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Since November, I’ve been living in Japan to deepen my knowledge of Japanese music and, hopefully, to connect with musicians who play traditional Japanese instruments.
One of the biggest differences I’ve noticed is the number of concerts featuring these instruments—there are so many more opportunities to hear them here than in Europe. Recently, I attended a concert featuring contemporary compositions with koto, voice, and clarinet.
Just yesterday, I went to a fascinating concert centered around Japanese flutes—shinobue, nohkan, shakuhachi—along with shō (a traditional free-reed wind instrument) and drums. The concert was led by Isso Yukihiro, a nohkan player from a traditional musical family. But as you might guess from the presence of drum kits, this wasn't a purely traditional performance.
It was quite a sight to see a drum set on the stage of a traditional noh theatre!
I got the sense that many Japanese traditional musicians today are exploring new styles, expanding beyond the boundaries of classical tradition. The music I heard was rooted in traditional melodies, modes, and motives, but the form and arrangements were freely adapted. Because the compositions were written by the performers themselves, the pieces highlighted the natural charm and expressiveness of each instrument. The level of virtuosity was impressive, and although the structure was modern, the music still felt organic and authentic.
At first, I expected something closer to jazz because of the variety of instruments and collaborations. But after the concert, I overheard the drummer saying how difficult it had been—many aspects of the music were unfamiliar to him because they were based on traditional Japanese structures. This contrast between traditions and contemporary exploration made the experience even more interesting.
Back in November, I attended a more classical contemporary concert—what some might call “incomprehensible” music! Japan already has a rich repertoire of contemporary works for traditional instruments. However, I sometimes feel that certain pieces are written too much in a Western compositional style, which doesn’t always suit the nature of Japanese instruments. These instruments function differently from Western ones, so writing for them requires a different mindset.
As I read on a flyer once: “Composers and performers must discuss extensively to create new styles.” Even though I’m not yet deeply involved in these musical movements here in Japan, I’m inspired by the creativity and innovation I’m witnessing. It gives me so many ideas!
Japanese traditional music and instruments are still relatively unknown in Europe and around the world, even though some people have heard them or even written for them. I truly hope we can share and spread the beauty of these instruments and this music far beyond Japan.
