The Cultural Connotation of Japanese Pop Music

Ancient music in Japan: Japanese people have their own music culture from the 5th century to the 9th century. Although the music of the early rope-writing era, the Yayoi era and the ancient grave era has not been handed down, according to archaeological data and documents compiled in the 8th century, such as Annals of Ancient History, Annals of Japan, Leaves Collection, etc., the Japanese have their own ballads, dances and musical instruments in ancient times. In ancient times, the 5-string harmonica was smaller than the 6-string harmonica. Ancient flutes include bamboo flutes, spherical stone flutes and Tao Di. The belly of Doudou Meigu is cylindrical. Clocks are made of metal, ceramics and wood. At that time, clocks were both musical instruments and decorations. Tudor appeared around 1 century BC, and the shape of Tongduo is different from that of Zhong and Tudor in China. Ancient Japanese musical instruments had a complete range. After entering the farming society, the earliest songs (also called songs) where men and women get together to dance and the music and dance of witches appeared.

Japanese music and cultural exchanges with foreign countries have a long history, and cultural exchanges with Eurasia are mainly conducted through North Korea and China. In BC, bronze wares were imported and bronze priests appeared. Silla, Baekje and Koguryo, which were introduced to Japan from the Korean peninsula in the second half of the 5th century to the 7th century, were called "Three-Korea Music" in Japan. At the beginning of the 7th century, in order to revitalize Buddhism, Shoto Kutaishi encouraged the introduction of mainland music, and let Wei Mo of Baekje settle in Daiwa Sakurai to teach Japanese teenagers (Han Xin Zhaiwen, the first disciple of Lin Xiya, etc.) songs and songs. Also known as flute, waist drum and brass cymbals. In the 7th and 8th centuries, China's music from Sui and Tang Dynasties was introduced to Japan. In 70 1 year, according to Dabao Law, Yale Liao was established under the administration of the headquarters, in charge of Japanese traditional music and dance and foreign music and dance. At the opening ceremony of the Giant Buddha held in Dongda Temple in 752, hundreds of musicians and dancers from Yale Temple and other temples performed traditional Japanese music and dance, as well as Sanhan music, Tangle music, March music, Linyi music and solo Luo Le. This shows that professional musicians have begun to appear in Japan.

Note: The first four modes are the basic modes popular in Japan. In music score, white tone is the core tone in mode. Rhythm is divided into fixed beat rhythm (basically double beat) and loose board rhythm. Singing and playing methods have their own uniqueness, focusing on subtle changes in timbre.

Modern music

From 65438 to 0868, Japan entered the Meiji Restoration, and Japanese pop entered the stage of modern development. Its basic feature is that Japan quickly absorbed European and American music culture, thus forming a situation in which "traditional music" and "foreign music" coexist. Great changes have taken place in traditional music during this period. 187 1 year, the professional organizations for the blind were abolished, and the popularization school was banned, which made Zheng music and shakuhachi music popular. Samo Pipa and Zhu Qian Pipa, which originated from the blind monk Pipa, have successively entered Tokyo from Kyushu and spread throughout the country. With the support of the new regime, the court elegant music gradually recovered its vitality and expanded its influence. In the 1920s, the "New Japan Pop Music Movement" initiated by Michio Miyagi and others made use of traditional Japanese musical instruments to create new songs, drawing lessons from western European classical music composition techniques, and further developed traditional music. His duet "Sea of Spring" (1929) was composed by Zheng He in his early days and achieved great success. The seventeen-string Zheng created by Yu was a great achievement of the reform of traditional musical instruments at that time. Since the mid-1950s, composers have devoted themselves to composing modern national music with traditional musical instruments. Among them, Miki contributed to the development of Japanese instrumental music schools and the modern flavor and vitality of Japanese traditional music. The Japanese pop band with Miki and Nagasawa Katsumi as the chairmen and the Bangladeshi quartet composed of Akihachi Kitahara and others have great influence. Their music practice has brought a new wind to the Chinese music field and created conditions for bridging the gap between Chinese music and foreign music.

