日本音楽
出典: フリー百科事典『ウィキペディア（Wikipedia）』
伝統音楽の多くのスタイルが日本音楽に含まれる。多くの演奏者が全国で活躍している。彼らはさまざまな形式の民族音楽、クラシックの演奏を行っている。
現代の日本の音楽界では伝統的、現代的という観点からさまざまな特色のある演奏者、歌手が存在する。日本の音楽はロック、サルサ、タンゴからカントリーミュージック、ヒップホップまで及んでいる。小さなナイトクラブでアマチュアが歌を披露するカラオケを含めることもある。[1].
目次 |
[編集] 特徴
Outside of Japan, the country's music has an image closely tied to its pop music, which is generally bubblegum songs with Japanese lyrics and often incomprehensible English refrains. Pop stars (アイドル歌手) of this scene are generally attractive singers, boy bands and girl groups. However, music author John Clewley has described Japan's musical output as a "wide range... from ancient Buddhist chanting and court music to folk and old urban styles, from localised popular styles like 歌謡曲 and 演歌 to Western classical, ジャズ and every form of pop... found in the West" [2].
Japanese music has long been tied to Japanese rituals, literature and dance. Theatrical music is the most historically important field of Japanese music, which East Asian musical scholar Isabel Wong attributes to the "Japanese love of storytelling and preoccupation with ritual". She also notes the Japanese preoccupation with the "words and literature" of music, as opposed to the instrumentation, and that all Japanese instruments were "developed to emulate the human voice". She describes Japanese instrumental music as inherently chamber music "in its conception" [3].
Japanese music is eclectic, having borrowed instruments, scales and styles from neighboring cultures. Early poems, songs, and temple music employed only a few notes. Importations, particularly Chinese, began in the 5世紀. 雅楽, which is still performed today, came from China while Buddhist song came from Korea — both in the 6th century. Many instruments, such as the 琴, was introduced in the 9th and 10th centuries. The accompanied recitative of the 能 dates from the 14th century and the popular folk music, with the guitarlike 三味線, from the 16th.[4]
[編集] 古典音楽
There are countless types of classical music in Japan. Two of the oldest are 声明, or Buddhist chanting, and 雅楽, or orchestral court music, both of which date to the 奈良時代 and 平安時代.
雅楽 is a type of classical music that has been performed at the Imperial court since the Heian period. 神楽歌、東遊、そして大和歌 are relatively indigenous repertories. 唐楽と高麗楽) are the music originating in Chinese Tang dynasty and Korea. In addition, gagaku is divided into kangen (instrumental music performed as such) and 舞楽 (dance accompanied by gagaku).
Theater also developed in Japan from an early age. 能 arose out of various more popular traditions and by the 14th century had developed into a highly refined art. It was brought to its peak by 観阿弥 (1333-1384) and 世阿弥 (1363?-1443). In particular 世阿弥 provided the core of the 能 repertory and authored many treatises on the secrets of the Noh tradition (until the modern era these were not widely read).
Another form of Japanese theater is the puppet theater, often known as 文楽. This traditional puppet theater also has roots in popular traditions and flourished especially during Chonin in the 江戸時代 (1600-1868). It is usually accompanied by recitation (various styles of 浄瑠璃) accompanied by 三味線音楽.
During the Edo period human actors (after 1629 only men; after 1652 only male adults) performed the lively and popular 歌舞伎 theater. 歌舞伎, which could feature anything from historical plays to dance plays, was often accompanied by 長唄 style of singing and shamisen performance.
[編集] 琵琶法師、平家琵琶、および盲僧
The 琵琶, a form of short-necked lute, was played by a group of itinerant performers (琵琶法師) who used it to accompany stories. The most famous of these stories is 平家物語, a 13世紀 history of the triumph of the 源 clan over the 平. Biwa hōshi began to organize themselves into a guild-like association (tōdō) for visually impaired men as early as the thirteenth century. This guild eventually controlled a large portion of the musical culture of Japan.
