While the people who originally settled these islands had their own instruments, most of the instruments presently considered “Japanese” were imported from China and the Korean kingdoms during the sixth and seventh centuries CE. From the ninth century CE, these instruments were modified according to indigenous tastes. Consequently, Japanese instruments differ greatly in form and function from the present instruments in China and Korea.

Outside of gagaku, imported to Japan nearly 2,000 years ago, there was until recently no other ensemble that incorporated various types of Japanese instruments. In 1964 we formed the Pro Musica Nipponia with the purpose of addressing this problem and, from that time on, we have created a know-how of contemporary ensemble playing for Japanese instruments. As a result, traditional Japanese instrumentalists have developed the technical capabilities to perform with Western orchestras, and there is now a large body of works written to include Japanese instruments in Western music ensembles. Henceforth, these capabilities will be invaluable when working with other Asian instrumental ensembles. This does not mean that the Japanese have become more westernized or globalized. Rather, it signifies that we have learned how to maintain our Japanese identity as we expand our traditional music vocabulary.

In explaining how to compose for Japanese instruments, I think it is necessary to first write down my understanding of their shared characteristics. Judging the quality of something, of course, depends on culturally established values. When Japanese instruments are compared to Western instruments or to other Asian instruments, some Japanese instruments seem extremely inconvenient and impractical to use. If, however, value judgment is based on the instrument's relationship to the natural environment, there are instances where Japanese instruments demonstrate great strengths. It is thus necessary to consider the most effective way to use each instrument. In politics or society, disparate elements can coexist: this should also pertain to composition and performance practice.

Scales: The Chosen Sounds

As with all music instruments, Japanese instruments have been made to produce the scales that we have chosen throughout our history as being “natural.”

The first scale, the yō scale, is the oldest Japanese scale and is still used as the primary scale for folk songs. The second scale, the ro scale, belongs to the scales and modes imported with gagaku but is, however, no longer used in this genre.