically marks the beginning of this section of the music. The sec¬ ond \otsuzumi pattern is sixteen beats long and named musubi futatsu odon (“musubi followed by two odori"). Note also that the final tsuzumi pattern, oroshi, is rhythmically unrelated to the oroshi pattern played by the taiho earlier. This noh hayashi score clearly shows the characteristic orientation of noh rhythm away from the first beat. In all separate part books the notation begins with the second beat, as it does in our example. The effect, musically speaking, is to keep the flow of rhythm always “off balance.” Patterns never seem to lose their dynamism but continue to push forward. It is somewhat like the effect Bach achieves by ending melodic phrases on the first beat of a measure instead of the last. If the hayashi parts are played separately, their natural phrase accent seems to fall elsewhere; when they are played together, this simultaneous combination of varying rhythmic phrases pro¬ duces one of the most distinctive qualities of noh music—the “sliding door” effect often mentioned in this book. When this same hayashi is added to kabubi music, the independence of the otsuzumi and botsuzumi is more restricted. While they sometimes play straight noh-type rhythmic patterns, more often than not they play chirikara bydshi. This usually is an imitation of the rhythm of th^ A

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an excerpt from a satsumabiwa version of

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“Kawanakajima.”14 The lines represent

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the basic pitches of the scale. The text is

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cate the melismatic movement. In all the

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biwa notations mentioned above, the signs

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the clearest notation style studied so far, =■ \jm i*?

since basically the symbols consist of the names for the different holes on the Western Fixed do system in which each

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Figure 52 is the Kinko school notation

shafyihachi, which corresponds to the

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SHAKUHACH1 NOTATION

To the Western eye, this system seems

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for vocal ornamentation or patterns are usually printed in red, while the text is

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Figure 52. Shakuhachi notation from “Hifumi hachigaeshi”

13. From Chikuzenbiwa hikpfu (Tokyo: Gansando Soka, 1917), Vol. 1. 14. From Satsumabiwa uta (Tokyo: Miyata Bunkado, 1919), Vol. 1. Being a narrative tradition, there are different texts and performance practices for one piece in dif¬ ferent schools of biwa music. Thus, the text in Figures 49 and 51 is not the same.

293

syllable stands for a specific pitch.'" The merikari system of microtonal changes in pitch (see p. 172) is indicated by separate marks in the notation. Since rhythm is usually varied in shakuhachi music, it is not a major con¬ cern in notation. One or two vertical lines down the middle of a pitch symbol indicate the length of a tone, as do wiggly strokes at the end of phrases. There are also special signs and short comments referring to performance techniques and mehsmas. For those who might want to put shakuhachi music into Western notation, there are now instruction books on this process,16 but many of the subtle glides and graces that are so characteristic of shakuhachi music remain unwritten and must be learned from a teacher.

KOTO NOTATION Until the nineteenth century, collections of Edo popular and art music contained mostly text. The Shichiku shoshmshu of 1664 has notation for tunes to be played on the koto, shamiseti, ox shakuhachi yet there are no per¬ formance or rhythm details. The growth of purely instrumental pieces made the invention of instrument-specific notation essential. Since the koto was of Chinese origin, it was logical to turn to the Chinese notation system, which consisted of a number for each string and dots of various sizes indicating rhythm, with the names of special playing techniques written in or indicated by special signs. Today this system is no longer used, though its basic plan has been retained.

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Figure 53.

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notation symbols

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notation and transcription

15. Details are found in Biblio. refs. 6-1 and 6-7. 16. One is Biblio. ref. 6-8.

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Figure 54.

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There are two main types of koto notation in use today, one for the Ikuta school and the other for the Yamada school. They both employ a common number system, shown in Figure 53, to indicate strings. As used by the Yamada school, the arrangement of these symbols more closely resembles Western notation (on which it is based) than its counterpart. Figure 54 shows the opening phrase of the piece “Chidori in Yamada and Western notation. The use of vertical lines to represent bar lines is another Western adaptation. The koto tuning and number of beats in a measure (usually two) are shown at the beginning of a piece and do not appear in Figure 54. The beams used to indicate short notes in Western notation are clearly applied to the Japanese score (second bar, second beat). Rests can be seen as short lines (first bar, second beat) or as circles. Spe¬ cial playing techniques (e.g. left-hand string pressure) are indicated by such signs as the square and triangle in bar six. The symbols above the notation are a form of solfege (shdga) by which the composition is learned. When there is text, it is written below the notation. Though the vocal line differs somewhat from the koto melody, there is no sepa¬