In addition numerous smaller groups of itinerant blind musicians were formed especially in the Kyushu area. These musicians, known as 盲僧 toured their local areas and performed a variety of religious and semi-religious texts to purify households and bring about good health and good luck. They also maintained a repertory of secular genres. The biwa that they played was considerably smaller than the 平家琵琶 played by the 琵琶法師.
Lafcadio Hearn related in his book 怪談: Stories and Studies of Strange Things "耳なし芳一"、a Japanese ghost story about a blind biwa hōshi who performs "平家物語"
[編集] 太鼓
The taiko is a Japanese drum that comes in various sizes and is used to play a variety of musical genres. It has become particularly popular in recent years as the central instrument of percussion ensembles whose repertory is based on a variety of folk and festival music of the past. Such taiko music is played by large drum ensembles called kumi-daiko. Its origins are uncertain, but can be sketched out as far back as the 6世紀 and 7世紀 centuries, when a clay figure of a drummer indicates its existence. 中国 and 朝鮮n influences followed, but the instrument and its music remained uniquely Japanese. Taiko drums during this period were used during battle to intimidate the enemy and to communicate commands. Taiko continue to be used in the religious music of 仏教 and 神道. In the past players were holy men, who played only at special occasions and in small groups, but in time secular men (rarely women) also played the taiko in semi-religious festivals such as the bon dance.
Modern ensemble taiko is said to have been invented by Daihachi Oguchi in 1951年. A ジャズ drummer, Oguchi incorporated his musical background into large ensembles, which he had also designed. His energetic style made his group popular throughout Japan, and made the 北陸 region a center for taiko music. Musicians to arise from this wave of popular included 助六太鼓 and his bandmate Seido Kobayashi. 1969年 saw a group called Za Ondekoza founded by Tagayasu Den; Za Ondekoza gathered together young performers who innovated a new roots revival version of taiko, which was used as a way of life in communal lifestyles. During the 1970s, the Japanese government allocated funds to preserve Japanese culture, and many community taiko groups were formed. Later in the century, taiko groups spread across the world, especially to the アメリカ合衆国. There is now a video game, called Taiko Drum Master, about taiko.
[編集] ユーカラ
Among the minority アイヌ of the north, ユーカラ (mimicry) is a form of epic poetry. The stories typically involve Kamui, the god of nature, and Pojaumpe, an orphan-warrior.
[編集] 民謡
Japanese folk songs (民謡 min'yō) can be grouped and classified in many ways but it is often convenient to think of four main categories: 労働歌s, religious songs (such as 里神楽, a form of Shintoist music), songs used for gatherings such as weddings, funerals, and festivals (matsuri, especially お盆), and children's songs (童歌).
In minyō, singers are typically accompanied by the 3 stringed lute known as the shamisen, taiko drums, and a bamboo flute called 尺八. Other instruments that could accompany are a transverse flute known as the shinobue, a bell known as kane, a hand drum called the 鼓, and/or a 13 stringed zither known as the koto. In 沖縄, the main instrument is the 三線. These are traditional Japanese instruments, but modern instrumentation, such as electric guitars and シンセサイザーs is, also used in this day and age, when 演歌 singers cover traditional 民謡 songs (演歌 being a Japanese music genre all its own...).
Terms often heard when speaking about 民謡 are ondo, bushi, bon uta, and 子守唄. An ondo generally describes any folk song with a distinctive swing that may be heard as 2/4 time リズム (though performers usually do not group beats). The typical folk song heard at お盆 festival dances will most likely be an ondo. A fushi is a song with a distinctive melody. Its very name, which is pronounced "節" in compounds, means "section" or "node." The word is rarely used on its own, but is usually prefixed by a term referring to occupation, location, personal name or the like. Bon uta, as the name describes, are songs for お盆, the lantern festival of the dead. 子守唄 are children's lullabies. The names of min'yo songs often include descriptive term, usually at the end. IE- 東京音頭, 串本節, Hokkai Bon Uta, 五木の子守唄...
