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【ジャンル別一覧】 Sokyoku

Composed originally for Koto

古典からコンテンポラリーまで和楽器のための作曲

About Sokyoku Music...

Koto Music

This is one of the three major genres of the Edo Period. So means Koto and Kyoku means music. The instrument, the Koto, originates in the Koto (So or Gakuso) of Gagaku. The Koto, in the Gagaku is a member of the ensemble, but according to historical sources, in older times there were some solo instrumental pieces for the instrument.

In the later 16th century (Momoyama Period) a Buddhist priest in northern Kyushu, named Kenjun (1547-1636) composed for the first time songs accompanied by the Koto. This new music was called Tsukushi-goto, taking the name of the province where the priest lived. Then, a blind musician, Yatsuhashi Kengyo (1614 -1685) of Kyoto learned Tsukushigoto and created a new style of Koto music. He imitated the musical form of Tsukushi-goto pieces which consisted of six short songs and named his style Kumi-uta (suite of songs).

The biggest difference between Tsukushi-goto and Yatsuhashi was in the tuning and mode employed. Tsukushi-goto used the tuning based on the ryo-mode of Gagaku, while Yatsuhashi created tunings called Hirajoshi and Kumoi-joshi based on the in-mode which have become the representative tunings and modes of the Koto since that time. Yatsuhashi and his successors composed some solo instrumental pieces, but most of the compositions for Koto are songs accompanied by the instrument.

Almost at the same time as the appearance of Tsukushi-goto, Shamisen music occurred in Japan, and Ikuta Kengyo (1656-1715) devised the style of performing Ji-uta, a Shamisen music, together with the Koto. From that time instrumental interludes of songs accompanied by both instruments began to appear and many pieces began to consist of shorter parts of singing and longer instrumental parts-one to three in a song. This instrumental part, not merely an interlude any longer, was called Te-goto (hand-affair), and the style of these songs was Te-goto-mono (Te-goto style).

While the Te-goto style developed in Kyoto and Osaka, in Edo another new style of Koto music was established by Yamada Kengyo (1757-1817) who introduced the contemporary Shamisen music to the Koto music.

Later at the end of the Edo Period, Yoshizawa Kengyo in Nagoya created still another style-song accompanied by only the Koto which hinted at the oldest style of Koto music, Kumiuta. The main point of difference between his style and the older Kumiuta style was in that he used poems (waka) from the famous anthologies of ancient waka, Kokin Waka Shu, Kin Yo Shu, etc. At the same time he created a new tuning quite different from the older tunings. It was based upon both the In-mode and the Yo-mode. The tuning called Kokin-joshi is taken from the name of the anthology of poetry, Kokin Waka Shu.

Since Western music was introduced at the beginning of the Meiji Era, many attempts to change the older style were made with relatively little success. The first composer to combine Western music and Koto music was Miyagi Michio (1895-1956). He tried to introduce the diatonic scale, triple rhythm and orchestral style, which Japanese traditional music had never used before. Since then Miyagi has been favored by many Japanese musicians, many Koto players have imitated his style, while others, critical of his style attempted to create other styles.

Recently, especially since the Second World War, composers trained in Western music in Japan began to join the movement of creating new styles based on the traditional styles.

THE STRUCTURE OF THE KOTO is almost identical to that of the Gakuso of Gagaku. It consists of one thick front board, 186 cm in length and 48 cm in width. Pawlonia wood used for the body is sufficiently soft for a silk stringed instrument and is of the proper size to facilitate the construction of the Koto. The back of the front board is hollowed out to which the thin back board of the same wood is affixed. Two sounding holes are bored out of the back board.

Thirteen silk strings, each of the same thickness, are strung between two thin, low bridges fastened near the ends of the instrument. Each string, however, is tuned by a movable bridge shaped as an inverted Y.

The player plucks the strings with three ivory picks fitted to the thumb, index and middle fingers of the right hand by bands. The shape of the pick differs between the two major schools of Koto music. In the Ikuta school a thin, square-shaped pick is used, while that of the Yamada school is thicker and rounded. The difference in the pick gives a delicate variation in timbre.

The Koto is the stringed instrument of Japan which produces the purest musical tone. However" because of the Japanese taste of the musical effect of noise, there are some special techniques for this purpose. For instance, scraping the strings would be one such technique which stands out in sharp contrast to the basic technique of plucking the strings.

