Traditional Japanese music is also composed of folk songs. These songs are mainly related to spiritual rituals and daily work. Although information about Japanese music from prehistoric times is limited, later on, Japanese folk music has become popular and has a more important role. Today, many people around the world like these styles!
Browse the top japanese folk music artists to find new music. Scrobble songs to get recommendations on tracks you'll love.
Japanese music, the art concerned with combining vocal or instrumental sounds for beauty of form or emotional expression, specifically as it is carried out in Japan. Korea served as a bridge to Japan for many Chinese musical ideas as well as exerting influence through its own forms of court music.
Most traditional Japanese music, with a handful of exceptions, developed from a base of narrative and lyrical vocalizations that related stories or poems, and were accompanied by instruments. 6th to 8th centuries Political and cultural exchanges with China and the Korean Peninsula intensified from the 6 th to 8 th centuries.
A guide to the majestic sound of the Japanese underground.
Light in the Attic Records’ upcoming release Even A Tree Can Shed Tears: Japanese Folk & Rock 1969-1973 collects a number of essential folk and rock songs from the angura, or underground, movement of late ‘60s-early ‘70s Japan. Happy End, Haruomi Hosono and Maki Asakawa may be recognizable names to some, but the other equally worthy artists on the compilation remain unknown to most but the die hard fans. It’s beyond exciting that after almost half a century, these artists, many of whom were initially influenced by Western artists, will finally see their work introduced to the land of their heroes.
Putting together the compilation was no easy task, as dealing with Japanese labels who own the rights can be notoriously difficult. As is the case with these types projects, there were so many great songs that weren’t included for one reason or another. So below is a list of 10 songs that did not make it onto the compilation tracklist, but still essential to telling the story of the angura scene. The picks come from Jake Orrall of Jeff the Brotherhood, whose initial idea for the compilation became reality through a collaboration with Light in the Attic, and Yosuke Kitazawa, one of the producers of the compilation.
Hachimitsu Pie ‘Boku No Shiawase’ from Sentimental Dori (1973)
Featuring the incredible cover art of a police officer passed out drunk in an alley (musician Morio Agata in costume), Hachimitsu Pie, or “Honey Pie”, started as Agata’s backing band. Most of the members went on to form The Moonriders, who made albums up through the ’00s. Their only album is heavily influenced by The Band and James Taylor, its got that fantastic sad nostalgic feeling, I highly recommend. – Jake Orrall
Itsutsu No Akai Fusen ‘Sonna Ki Ga’ from Flight (1971)
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The second album in a conceptual series of two albums (the other being New Sky) by this influential folk ensemble led by Takashi Nishioka. Very folky in structure but with gorgeous swirling keyboards, buidling harmonies and bizarre arrangements. – Jake Orrall
Kan Mikami ‘Hibike Denki Gama!’ from Hiraku Yume Nado Aru Janaishi (1972)
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Kan Mikami is all over the place. This album (the title loosely translates to “There Are Dreams, Etc.”) sums up his folk/blues/enka sound while showcasing his unusual singing/shouting style. Known for his angry delivery and tortured poetic vociferation, Mikami was immensely popular in the Japanese folk underground from album one, and continues to be a highly influential figure in Japanese music and art. – Jake Orrall
Yoshio Hayakawa ‘Salvia No Hana’ from Kakkoii Koto Wa Nante Kakkowaruinndarou (1969)
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Best known for his hipper than hip and highly influential ’60s band Jacks (often called the “Japanese Velvet Underground”), Hayakawa’s debut solo album from ’69 is largely performed on the piano. The title translates to “Things That Are Cool Are Somehow So Uncool.” Hayakawa went on to be the producer/director of URC for about two years before retiring from music and opening a book shop. – Jake Orrall
The Dylan II ‘Kimi No Mado Kara’ from Kinou No Omoide Ni Wakare Wo Tsugerundamono (1972)