Many of these songs include extra stress on certain syllables, as well as pitched shouts (掛け声). Kakegoe are generally shouts of cheer, but in 民謡 they are often included as parts of choruses. There are many 掛け声, though they vary from region to region. In 沖縄民謡, for example, one will hear the common "ハ イヤ ササ!" In mainland Japan, however, one will be more likely to hear "ア ヨイショ!," "サテ!," or "ア ソレ!" Others are "ア ドント コイ!," and "ドコイショ!"
Recently a guild-based system known as the 家元 system has been applied to some forms of min'yō; it is called. This system was originally developed for transmitting classical genres such as nagauta, shakuhachi, or koto music, but since it proved profitable to teachers and was supported by students who wished to obtain certificates of proficiency and artist's names continues to spread to genres such as min'yō, 津軽三味線, and other forms of music that were traditionally transmitted more informally. Today some min'yō are passed on in such pseudo-family organizations, and long apprenticeships are common.
See also アイヌ音楽 of 北日本.
[編集] 沖縄民謡
Main article: Music of Okinawa
Okinawa has been under the control of Japan since 1609, except for a brief period of アメリカ合衆国 domination during and after 第二次世界大戦. Umui, religious songs, 島唄, dance songs, and, especially katcharsee, lively celebratory music, were all popular.
Okinawan folk music varies from mainland Japanese folk music in several ways.
First, instrumentation. Okinawan folk music is often accompanied by the 三線 whereas in mainland Japan, the 三味線 accompanies instead. Other Okinawan instruments include the サンバ (which produce a clicking sound similar to that of カスタネット) and a sharp bird whistle.
Second, tonality. A pentatonic scale, which coincides with the major pentatonic scale of Western musical disciplines, is often heard in min'yō from the main islands of Japan. In this pentatonic scale the subdominant and leading tone (scale degrees 4 and 7 of the Western major scale) are omitted, resulting in a musical scale with no half-steps between each note. (ド、レ、ミ、フ、ァ、ソ、ラ in solfeggio, or scale degrees 1, 2, 3, 5, and 6) Okinawan min'yō, however, is characterized by scales that include the half-steps omitted in the aforementioned pentatonic scale, when analyzed in the Western discipline of music. In fact, the most common scale used in Okinawan min'yō includes scale degrees 1, 2, 3, 4, 5, and 7.
[編集] 西洋音楽の到来
After the 明治維新 introduced Western musical instruction, a bureaucrat named Izawa Shuji compiled songs like "Auld Lang Syne" and commissioned songs using a pentatonic melody. Western music, especially military marches, soon became popular in Japan. Two major forms of music that developed during this period were 唱歌, which was composed to bring western music to schools, and 軍歌, which are military marches with some Japanese elements.
As Japan moved towards representative democracy in the late 19世紀, leaders hired singers to sell copies of songs that aired their messages, since the leaders themselves were usually prohibited from speaking in public. This developed into a form of ballad called enka, which became quite popular in the 20世紀, though its popularity has waned since the 1970s and enjoys little favour with contemporary youth. Famous enka singers include 美空ひばり and 吉幾三. Also at the end of the 19世紀, an 大阪n form of streetcorner singing became popular; this was called 流行歌. This included the first two Japanese stars, Yoshida Naramura and Tochuken Kumoemon.
Westernized pop music is called 歌謡曲, which is said to have begun with "Kachūsha no uta" (1914; see 1914 in music). This song was composed by 中山晋平 and first appeared in a dramatization of Resurrection by Tolstoy, sung by マツイスマコ. The song became a hit among enka singers, and was one of the first major best-selling records in Japan. 歌謡曲 became a major industry, especially after the arrival of superstar 美空ひばり.