When the Koto began to be accompanied by the Shamisen, the previously mentioned Tegoto style (instrumental) came in to fashion. The polyphonic ensemble of Koto and Shamisen or of two Kotos became popular. The first Koto part is called Hon-te and the secondary part is called Kae-de. Kae-de is often a more sophisticated melodic line. When a third part joins the two Kotos it is in the style of a drone or ostinato. The Shamisen part is also added to the Koto ensemble to produce a more polyphonic effect.
Since the end of the Edo Period, the Shakuhachi, a vertical bamboo flute is the third instrument to be added to the Koto and Shamisen. This is called Sankyoku, literally meaning, three compositions, but in this case signifying three instruments.

In older times, another stringed instrument, the Kokyu was used in the ensemble in place of the Shakuhachi. The Kokyu as previously explained is the only lute played with a bow. It is shaped like the Shamisen but much smaller and played with a bow like that of a violin. The musical form of Koto compositions varies according to the historical styles previously mentioned. Most of the pieces are songs. The oldest style, Kumi-uta, is a song style consisting of six short songs. The texts concern a certain subject, but do not have what might be called a plot. The most arresting feature of the form is its archaic manner. Each song has the same number of measures (32), and. the first measure of each four measures is a stereotyped Koto pattern. Every song ends with another pattern. In the pieces composed later, however, these stereotyped patterns gradually disappeared.

Kumi-uta was sung and played by one musician. This manner of performance, that singer and player are to be one and the same, ha_ been preserved today as the traditional manner of performing Koto music.

At the same time as the appearance of Kumiuta, some instrumental pieces were composed in a style called Dan-mono or Shirabe-mono. Dan means section and Shirabe means instrumental piece. The oldest piece of this kind is Rokudan-no-shirabe (Instrumental piece of Six Sections). This piece is a kind of free style variation and each section has the same number of measures (26).

Tegoto-mono, which occupies a big part of the Koto repertoire, are songs with long instrumental sections (tegoto). The number of instrumental parts vary from one to three. Usually. a song is composed in three sections; beginning song (Mae-uta), tegoto, and the final song (Ato-uta). The largest piece is constructed with the following form of seven sections: song (Mae uta)-- Tegoto--song (Naka-uta)- Tegoto-song (Nakauta)--Tegoto-song(Ato-uta). An example of this style, Nebiki-no-matsu, has an instrumental introduction in addition to the parts mentioned and the composition requires 35 minutes to perform. The form of a song without Tegoto varies according to the plot and subject. Basically, however, these forms are based upon the idea of three sections - Jo-Ha-Kyu which have been previously mentioned.

Most of the Koto songs are elegant, lyric poetry as the Koto was enjoyed mainly by women at home. Even love affairs and emotions are expressed in a refined way, while with the Shamisen they are more dramatic and realistic. A number of the Yamada School's pieces for Koto and Shamisen are written in a more dramatic style, but still they are performed less dramatically than Shamisen music.

By Dr. Shigeo Kishibe

A
Aioi no Kyoku
相生の曲
Akashi
明石
Aki Kaze no Kyoku
秋風の曲
Aki no Koto No Ha
Poetry of Autumn
秋の言の葉
Aki no Kyoku
秋の曲
Aki no Nanakusa
秋の七草
Aoi no Ue
葵の上

B
Basic tunings for each Ryū
各流の調子合わせ

C
Chidori no Kyoku
千鳥の曲
Chidori no Kyoku Kaete
千鳥の曲改訂
Chidori to Asobu Tieko
千鳥と遊ぶ智恵子
Chigo Zakura
Mountain Cherry
稚児桜
Chihako no Tamazusa
千箱の玉章
Chikubushima (Yamada Ryū)
Song of Chikubu Island
竹生島
Chisato No Ume no Kyoku
千里の梅の曲
Chiyo no Tomo
千代の友
Choryu
The Current
潮流
Chōgonka
Song of Everlasting Sorrow
長恨歌

