Evening star. [volume] (Washington, D.C.) 1854-1972, 1904-09-23
Profession for the Blind.

FROM time 1mmemorial, in the mikado's
empire, music has been considered to be
a profession for the sightless, End as it
mas always been left to the poorest of
the women, it need hardly be said that
Japan has no musical literature no har-
mony, only the crudest rudiments of nota-
ton, and practically no written compost
tons. In the great temples they have mu-
steal performances, for which something
corresponding to our classical music has
been elaborated and for one or two of
their most important instruments they
have compositions specially set. These are
said to be not altogether wanting in GER
tain weird, quaint, barbaric charm, and are
very highly esteemed by The Japanese
themselves. But the fact is they have no
instruments capable of producing anything
beyond the most trivial and unimpoSing
music. Such instruments as they possess,
both string and percussion, appear to have
been introduced from China. In the course
of centuries the fanciful ingenuity of the
people has to some extent improved and
developed many of them, but they are all
essentially Chinese in their twang and
tinkle, and are quite untitled for anything
like orchestral performances, as we under
stand the words, though they have Or
chestras in their theaters and temples;
and since the Japanese have become
naval power, they have formed bands on
board their men-o-war. Their instru-
ments may be said to consist of fiddles,
drums and cymbals. One of the most i'm
portant of their stringed instruments, the
koto, has thirteen silken strings, and a
movable bridge for every string. 1t is
said to be one Of the most difficult instru-
ments in the world to play.
AS to Japanese vocal music, the universal
testimony is that 1t Is even more rude ana
primitive than their instrumental. 1t Is
curious. but even birds do not sing much
in Japan. There are few that make a
little noise, but the crow appears to be the
commonest and seems to be the leader OF
the feathered choir. which is perhaps sufh-
cient to indicate the general character OF
Japanese bird music. For the musical rep
utation of the people it would perhaps be
better if singing were altogether left to
the crows Their best friends cannot say
much for Japanese vocalists. The late SIR
Edwin Arnold admitted that 1t was very
difficult to give them much praise. Though
japanese women nave oehshtful voices,
rendering their language always musical"
he wrote 1.-The style of singing they adopt
is forced. nasal and unnatural" Another
who has travelled extensively among them
says their voices are rough and strangely
unmelodious; while another, writing or
native music generally, Gpoth vocal and IN
strumental says it is mere horrid noise.
disfigured by eXcrhcfaung quarter tones.
The popular instrument for vocal accom-
paniment is the samisep. sort of guitar.
One can hear it's menotOnous ttnklng
everywhere but 1t is thin and meager; the
airs twanged out upon it or accompanied
by II are always III piiiloT KEY, ana d.
ways in common time while as an accom-
paniment to the voice the instrument mere
" precedes or follows the voice in unison.
The Japs have little OF no idea of harmony.
and the supporting chords and embellishing
arpeggios familiar to European ears appear
to be quite unknown to,them. They often
hit on pretty, plaintive, haunting melodies;
some OF their Instruments wall out very
delicate tunes. and are capable of effects
peculiarly sweet and SOFT while their drums
and gongs are sometimes employed with
very stirring force.n But. whole, Jap
anese music is curiously thin and feeble
totally wanting in force and feeling. and
whatever passing fashion 1t may please this
people to borrow from Europe or America
it is safe to say that before they can really
enter into the enjoyment of western music
they must undergo a fundamental change
of character.