THE CHILDREN’S SONGS IN JAPAN

EDUCATIONAL MATERIALS IN THE EARLY CHILDHOOD EDUCATION OF

JAPAN SINCE 1868
 4 ROOTS OF CHILDREN’S SONGS IN JAPAN TODAY

１） Shoka ：Songs used as teaching materials in textbooks for the subject “Music” in elementary
schools. Originate from textbooks compiled in 1883-85. Based on occidental music.
２） Doyo ：Artistic songs composed as criticism of Shoka. Became popular among urban citizens
around 1920 as new domestic cultural entertainments.
３） Warabe-uta ：Songs created spontaneously in plays and daily lives of children. Mostly anonymous.
４） Children’s Songs since 1945 ：”Children’s songs” transmitted via mass-media such as radios, TVs,
movies, etc. Belong to multiple genres and sophisticated musically.
 SHOKA： SCHOOL SONGS, THE STARTPOINT OF MUSICAL EDUCATION IN PUBLIC EDUCATION SYSTEM

*1868 Establishment of the modern state in the Meiji Restoration → Teaching music was one of important
policies in the school education
*Objective : Create and spread “National Music” suitable for a modern state. In order that the Japanese people share
modern sense of the community and physical sensation regardless of the regional and social-hierarchical differences.
*place importance on Song Singing ： modeled after the American and German(Prussian) school education systems of the
time(latter half of 19th century).
・Use notation to compose
・Take occidental songs, improve them and create new songs.
・Piano and Organs are recommended as musical instruments
*Shoka： In the beginning, Japanese lyrics are added to occidental songs. (examples: Chouchou, kasmi ka kumoka)
Established a Japanese-Occidental style of composition in 1880-90, which frequently uses the “Yonanuki scale”
(scale without 4th and 7th). (example: Umi）
 DOYO : SOPHISTICATED SONGS FOR CHILDREN

*Originate from the magazine “Akai Tori (Red Birds)” launched in 1918.
*Criticism against Shoka, many of which have ethical lyrics, and banal songs

→ writers and artists started new literatures and arts for children of the urban citizens.
→ The magazine “Akai Tori” published music scores every month.
→ Child singers for children’s songs appeared, and their records sold well.
*Contributed to the popularization of occidental music (example: Happa)
WARABE-UTA： UNONYMOUS CHILDREN’S PLAYSONGS

*”Warabe-Uta” are those anonymous songs which are said to be created spontaneously in daily
plays of children.
*As a matter of fact, one cannot trace back to old Warabe-Utas before 18th century because older
Warabe-Uta ceased to be passed down.
*They have a definite style different from those of occidental music.
reflects the pitch accent of the spoken Japanese language
“Tonic-centered” construction of the melody/ Scales framed with the perfect 4th
cannot the harmonized with the occidental harmony (example: Chatsubo）
CHILDREN’S SONGS SINCE 1945

*Spread through mass-media(Radio, TV, records, movies, SNS etc.)

*Since 1920’s, child singers specialized in children’s songs became popular, with “star” girl singers
after the WWII. They are followed by adult singers specialized in children’s songs. The situation
remains the same up to the present time.
This is a “unique” phenomenon in the world.
*1950’s- 60’s : Teams of poets and composers create new children’s songs. (example: Zou-san)
*1960’s- : Many songs became popular via TV programs. (example: Omocha no cha-cha-cha）
*Not just new (Japanese) songs, but also songs from other countries with translated Japanese Lyrics
became popular. → Eventually, “parodies” with lyrics totally irrelevant to the original spread.
*Since the latter half of the 20th century, the sense of Japanese tonality and harmony became almost
perfectly westernized.
 CONCLUSION

*Music played an important role in the pre-school (and elementary school) education of the modern Japan.
The central part of Japanese music education is Singing Songs, which produced many “children’s songs”.
*”Children’s songs” widely sung on-site in current Japanese early childhood education are classified into “Shoka”,
“Doyo”, “Warabe-Uta”, “Children’s songs transmitted via mass-media”, based on their time of establishment
and background.
*”Shoka”, “Doyo” and “Children’s songs transmitted via mass-media” are all given to children by adults.
*While “Warabe-Uta” has its own style which naturally reflects the pitch accent and rhythm of the spoken
Japanese language.
 ISSUES OF WESTERNIZATION IN JAPANESE MUSIC CULTURE

*After 150 years since the beginning of the modern education system, the sense of tonality and harmony of
Japanese today is almost perfectly westernized, and their composition techniques increased sophistication.
*In pop music, however, the use of “Yonanuki scale” (scale without 4th and 7th) is still frequent and is producing
distinct sound. (example: Paprika)
Also, their sense of beat and rhythm is not completely westernized even now.
This is probably due to their special sense of beat which comes from the mora-rhythm, a characteristic of
Japanese language.
*Local characteristic of music culture depends on the language of the place.
*Song Singing is important in the early childhood education in that it maintains the cultural identity.
*In teaching musical instruments and dancing, Japanese public education dose not particularly aim at maintaining
Japanese cultural identity.