E
Enoshima no Kyoku
江の島の曲

F
Fuki
Etenraku
菜蕗
Fushimi
伏見
Fuyu no Kyoku
冬の曲

G
Ganjō no Matsu
岩上の松
Gin Sekai
銀世界
Godan Ginuta
五段砧
Godan no Shirabe
五段の調

H
Hachidan Kaete
八段替手
Hagoromo no Kyoku
羽衣の曲
Hana no En
花の宴
Hana no Kumo
花の雲
Hana Sandai
花三題
Hanazuma
花妻
Harima Hakkei
播磨八景
Haru no Kyoku
春の曲
Haru no Miya
Mitsu No Shirabe
春の宮
Haru no Shirabe
Ode to Spring
春の調
Haru no Sugata
Mood of Early Spring
春の姿
Hashihime
橋姫
Hatsune no Kyoku
初音の曲
Hayama Hakkei
葉山八景
Hien no Kyoku
Seiheicho
飛燕の曲
Hototogisu (Yamada Ryū)
Mountain Cuckoo
郭公

I
Ishiyama Genji-Jō no Maki
Ishiyama Genji vol. 1
石山源氏上の巻
Ishiyama Genji-Ka no Maki
Ishiyama Genji vol. 2
石山源氏下の巻

J
Jichō
二長
Junidan Sugagaki
十二段すががき

K
Kaede no Hana
楓の花
Kagami no Kyoku
Tekagami No Kyoku
鑑の曲
Kagetsu
花月
Kagura Zome
神楽初
Kaka Ju Senzai
鶴寿千歳
Kakko
郭公
Kan no Kyoku
甲の曲
Kanbun Otsu no Kyoku
勧文乙の曲
Kasuga Mōde
Kasuga Pilgrimage
春日詣
Kensetsu no Hibiki
Sound of Construction and Progress
建設のひびき
Kibo no Hikari
Light of Hope
希望の光
Kikusui
Chrysanthemum Water
菊水
Kinoji no Oku Shiki No Dan
紀の路の奥 四季の段
Kiritsubo
Kuina No Kyoku, Aoyagi No Kyoku
桐壷の曲
Kisen
喜撰
Kogō no Kyoku
小督の曲
Kokemizu
苔水
Kokin Gumi
古今組
Kokoro Zukushi
Oguruma No Kyoku, Miyakodori
心尽
Koma Tomari
独楽とまり
Kongōseki
The Diamond
金剛石
Koryu Shiki Genji
古流四季源氏
Koto techniques of each Ryū (right hand only)
各流箏の手法(右手法のみ)
Kotobuki Kurabe
Counting the Blessings
寿競
Kudan no Shirabe
九段の調
Kumo no Mine
雲の峰
Kumo no Ue
Musashino No Kyoku
雲の上
Kumoi Godan
雲井五段
Kumoi Hachidan
雲井八段
Kumoi Kudan no Shirabe
雲井九段の調
Kumoi Midare
雲井乱
Kumoi no Kyoku
雲井の曲
Kumoi no Kyoku, Gaku
雲井の曲、楽
Kumoi Rokudan
雲井六段
Kumoi Rōsai
雲井弄斎
Kumoi Shichi Dan
雲井七段
Kō Genji
公源氏

M
Matsu no Hagoromo
松廼羽衣
Matsu Zukushi (Yamada Ryū)
A Collection of Pines
松尽
Matsushima Hakkei
松島八景
Meiji Shōchikubai
Meiji-era Pine, Bamboo, and Plum
明治松竹梅
Meisho Miyage
Stories of Famous Scenery
名所土産
Midori no Asa
Bright Morning
緑の朝
Mikuni no Homare
National Glory
御国の誉
Mitsu no Keshiki
三つの景色
Miyako Wasure
都忘れ
Miyo Manzai
御代万歳
Miyo no Hikari
御代の光
Mizuwa Utsuwa
Water to Its Vessel
水の器
Monaka no Tsuki
最中の月
Mukojima Hakkei
向島八景
Mutamagawa
Tamagawa
六玉川
Mutamagawa (Yamada Ryu)
Tomi Moto Bushi
六玉川

N
Nagori no Tsuki
名残の月
Nasuno
那須野
Ne no Hi no Asobi
子の日の遊
Nihon Meikyoku Shu
日本名曲集
Niju Hachidan
二重八段
Nozaki-mura
Nozaki Village
野崎村

O
Oimatsu (Ikuta Ryū)
The Old Pine
老松
Omi Hakkei
Views of Omi (Lake Biwa)
近江八景
Omoide
Nostalgia
思い出
Omoigawa
思ひ川
Otsu no Kumi
乙の組
Otsu no Kyoku
乙の曲

