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Index of pieces for Min'yo

Traditional Folk Songs

Compositions for traditional Japanese instruments, from the ancient to the modern.

About Min'yo Music...

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

A
Agano Hatori-uta
吾野の機織唄
Agarashiare
あがらしゃれ
Agumo Bushi
安曇節
Aikawa Ondo
相川音頭
Aiken Bushi
相拳節
Aiyama Ondo
相山音頭
Aizu Bandaisan
会津磐梯山
Aizu Genjō Bushi
会津玄如節
Aizu Manzai
会津萬歳
Aizu Matsuzaka
会樟松坂
Aizu Medeta
会津目出度
Aizu Mochi-tsuki Uta
会津餅つき唄
Aizu Nagamochi Uta
会津長持唄
Aizu Sakaya Moto-suri Uta
会津酒屋配摺唄
Aizu Ōtsu-e
会津大津絵
Ajigasawa Jinku
鰺ヶ沢甚句
Akagi Shigure
赤城しぐれ
Akai Kutsu
Red Shoes
赤い靴
Akatonbo
赤とんぼ
Aki no Yama Uta
秋の山唄
Akita Bakurō Bushi
秋田馬喰節
Akita Banzai
秋田萬歳
Akita Bushi
秋田節
Akita Daikoku-mai
秋田大黒舞
Akita Funakata Bushi
秋田船方節
Akita Jinku
秋田甚句
Akita Kometogi Bushi
秋田米とぎ唄
Akita Kou no Uta
秋田港の唄
Akita Kusakari-uta
秋田草刈唄
Akita Magouta
秋田馬子唄
Akita Mochi-uri Uta
秋田飴売り唄
Akita Motosuri Uta
秋田もとすり唄
Akita Nagamochi Uta
秋田長持唄
Akita Nikata Bushi
秋田荷方節
Akita Obako
秋田おばこ
Akita Oguro-mai
秋田大黒舞
Akita Ohara Bushi
秋田小原節
Akita Oiwake
秋田追分
Akita Ondo
秋田音頭
Akita Sakaya Shiktomi Uta
秋田酒屋仕込み唄
Akita Tane Uta
秋田田植唄
Akita Tanto-Bushi
秋田タント節
Akita Umakata Bushi
秋田馬方節
Akita Umakata Bushi - Abeya
秋田馬方節 - あべや
Akita Usubiki Uta
秋田臼挽唄
Ama Fukei
阿波風景
Ameuri-bushi
飴売節
Aminoshi-Uta
網のし 唄
Ane Komo-sa
姉こもさ
Anko Bushi
アンコ節
Aogeba Toutoshi
仰げば尊し
Areko Mosa
姉子もさ
Ariya Yunta
阿里屋ユンタ
Asa no Degake
朝の出がけ
Ashio Ishikiri Bushi
足尾石切節
Ashio Umakata Bushi
足尾馬方節
Atsumori-san
敦盛さん
Awa no Mugiuchi Uta
Awa Wheat-beating Song
阿波の麦打ち唄
Awa Odori
阿波踊り
Ayuga Sawa Jinko
鯵ケ沢甚句
Azumi Bushi
安曇節
63 Пьесы