Later, in the 1950s, tango and other kinds of Latin music, especially Cuban music, became very popular in Japan. A distinctively Japanese form of tango called dodompa also developed. Kayokyoku became associated entirely with traditional Japanese structures, while more Western-style music was called Japanese pops. In the 1960s, Japanese bands imitated The Beatles, Bob Dylan and the Rolling Stones, along with other Appalachian folk music, psychedelic rock, mod and similar genres; this was called Group Sounds.
Since then, bubblegum pop and J-ポップ have become some of the best-selling forms of music, and are often used in films and television, especially in Japanese animation. The rise of disposable pop has been linked with the popularity of カラオケ, leading to much criticism that both trends are consumerist and shallow. For example, Kazufumi Miyazawa of The Boom, claims "I hate that buy, listen and throw away and sing at a karaoke bar mentality."
The late 90's brought the arrival of many new artists, including ハマサキアユミ and ウタダヒカル. To date, ハマサキ has sold a combined total of 43 million copies of all her singles and albums which makes her the highest-selling female artist ever in Japan while ウタダヒカル's debut album, "First Love", went on to be the highest-selling album ever in Japan with 7.6 million copies sold.
[編集] ジャパニーズ・ロック
Main article: Japanese rock
Homegrown Japanese county rock had developed by the late 1960s. Artists like X Japan and Happy End are considered to have virtually developed the genre. During the 1970s, it grew more popular. The Okinawan band Champloose, along with Carol, RCサクセション and 原田真二 were especially famous and helped define the genre's sound. In the 1980s, the Boøwy, Southern All Stars became the biggest band in Japanese rock's history, and inspired alternative rock bands like 少年ナイフ & the Boredoms and Tama & Little Creatures. Most influentially, the 1980s spawned イエロー・マジック・オーケストラ, which was inspired by developing electronic music, led by 細野晴臣. In the latter period of 80s, rock duo B'z made their debut, they have been getting No. 1 in all their singles and albums since their first No. 1 single "Taiyou no Komachi Angel" in 1990. This is Japanese historical record.
In 1980年, Huruoma and Ry Cooder, an American musician, collaborated on a rock album with Shoukichi Kina, driving force behind the aforementioned Okinawan band Champloose. They were followed by Sandii & the Sunsetz, who further mixed Japanese and Okinawan influences. At the same time, singer-songwriters like Mana and Hyde became extremely popular.
[編集] 日本のラテン音楽、レゲエ音楽、およびスカ音楽
Other forms of music, from Indonesia, Jamaica and elsewhere, were assimilated. African soukous and Latin music was popular as was Jamaican reggae and ska, exemplified by Rankin' Taxi and Tokyo Ska Paradise Orchestra .
[編集] ルーツ・ミュージック
In the late 1980s, roots bands like Shang Shang Typhoon and The Boom became popular. Okinawan roots bands like Nenes and Kina were also commercially and critically successful. This led to the second wave of Okinawan music, led by the sudden success of Rinkenband. A new wave of bands followed, including the comebacks of Champluse and Kina, as well as new acts like Soul Flower Union. An updated form of Okinawan folk called 河内音頭 became popular, led by Kikusuimaru Kawachiya; very similar to kawachi ondo is Tademaru Sakuragawa's goshu 音頭.
[編集] 西洋古典音楽
Western classical music has a strong presence in Japan and the country is one of the most important markets for classical music. A number of Japanese composers have written in the western classical music tradition, with Toru Takemitsu (famous as well for his avant-garde works and movie scoring) being the best known. Also famous is the 指揮者 小沢征爾. Since 1999 the pianist Fujiko Hemming, who plays Liszt and フレデリック・ショパン, has been famous and her CDs have sold millions of copies.
[編集] ジャズ
From the 1930年代 on (except during 第二次世界大戦, when it was repressed as music of the enemy), jazz, like classical music has had a strong presence in Japan and is an important market for the music; it's not uncommon for out-of print jazz recordings to be available only in Japan. Today, a number of Japanese are playing jazz, and not just to audiences in Japan. Musicians such as Hiromi, Keiko Matsui, June Kuramoto (of Hiroshima fame) & Sadao Watanabe have a huge fan base outside their native country.