Ikuta The Ikuta school notation for the same phrase from school koto nota-

rate notation for it, as it is memorized during koto lessons,

figure 55

“Chidori” is seen in Figure 55. Although essentially the b b 1 same as the Yamada notation, it is written Japanese-style

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passage t^lc same

in vertical columns. Half beats are indicated by short horizontal lines, the solfege is to the left of the notation, and special fingerings and techniques are noted to the right. Modern Ikuta pieces come in special editions with traditional notation in one part of the book and a Western transcription in another (Biblio. ref. 7-4).

SHAMISEN NOTATION There are a vast number of styles of shamisen music. Clever attempts at devising a notation were made during the Edo period,17 but it was in the

17. See Biblio. ref. A-3,197—226.

295

late nineteenth century that shamisen notation became

V%§'££> •

a folk idio¬

phone), 62 (d.), 87 (pi. 14) biwa (fig, a plucked lute), 35 f., 41,45, 93 (pi. 30), 106, 112, 116 f., 127, 149-164, 183 (pi. 51), 193, 195, 196, 197 (fn. 6), 207, 214, 215,271,275, 282, 290-293, 297, trs. 8-11 biwahoshi (HgftSfi, blind biwa players), 41, 149, 151,217 blind musicians, 41, 149, 151, 182 (pi. 48), 187 (pi. 58), 197 f„ 200 Boccaccio, Giovanni, 169

334

Christian, 79; Buddhist, 121; Shinto, 49 f. chamber music, 41, 102, 209, 276; see also jiuta, sanbyobu chappa (-f- \ 7

small cymbals), 246 (d.),

249 charumera {-f- \

t y, noodle seller’s

double-reed horn), 271 chi (®, a pitch in old Japanese scale sys¬ tems), 68 “Chidori" (A"B, a bpto piece also used in geza music), 210, 247, 295 Chikamatsu Monzaemon (IfilSPlTiillrH,

a famous playwright for the puppet and

Kiyomoto, Mamiya, Manshoin, Miyagi,

kabuki theaters), 41, 224

Nakanoshima, Shobutsu, Takemitsu,

chikuzenbiwa (iStHUflS, a genre of lute music

Takemoto, Yamada

and its instrument), 151 fi, 155 (d.), 156,

composition, 102, 147,211,232,237

161, 162, 163, 182 (pi. 49), 291 (fig. 49), 292

Confucianism, 33, 51 (fn. 7), 100 (fn. 2), 194,

(fig. 50), tr. 11

196

ch'in (W):see qin

counterpoint, 210

China, 3Iff., 38, 42 fi, 66, 80, 97 f., 106, 109 £,

court music, 33 fi, 35,37,43, 55,66,93 (pi. 31),

113,150,163,168, 174, 194,199,213,236,266

chindonya (A > K > It, street music ensem¬ ble), 89 (pi. 21), 271

195 ff.;jee also gagaku cue sheet, 144 (fig. 18), 255 Curlew River, 277

Chinese music, 51, 100, 165, 196, 211,249, 275, 283, 294

dadaiko (AAS5, largest gagaku drum), 96

chirashi (A y v, a closing section in shamisen chmkara byoshi (A') Ji

kabuki-style

drum rhythms), 234, 289, 290 (fig. 48)

cho (T, a class of biwa melodic patterns), 163 chobo (A a A, gidayu musicians in a }{abukj performance), 241

in sankyoku), 207 (fn. 17)

daibyoshi (Affifp, a drum used in thegeza), 57, 85 (pi. 10), 246 (d.), 248, 252

daisho (Ad', abbreviation of tsuzumi names), 232

Chokei (fiH, a Buddhist music theorist), 67

chonin (HIA, Japanese merchant class), 40,

dan (S, a generic term for a section of music in various forms); in noh, 125 fi, 136, 143, 288; in kpto music, 208; in gidayu, 226