R
Rokudan Kaete
六段替手
Rokudan no Shirabe
六段の調
Rokudan Renbo
六段恋慕
Rokudan Sugagaki
六段すががき
Rokudan-Hachidan Fuki Awase
六段ー八段吹合わせ
Ryūten
流転

S
Saga no Aki
嵯峨の秋
Sakakiba
榊葉
Sakayuru Miya
Sakae Palace
榮ゆる宮
San Dan Jishi
三段獅子
Saohime
Goddess of Spring
佐保姫
Sekiheki no Fu
赤壁の賦
Senri no Ume
千里の梅
Setsu Gekka
雪月花
Shichi Fukujin
Seven Auspicious Gods
七福神
Shiki no Asobi
四季の遊
Shiki no Dan
四季の段
Shiki no Fuji
四季の富士
Shiki no Fuji, Batsu
四季の富士、跋
Shiki no Koi
四季の恋
Shiki no Kumi
四季の組
Shiki no Kyoku
四季の曲
Shiki no Shirabe
四季の調
Shiki no Tomo
四季の友
Shin Kokin Gumi
新古今組
Shin Kumoi Rosai
新雲井弄斎
Shin Nanakusa
新七草
Shin Setsu Gekka
New Song of Snow, Moon, and Flowers
新雪月花
Shin Sugomori
新巣籠
Shinbunshi
新聞紙
Shintakasago
新高砂
Shojo no Tsuru
A Crane in the Pines
松上の鶴
Shunkan
The Tale of Shunkan
俊寛
Shōin no Tsuki
The Moon through Shadowy Pines
松蔭の月
Shū Fū no Ji
秋風の辞
Sue no Matsu
末の松
Suma
須磨
Suma no Arashi
A Storm at Suma
須磨の嵐
Sumiyoshi
住吉
Sō dokusô no tame no renshû kyoku
箏独奏のための練習曲
Sōgen no Aki - Mushi
草原の秋ー虫
Sōgen no Aki - Shigure
草原の秋ーしぐれ
Sōgen no Aki - Tsuki
草原の秋ー月
Sōshunbu
Early Spring
早春賦

T
Taka no Ha
Feathers of a Hawk
鷹の羽
Tanabata
七夕
Tenka Taihei
Sumiyoshi No Kyoku, Hinazura No Kyoku, Taiheiraku, Taihei Tenka Taihei
天下太平
Tobiume
飛梅
Tokiwa no Iro
常磐の色
Tomo Chidori
Tomo No Kyoku
友千鳥
Tsumi Kusa
Plucked Grass
摘草
Tōryū Shiki Genji
Otome No Kyoku
当流四季源氏

U
Ugo
雨後
Ukifune
浮船
Ume no Isao
梅の功
Umegae
Chidori No Kyoku
梅ケ枝
Umisuzume
Seabird
海雀
Usu no Koe
The Voice of the Millstone
臼の声
Usu Yuki
Asagao No Kyoku, Shinonome No Kyoku
薄雪
Usugoromo
Tegai No Kyoku, Kashiwagi No Kyoku
薄衣
Uta Renbo/ Tokoyo no Kyoku - Uchiawase
歌恋慕 常世の曲 - 打合せ
Utsusemi
空蟬
Uya no Tsuki
雨夜の月

W
Wakagusa
若草

Y
Yaegaki
八重垣
Yodan Ginuta
四段砧
Yodan Ginuta Kaete
四段砧(替手)
Yuki no Ashita
Aoi No Kyoku, Nahi No Kyoku
雪の晨
Yuki no Genso
Snow Fantasy
雪の幻想
Yuku Haru
逝く春
Yumiyawata
弓八幡
Yurikago no Shirabe
Cradle Melody
ゆりかごの調べ
Yuya
熊野

Ō
Ōgi no Kyoku
扇の曲
Ōgi no Kyoku, Gaku
扇の曲、楽
Ōuchiyama
大内山
Ōyodo no Nagare Saki hau Tokoro - Kaisō
大淀の流れさきはうところー回想
Ōyodo no Nagare Saki hau Tokoro - Netsujō
大淀の流れさきはうところー熱情
Ōyodo no Nagare Saki hau Tokoro - Nobi Yuku Daichi
大淀の流れさきはうところー伸び行く大地
221 曲