[編集] ゲーム音楽
When the first electronic games were sold, they only had rudimentary sound chips with which to produce music. As the technology advanced. the quality of sound and music these game machines could produce increased dramatically. The first game to take credit for its music was Xevious, also noteworthy for its deeply (at that time) constructed stories. Though many games have had beautiful music to accompany their gameplay, one of the most important games in the history of the video game music is ドラゴンクエスト. Koichi Sugiyama, a composer who was known for his music for various anime and TV shows, including サイボーグ009 and a feature film of ゴジラ対ビオランテ, got involved in the project out of the pure curiosity and proved that games can have serious soundtracks. Until his involvement, music and sounds were often neglected in the development of video games and programmers with little musical knowledge were forced to write the soundtracks as well. Undaunted by technological limits, Sugiyama worked with only 8 part polyphony to create a soundtrack that would not tire the player despite hours and hours of gameplay.
Another well-known author of video game music is ウエマツ ノブオ of Squaresoft. Even Uematsu's earlier compositions for the game series, Final Fantasy, on Famicom (Nintendo in America) are being arranged for full orchestral score. In 2003, he even took his rock-based tunes from their original MIDI format and created The Black Mages.
コンドウ コウジ, the main composer for 任天堂, is also prominent on the Japanese game music scene. He is best-known for the Zelda and Mario themes. The Legend of Zelda: Twilight Princess is speculated to have fully orchestrated game music.
Today, game soundtracks are sold on CD. Famous singers like ウタダヒカル sometimes sing songs for games as well, and this is also seen as a way for unknown singers to make their names for themselves.
[編集] 伝統楽器
- 琵琶
- 篳篥
- Hocchiku
- 拍子木
- 鐘
- 鞨鼓
- 鼓弓)
- 琴
- 二胡
- Okawa (AKA Ōtsuzumi)
- 龍笛)
- 三線
- 尺八
- 三味線
- Shime-Daiko
- Shinobue
- 簫)
- 水琴窟
- 太鼓 (例 和太鼓)
- 鼓(AKA Kotsuzumi)
[編集] 参照項目
- Japanese rock bands
- Japanese hardcore
- Japanese hip hop
- Saburo Kitajima
- seiyuu
- Buddhist music
- Shinto music
- Japan
- J-Pop
- Japanese rock
- Japanoise
- Visual kei
- List of J-Pop artists
- Group Sounds
- Chindonya
Template:EastAsianmusic
[編集] 参照
- Brandon, James R., William P. Malm, and Donald H. Shively. Studies in Kabuki: Its Acting, Music, and Historical Context. Honolulu: University Press of Hawaii, 1978.
- Clewley, John (2000). “The Culture Blender"”, Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.)World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific'', 143-159., Rough Guides. ISBN 1858286360.
- Malm, William P. Japanese Music and Musical Instruments. 1st ed. Tokyo, Rutland, Vt.: C. E. Tuttle Co., 1959.
- ---. Nagauta: The Heart of Kabuki Music. Westport, Conn.: Greenwood Press, 1973.
- Wong, Isabel (1997). “The Music of Japan”,Excursions in World Music, 2nd Ed., 104 - 129, Upper Saddle River, New Jersey: Prentice Hall. ISBN 0132306328.
[編集] 注
[編集] 外部リンク
- Jpop.com - The home of Jpop
- J-Log - All about J-pop culture and travel
- musicJAPAN+- Official J-pop Web Magagine
- Nozomi Online
- Japan Access: Music
- Japanese Traditional Music
- JapanFiles.com - Official MP3 site for Japanese music
- Nippop - J-Pop, J-Rock, J-Punk, J-Enka, J-MUSIC
- Cuite Morning Moon - Group Sounds etc.
- The Kitsune Ensemble - A New York-based group combining jazz and traditional Japanese influences.ja:邦楽