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When I was in Kyoto in May my companions and I stumbled upon a tiny 4th floor bar called The Dylan II, and I instantly remembered a story that the band themselves used to run a folk cafe of the same name in the ’60s. I wondered “could it be?” and rushed up the stairs to find beat up copies of their records hanging on the walls and wood siding that very well could have been 50 years old. The bartender was surprised to learn I was a fan of the band and promptly put their debut album on the turntable while we sat and drank ice cold beer from tiny glasses, amazed at our discovery. It was not the same bar though, theirs was in Osaka. – Jake Orrall
Eiichi Ohtaki ‘Samidare’ from Eiichi Ohtaki (1972)
Each member of Happy End went on to have a prolific career of their own, and Ohtaki carved out a successful solo career with a series of idiosyncratic releases on his own Niagara label before achieving pop perfection with his hit album A Long Vacation in 1981. His first, self-titled solo album was recorded with members of Happy End while they were still active, and if you like that band you’ll probably like this one. It’s been said that he used up all the good songs he had at that point for this project, which explains why he contributed so little to the third and last Happy End album, which was recorded in Los Angeles (with Van Dyke Parks and members of Little Feat) right after this. Here’s a song from the album that showcases Hosono’s inventive funk bass. – Yosuke Kitazawa
Morio Agata ‘Otome No Roman’ from Otome No Roman (1972)
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Agata was one of the central figures in Tokyo’s angura or underground folk scene, collaborating with members of Happy End and Hachimitsu Pie before either of those bands found any success. He was known for his romanticized nostalgia towards pre-war Japan, with vivid descriptions of bygone trends and old movie theaters. The beautiful artwork for this album was designed by Seiichi Hayashi, whose graphic novel Sekishoku Elegy (Red Colored Elegy) gave Agata the idea and title for the album’s first single. – Yosuke Kitazawa
Nobuyasu Okabayashi ‘Copernicus Teki Tenkai’ Single B-side (1970)
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Japanese Folk Music Lyrics
Okabayashi has been called the God of Folk, and just as The Hawks launched their own career as The Band after a stint backing Dylan, a band known as Valentine Blue became Happy End after backing Okabayashi for his recordings and live shows. Some of the band’s heaviest and most visceral playing can be heard on Okabayashi’s recordings, including this song, originally a 1970 single B-side and can be found on various singles compilations, including The World of Nobuyasu Okabayashi, Vol. 2. It’s stylistically a bit different from the songs from our compilation, and well worth a listen. – Yosuke Kitazawa
Minami Masato ‘Hateshinai Nagare Ni Saku Mune Ippai No Ai’ from The Tropics (1971)
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A solid full length by Japan’s original hippie, this album showcases Masato’s poetic sensibilities with a dusty, druggy sound that’s rooted in traditional folk but touches on a heavier progressive sound, perhaps a bit like Michael Chapman backed by Mick Ronson on Fully Qualified Survivor. This track features the ubiquitous Haruomi Hosono of Happy End on bass and Takashi Mizutani from psychedelic enigmas Les Rallizes Denudes on guitar. – Yosuke Kitazawa
Maki Asakawa ‘Yo Ga Aketara’ from Asakawa Maki No Sekai (1970)
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As the first track from her first album, this song was the introduction to Maki Asakawa, and what a perfect way to get into her smoky, dark world. It offers a great taste of her more jazzy side, which she often touched upon alongside her bluesy and folky sides. She’s one of the very few artists on the compilation who has seen their music released outside of Japan, with the good folks at Honest Jon’s compiling an excellent anthology of her works in 2015. – Yosuke Kitazawa
Even A Tree Can Shed Tears: Japanese Folk & Rock 1969-1973 is available to pre-order from Light In The Attic now.
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Traditional music is part and parcel of any culture. Traditions and culture differ from one country to another, and so of course does the music. Japanese traditional music is popular not only in Japan, but also in the West.
