You are on page 1of 2

Elements of Japanese Music

The most ubiquitous and well-known concept in Japanese aesthetics is “Ma” which has been translated
as “nothingness” or “emptiness”. But much more than the absence of something, it is a palpable entity.
The Japanese also embrace the difference of timbres between the pitches on their musical instruments,
and their music developed to accommodate that.BY

James Nyoraku Schlefer

I have been writing about myself, my work, a little history of Japanese music, and the intersections or
disconnects between Western and Japanese music. Now I would like to discuss musical elements that
are distinctly Japanese.

MU / MA–無 / 間: Perhaps the most ubiquitous and well-known concept in Japanese aesthetics is that
known as Ma. Translated as nothingness or emptiness, Ma emphasizes the space, in time or dimension,
which is prevalent in all Japanese art forms including theater, architecture, gardening, and—of course—
music. It is the space between objects, the silence between sounds, and the stillness between
movements. Much more than the absence of something, it is a palpable entity. In music, Ma typically
manifests as the silence we “hear” between phrases. It is that nothingness that separates sound and
removes it from a position of prominence. After the first phrase of a shakuhachi solo is played and the
player takes a breath, that silence, or Ma, can create a tension that brings a small relief when the next
phrase eventually begins. Or if that silence separates the sounds completely, and allows each phrase to
be independent, then the silence becomes its own world upon which to meditate.Timbre as a
compositional element: The musical traditions of the globe have each charted their own paths, and
Europe was no exception. Western classical music evolved as an ensemble art, and beginning in the 17th
century, tempered scales became the standard for composition. The evolving manufacture of musical
instruments developed to suit this pitch-oriented musical language. Eventually, keyboard instruments
could play all the chromatic tones and do so with a consistent timbre. Woodwind instruments
transformed from tubes with holes to ever more complex machinery, the goal being consistent timbre
between the ranges and tighter control of pitch. Thus, the trajectory of Western instruments has long
held the goal of equalizing the sound quality across the full range of the instrument Japanese
instruments embrace the difference of timbres between pitches, and the music developed to
accommodate that.

Japanese instruments, on the other hand, embraced the difference of timbres between pitches, and the
musical language developed to accommodate those differences. Frequently the same pitch is heard with
different fingerings, resulting in a vastly different dynamic level and tone color. Take for example the
sawari sound of the shamisen. The lowest string is purposely positioned off the nut at the top of the
fingerboard to create a distinctive buzzing effect similar to the jawari sound of the sitar. To the Western
ear this buzzing may come across as unfocused or unclean, but this is in fact an indispensable sound of
the instrument. Likewise, pushing the string on the koto to raise the pitch, rather than plucking a
neighboring string with the same pitch, results in an almost imperceptible but distinct sound. And the
robust pitch of an open hole on the shakuhachi contrasts with meri, the same pitch achieved with a
partially covered hole and the lowering of the player’s head. As a result, Japanese music evolved to
accommodate the dissimilarities inherent in the physical makeup of the musical instruments.Wabi-Sabi:
Wabi-sabi is an idea—an essential concept in Japanese aesthetics constituting a view centered on the
acceptance of transience and imperfection. It is not an official element of Japanese music, but as a
composer and performer, I do feel that it is important for Western listeners to appreciate the concept.
As an example, the pottery items used in the most refined and exacting Japanese tea ceremonies are
often rustic and simple looking, with shapes that are not symmetrical and colors or textures that appear
to be coarse. The tea bowls may be deliberately chipped or nicked at the bottom. It is up to the
observational ability of the participant to notice and discern the hidden signs of a truly excellent design
or glaze. So too, in Japanese music, must the listener be able to discern the subtle differences in sound
quality and execution, putting aside preconceived musical experiences to appreciate the artistry.

The The urgency to “fix” the sounds of musical instruments never entered the minds of Japanese
musicians.

The urgency to “fix” the natural sounds of musical instruments never entered the minds of Japanese
musicians as it did in the West, and the beauty of these subtle nuances of timbre became the standard.
This is a fundamental difference in musical philosophy that presents one of the greatest challenges in
merging the sounds of East and West. Nonetheless there have been many composers in the last few
decades, both Western and Japanese, who have forged ahead to create some magnificent and ground-
breaking new music; some are facing the challenge by essentially ignoring the disconnect, some by
probing into the subtle complexities.The urgency to “fix” the sounds of musical instruments never
entered the minds of Japanese musicians.

The urgency to “fix” the natural sounds of musical instruments never entered the minds of Japanese
musicians as it did in the West, and the beauty of these subtle nuances of timbre became the standard.
This is a fundamental difference in musical philosophy that presents one of the greatest challenges in
merging the sounds of East and West. Nonetheless there have been many composers in the last few
decades, both Western and Japanese, who have forged ahead to create some magnificent and ground-
breaking new music; some are facing the challenge by essentially ignoring the disconnect, some by
probing into the subtle complexities.

You might also like