The earliest European and American music introduced to Japan in Meiji period was military music. 1872, the Japanese government began to introduce European and American music education systems, stipulating that music courses should be offered in primary and secondary schools; 1879 10 The Music Research Institute of the Ministry of Education, Culture, Sports, Science and Technology of Japan (later called Tokyo Music School, now called the Music Department of Tokyo University of Arts) was established, and was managed by the president of Tokyo Normal School, Hideki Izawa. Since then, the training of music teachers in primary and secondary schools and the compilation of music textbooks have embarked on the track, and professional music education has begun to take shape. Marked by the school songs "Flower" (1900) and "Moon in the Desert City" (190 1) written by the famous composer Ryotaro, the creation of Japanese pop produced the first batch of achievements in the early 20th century. Before 19 12, almost all Japanese pop songs. During the Taisho period (19 12 ~ 1926), Kosaku Yamada was the first to compose the Orchestral Flower of Datura (19 13) compiled by a large band. Since the 1920s, the creation of foreign music genres, such as solo songs, chorus, instrumental solo and symphonic music, has gradually dominated Japanese pop culture. The new symphony orchestra, the predecessor of NHK Symphony Orchestra, 1927 began to perform in February. The National Music Association, established in the same year, held a chorus competition, which promoted amateur music activities throughout the country. On the eve of World War II, 270 groups joined the association, and there were 3,800 wind bands in China. At that time, famous composers included Zhu Jingsaburo, Taihe Tomojiro, and self-taught composers who attached importance to national characteristics, such as Qiu Ji, Qing Zhi, Matsuhei Reiser, Fumio Hayasaka, Eve Buzhaohe and Sugawara.

During World War II, under the rule of militarism, the normal music activities in Japan were destroyed. Since 1938, the performances of foreign musicians in Japan have been interrupted, and various music groups have been ordered to dissolve on 1940. By the end of the war, performance groups, music schools, musical instrument factories, record companies and other music organizations almost stopped all activities.

Since 1950s, postwar Japanese pop culture has made great progress in creation, performance, appreciation, music education and music research. There were many striking newcomers after the war. Dan lkuma's national opera Night Crane, Yasushi Akutagawa's Three Chapters of Strings and Toshir? Mayuzumi's Nirvana Symphony are all masterpieces that can stand the test of time. Besides Toshir? Mayuzumi, there are other composers who actively absorbed modern European and American composing techniques, such as Yi Nora Lang, Chai Tian Nanxiong, Jingzhi Zhujing, Ji Ran Tangxian, Toshi Ichiyanagi, Gao Qiao Youzhi, etc. They are the first Japanese composers to adopt the twelve-tone system. Michio Mamiya, known as "Japan's Bartok", used Japanese folk songs to create famous works such as "The First Chorus". In the international music world, the music of Toru Takemitsu, Teiz? Matsumura, Miki and Maki Ishii is refreshing, and they have made fruitful achievements in exploring the national temperament of their works and creating non-Western European music. Akio Akio, Hiroshi Sanshan, Keisuke Noda, Kenichiro Flower Arrangement, Nanhongming, Sanzhi Chengzhang, etc. Ikebukuro Tomojiro's men are all outstanding composers with distinctive personalities after the 1960s. In a word, all kinds of creative tendencies in the international music scene have been absorbed by the Japanese music scene, which is obviously reflected in the Japanese composition world.

After 1946, Japanese music circles successively established Japanese Modern Music Association, Japanese Musicians Club, Japanese Performance Alliance, Music Writers Association, Japanese Composers Association and other industry organizations to safeguard the rights and interests of musicians and ensure the development of various music activities. There are more than 10 professional symphony orchestras in Tokyo, and various overseas music performance groups are constantly coming, providing colorful music appreciation opportunities. There are 60 colleges and universities in China with music departments, such as Tokyo University of Music and Arts, and Tongpeng Academy University, which send a large number of music talents to the society every year, which has played a positive role in improving the international level of Japanese musicians and popularizing social music education.