In recent years, many pieces of traditional Japanese musical compositions were showcased throughout the world. Traditional music plays an important role in Japanese Culture, even today.
When Did Traditional Japanese Music Start?
There is not much information available today about ancient traditional Japanese music from pre-historical times. However, there is evidence to suggest that music was given a certain importance during the Yayoi and Jomon period.
During the late Yayoi period, many tombs were built for both poets and musicians alike. The historical records show that popular songs and legends from this time period were recorded in the chronicles “Kojiki” and “Nohon Shoki”.
The chronicle “Kojiki” was compiled during the reign of Emperor Temmu. By that time, songs and poetry had already begun to be integrated into traditional Japanese music.
The Importance of This Music
Although Japan has a unique culture and tradition of its own, many of its ceremonies and musical styles were borrowed from other countries.
The Imperial State of Japan used not only the Chinese language, but also imported some facets of its culture, including some of their traditional music.
Traditional Japanese Songs
A traditional form of music called Gagaku dominated the courts of the nobles and kings during the Nara and Heian period. The other forms of traditional Japanese musics were Noh, Shakuhachi, Koto, and Shamisen.
A point worth mentioning here is that vocal music plays a huge role in Japanese music.
Popular Traditional Japanese Music
A few of the popular traditional and ancient forms of Japanese music are listed below.
Gagaku
Gagaku was popularly known as the music of the courts. It was mostly developed at the court of the upper class people and powerful nobles. This form of music gained significant popularity during the Heian period (794-1192 AD).
Gagaku is classified into three categories: 1. original foreign music, 2. pure Japanese music, and 3. music composed in Japan under the influence of neighbouring countries. Gagaku has its origins in China, Korea, and other southeast Asian countries.
Gagaku that originated from China is known as To-gaku, and the one that has its roots in Korea is known as Komagaku. Both these forms of traditional music use the orchestra and do not have any vocals in it.
Gagaku, when accompanied with a dance called Bugaku, is known as Kangen. Some of the popular instruments that were used in this form of music are mouth organ, flute, drum, and zither.
Here is an example of To-gaku music called “Koromogae Saibara”.
One of the pure traditional Japanese musical forms is the Kokufukabu. This is an ancient music that includes both vocals and instruments.
Japanese Folk Music Instruments
This music is usually performed in the temples and also for the court ceremonies. This ancient music has its roots in Japan, but was composed under the influence of the tradition and culture of neighbouring countries that include Saibabra and Roei.
Both these forms of music have vocals and are accompanied by musical instruments.
Another traditional Japanese music that gained significance during the Hein period was Shomyo. This is a vocal music that was used in Buddhist temples at the time of prayer services.
Here is an example of a Shomyo chant called “Shingon”.
Noh
This traditional Japanese musical form became popular during the 14th century. Noh is a form of drama and has its own music called Nohgaku, accompanied by a dance known as Shimai. Nohgaku uses both vocal and musical instruments.
Here is an example of Nohgaku music – an entire album’s worth!
Shakuhachi, Koto, and Shamisen
These are the traditional Japanese musical forms that were around during the Azuchi-Momoyama period (1573 – 1603). During this period, many new musical instruments were introduced.
Shakuhachi was played by the Buddhist priests. This form of ancient Japanese music got its name from the instrument Shakuhachi, and was performed during the religious festivals and ceremonies.
Another form of traditional music is Koto. The music composition of Koto is known as Sokyoku. It gained significance during the Edo Period.
There is also the music of the shamisen, which is a form of music that was composed by the Ikuta School. This form of ancient music is used for both the narrative and melodious singing.
Conclusion
Folk songs are also a part of traditional Japanese music. These songs are mostly associated with religious ceremonies or with daily chores.
Though not much is known about Japanese music from the prehistoric period, later, the traditional musics from Japan gained more importance. Still today, many around the globe enjoy these styles!