Folk Songs and Folk Music

Despite the fact that contemporary life in Japan is modernized to a great extent both in the cities and country, much traditional folk song, music and drama has been preserved. Even work songs which are easily lost because of changing conditions have been kept alive as entertainment for feasts or parties.

Numerous religious rituals, festivals, and feasts are the background for such songs, music and drama. Some of them survive in the original primitive style based upon shamanism, animism, totemism and magic. Many of them have undergone a change because of historical development and because of the influence of art music -especially Shamisen music.

Folk songs in Japan can be classified according to their categories as follows.
a. Work songs. For example, fishing songs, boatmen songs, pack-horse drivers' songs, rice planting songs, wine (sake) makers' songs, etc.
b. Bon Dance Songs. Most common throughout Japan as a Buddhist event in summer (urabon).
c. Songs for entertainment at feasts or parties.
d. Songs for weddings and funerals.
e. Children's songs and cradle songs.

As to the musical style, the most primitive style is in "Enge Meiodik" (narrow melody), the compass of which does not reach an octave, and is often based upon a nuclear tone system. In-mode and Yo-mode are the dominate modes. Yo-mode (a five-tone system without semi-tone) is most characteristic of the more naive songs, while In-mode (a fivetone system with a semitone) is common among folk songs which have been influenced by Shamisen music, although it should be stated that songs of both types are often accompanied by the Shamisen.

As to rhythm, there are two types, free and fitted. Fitted rhythm (usual mechanical rhythm) is common in rhythmic work songs, dance music and songs, and children's play songs. Free rhythm occurs at times in work songs, entertainment songs unaccompanied or accompanied by the Shakuhachi instead of the Shamisen and drums. Drums of various kinds, huge and small, barrel and hour-glass shaped, played with sticks or without sticks, etc., are another important element. Often a transverse bamboo flute, as well as gong, bell and clapper make up the ensemble with the drums. This kind of ensemble is generally called Hayashi, which is the name of the instrumental ensemble of Noh and Kabuki previously mentioned. The Hayashi (hayasu as a verb) primarily means to play and cheer up. Among the numerous kinds of folk music, the largest genre is called Kagura (God music). This folkloric Kagura, called O-Kagura, is completely different from the Kagura of Gagaku which is called Mikagura. O-Kagura occurs often at country shrines and is called Sato-Kagura (country Kagura). Although it varies to a great extent in style, the basic instrumentation of the ensemble is a transverse bamboo flute, drum of medium size, and often a big barrel drum.

Some folk songs of a certain locale have found their way to neighboring villages, towns, provinces, at times far from the place of origination. In this case the style is changed to some extent. Folk songs have rapidly spread all over Japan because of records, radio and TV. In this spread through the mass media, the music has become commercial and the style of the music has changed to one of more artistry and refinement being performed by professionals. At any rate folk music or songs brings nostalgia to the man whose province or
village has produced the particular music or song. For example, the author feels strong a nostalgia in Kandabayashi, since he was born and raised in Kanda of Tokyo.

By Dr. Shigeo Kishibe