123 chordophones: see biwa,gakusd,gogenbiwa,

ichigenkin ,jamisen ,jush ichigen, kpkyu, koto, kugo, nigenkin,pipa, qin,sanshin, sanxian, shamisen, shichigenkin, so, taishogoto, tonhori, wagon,yakumogoto chorus, 35,51,70,73,76 f., 97,104, 117 fi, 119,

dan nofu (IxWgJi, noh flute pattern), 136, 289 dan’awase (So", a special duet technique in koto music), 209 dance, 24 (pi. 1), 32 fi, 35, 49, 50, 54 fi, 63, 77, 80, 97 fi, 103, 110, 113, 116,120, 122,124, 127 fi, 135, 143, 152, 154, 199, 200, 202, 231, 234, 239, 268

124, 126 ffi, 129, 146, 281

choshigami (flfptt, tuning paper for the

dancing religion, 65

dangire (IxftJ, the final section in nagauta

kptsuzumi drum), 138 Christianity, 39, 67, 78-80, 168, 279; see also

music), 232, 236

debayashi (ffiHHY, the musicians on stage in

Catholicism

chu,chu osae,chu u\i (41,

(pi. 36), 103, 113

daibiro (■&)£, a special shamisen bridge used

music), 232, 234,235 (fig. 32)

•x,

pitches in noh scales), 130 (fig. 14) “Chu no mai” (rfku songu (V t — F V > ?, term for non-

an old temple theatrical), 121,

Fujiwara no Sadatoshi

ninth-

century gagaku. musician trained in China, and importer to Japan of string music and instruments), 195

Fujiwara no Yukinaga (llEFrfi, supposed author of Heike monogatari), 152 Fukeshu

Genroku (tc#) era (1688-1704), 40 gendai hogaku

a Zen Buddhist sect con¬

taining shakuhachi players), 168 “Fuki” (@S, the traditional first piece of

ments), 211 genzaimono (ijlltft, “present-day” plays in

Uukiishigoto music), 197 f. Fukui

) prefecture, 259 (pi. 87), 270

zatsu noh category), 124 geza,geza ongaku (Tffi,

Fukuo (fgl, a guild of wakj actors in noh), 146 (figl9)

late twentieth cen¬

tury compositions for traditional instru¬

offstage

kabuki music), 191 (pi. 76), 241 ffi, 254 f. gidayubushi (li:k;feffii, major narrative

fuiyu or fuiyu (MUHE, street parades and fancy

shamisen genre founded by Takemoto

clothes), 121,268, 111

Gidayu), 163,188 (pis. 60, 61), 190 (pi. 75),

fushi (tft, generic term for melody), 130

219 (fig. 29), 223-229, 240 fi, 250 ffi, 297,

fusho (He®, the note G-sharp in ancient

298 (fig. 58), tr. 14

music theory), 114 (fig. 12)

Gifu (iK-f-) prefecture, 259 (pi. 86), 263 (fig. 35), 269

gagaku

court orchestra music), 35, 65,

gigaku

an ancient Chinese theatrical

used in Japan; now a folk form), 98

67, 74, 94 (pi. 32), 97-118, 114 (fig. 13), 125, 133, 150, 153, 165, 195, 198, 204, 242, 248,

Gilyaks, 266

252, 255, 275, 281,283-286, tr. 5

Gio (SI • (SI, a heroine in Tale of the Heike), 55

Gagakuryo (?fF$;5^, the ancient Imperial Music Bureau), 99 gaikyo^u

shakuhachi music borrowed

from shamisen or koto music), 173,175 gakubiwa (^SB, the lute used ingagaku), 106 (d.), 150, 156 f., 181 (pi. 46), 283 gakudaiko CMR-sfc, an offstage drum in kabuki), 103, 246 (d.), 248, 252 Gakusho yoroku (^HHil, Chinese music books brought to Japan in 735), 99 gakusd (;M¥, a gagaku zither), 112, 117, 194,

go

a class of biwa melodic patterns), 163

goeika (fUMcff, Buddhist congregational music; often a folk hymn), 76, 90 (pi. 23) gogenbiwa (EKJIS, a defunct Chinese court lute surviving in the Shosoin warehouse), 92 (pi. 29), 106 gohei (!#$?, Shinto wand), 59, 62 goinfu (Elfis, a Buddhist chant notation), 280 (figs. 39, 40), 281 goinhakase orgoinbakase (Eiftli, Buddhist

204, 283 ge (T, a pitch in noh scales), 130 (fig. 14) ge osae (T d-

Gion shrine (Jftllltttt), 96 (pis. 36, 37)

an alternate pitch in noh),

130 (fig. 14) geind (3f hk): see minzcfu geino geisha (^#), 42, 213, 223, 229, 230, 242 gekibushi ((d-lfi®, an early shamisen narra¬ tive genre founded by Satsuma Geki S VAoi), 219 (fig. 29), 220 (fn. 4); see also Fujiwara no Naomasa

chant notation), 279, 280 (fig. 38) goinsanju (IfHl, Buddhist chant nota¬ tion), 279 gomafu orgomaten (SWflf or

Bud¬

dhist chant notation), 281 (fig. 41), 282 gong, 47,71 ffi, 76, 77,248; see also dora, kane “Goro Tokimune” (2£S|5H#Sfc, a nagauta piece), 232,233 (fig. 31), 235 (fig. 32), 290 (fig. 48), tr. 16

Genji (feK) clan: see Minamoto

“Goshoraku” (2l1£®, a gagaku piece), 116

Genji monogatari (M-R^ha): see Tale of

Greece, 66

Genji, The

Gregorian chant, 33, 67

Genji (MR), Prince, 195 f.

Guido d’Arezzo, 67

“Genjoraku” (jftScS;, a bugaku piece), 98

guilds, 53, 133, 135, 143, 145, 146 (fig. 19), 153,

337

170, 197, 201, 202 (fn. 11), 206, 220,231, 237,

guitar, 52, 156, 163, 220, 266, 272 gyodo (ff H, part of a Buddhist ceremony), 72 gyoretsu

hayabyoshi (fikffiTP, four-beat music in court music), 115

255, 276,283, 299

a procession), 268

Gyosan or Gyozan (fall}): see Yushan Gyozan tai\aishu (felilMJFft, basic chant codex for Shingon Buddhism), 67

hayagakj (-¥-fi, melodic pattern on thegakuso), 105 (fig. 9) hayariuta ('dEfTt®, Edo period popular music), 271 hayashi (HitfiP, generic term for percussion ensembles, with or without a melodic

gyoyu (fPlS): see miasobi

instrument), 24 (pi. 1), 56 ff., 124,127,129,

ha (#, middle section of tripartite formal

286-287 (figs. 46, 47), 288 f.

131, 134, 141, 145 fi, 231, 237, 240, 253, 267,

divisions), 115 f.

hayashigashira (^tTM, head of a theater per¬

hachi (ift ■ ik, cymbals): see nyobatsu “Hachidan” (Af&, a boto piece), 198 Hagoromo (JRbfe, a noh drama), 180 (pi. 45)

cussion guild), 237 hayashi kotoba

chorus interjections

in folk songs), 265

hakase (t$dr, a Buddhist music notation), 279

Haydn, Franz Joseph, 100

“Hana ni asobi” (fEGiStf',geza music for

Heian (d2-^) period (794-1185), 34 fi, 43, 54 fi,

geisha house scenes), 243 hanamichi (TEB, the ramp from the back of

heightened speech: see kotoba, mondd,sashi,

the kabuhi theater to the stage), 191 (pi.

Heike fTW.) clan, 34, 36, 152

76), 233, 242, 250

Heike monogatari (d2^® Bo): see Tale of the

hand clapping, 76 handayubushi

Heike an early shamisen

heikebiwa (d^IsS, lute and music for Tale

narrative genre founded by Edo Han-

of the Heike narration), 152 (d.), 153 fi,

dayu tlpih**), 219 (fig. 29)

157 fi, 158 (fig. 20), 159, 160, 161,182 (pi. 48),

hangi or han (fS^k • H§7k orjK): see bangi haniwa (ifilm, ancient tomb figurines), 32, 81 (pi. 2) hanryo hanritsu (d^-Sd^, a compromise scale between ryo and ritsu), 68 (fig. 8) hansho (d^ia, a Buddhist bell), 70 (d.) hariogi (US 0 if, leather-covered fans struck for rhythm in drum lessons), 140 (fn. 11), 179 (pi. 42) harmony, 42, 52 f., 102, 111, 143,236, 285 (fig. 45) harp, 52, 93 (pi. 30) “Haru no umi” (#