83-512: Taiko ( 太鼓 ) are a broad range of Japanese percussion instruments. In Japanese , the term taiko refers to any kind of drum, but outside Japan, it is used specifically to refer to any of the various Japanese drums called wadaiko ( 和太鼓 , lit. ' Japanese drums ' ) and to the form of ensemble taiko drumming more specifically called kumi-daiko ( 組太鼓 , lit. ' set of drums ' ) . The process of constructing taiko varies between manufacturers, and
166-414: A plucked string instrument , often accompanies taiko during the theatrical performance. Kumi-daiko performances can also feature woodwinds such as the shakuhachi and the shinobue . Voiced calls or shouts called kakegoe and kiai are also common in taiko performance. They are used as encouragement to other players or cues for transition or change in dynamics such as an increase in tempo. In contrast,
249-434: A broad range of percussion instruments that are used in both Japanese folk and classical musical traditions. An early classification system based on shape and tension was advanced by Francis Taylor Piggott in 1909. Taiko are generally classified based on the construction process, or the specific context in which the drum is used, but some are not classified, such as the toy den-den daiko . With few exceptions, taiko have
332-470: A category of music and dances stemming from Shinto practices, taiko frequently appear alongside other performers during local festivals. In Buddhist traditions, taiko are used for ritual dances as part of the Bon Festival . Taiko , along with other instruments, are featured atop towers that are adorned with red-and-white cloth and serve to provide rhythms for the dancers who are encircled around
415-404: A chisel; the texture of the wood after carving softened the tone of the drum. In contemporary times, taiko are carved out on a large lathe using wood staves or logs that can be shaped to fit drum bodies of various sizes. Drumheads can be left to air-dry over a period of years, but some companies use large, smoke-filled warehouses to hasten the drying process. After drying is complete, the inside of
498-611: A circle along the edge. After the skin has dried, tacks, called byō , are added to the appropriate drums to secure it; chū-daiko require about 300 of them for each side. After the body and skin have been finished, excess hide is cut off and the drum can be stained as needed. Several companies specialize in the production of taiko. One such company that created drums exclusively for the Emperor of Japan , Miyamoto Unosuke Shoten in Tokyo, has been making taiko since 1861. The Asano Taiko Corporation
581-411: A class of hourglass-shaped drums. The drum body is shaped on a spool and the inner body carved by hand. Their skins can be made from cowhide, horsehide, or deerskin. While the ō-tsuzumi skins are made from cowhide, ko-tsuzumi are made from horsehide. While some classify tsuzumi as a type of taiko, others have described them as a drum entirely separate from taiko. Taiko can also be categorized by
664-459: A company that operates in Hakata , has been producing taiko since 1821. Taiko performance styles vary widely across groups in terms of the number of performers, repertoire, instrument choices, and stage techniques. Nevertheless, a number of early groups have had broad influence on the tradition. For instance, many pieces developed by Ondekoza and Kodo are considered standard in many taiko groups. Kata
747-445: A drum shell with heads on both sides of the body, and a sealed resonating cavity. The head may be fastened to the shell using a number of different systems, such as using ropes. Taiko may be either tunable or non-tunable depending on the system used. Taiko are categorized into three types based on construction process. Byō-uchi-daiko are constructed with the drumhead nailed to the body. Shime-daiko are classically constructed with
830-566: A fictitious figure of Empress Jingū to replace her. Many records in the Nihon Shoki show clear signs of taking records from other sources but shifting the dates. An example is the records of events during Jingū and Ōjin's reigns, where most seem to have a calendrical shift of exactly two cycles of the sexagenary cycle, or 120 years. Not all records in the Nihon Shoki are consistently shifted according to this pattern, making it difficult to know which dates are accurate. For example, according to
913-417: A historical account, and a newer tradition influenced by mainland groups and practiced by the majority of the islanders. The Hachijō-daiko tradition was documented as early as 1849 based on a journal kept by an exile named Kakuso Kizan . He mentioned some of its unique features, such as "a taiko is suspended from a tree while women and children gathered around", and observed that a player used either side of
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#1733085057933996-473: A number of different styles. In kumi-daiko , it is common for a player to hold their sticks in a relaxed manner between the V-shape of the index finger and thumb, which points to the player. There are other grips that allow performers to play much more technically difficult rhythms, such as the shime grip, which is similar to a matched grip : the bachi are gripped at the back end, and the fulcrum rests between
1079-463: A patch of deer skin placed in the center serves as the target for many strokes during performance. Before fitting it to the drum body the hair is removed from the hide by soaking it in a river or stream for about a month; winter months are preferred as colder temperatures better facilitate hair removal. To stretch the skin over the drum properly, one process requires the body to be held on a platform with several hydraulic jacks underneath it. The edges of
1162-582: A set of prescribed basics should be compatible with learning local traditions. Aside from kumi-daiko performance, a number of folk traditions that use taiko have been recognized in different regions in Japan. Some of these include ondeko ( 鬼太鼓 , "demon drumming" ) from Sado Island , gion-daiko [ ja ] from the town of Kokura , and sansa-odori [ ja ] from Iwate Prefecture . A variety of folk dances originating from Okinawa , known collectively as eisa , often make use of
1245-477: A single piece of wood, but at a much greater cost due to the difficulty in finding appropriate trees. The preferred wood is the Japanese zelkova or keyaki , but a number of other woods, and even wine barrels , have been used to create taiko. Byō-uchi-daiko cannot be tuned. The typical byō-uchi-daiko is the nagadō-daiko , an elongated drum that is roughly shaped like a wine barrel. Nagadō-daiko are available in
1328-464: A spiritual link between the body and the sky. Some physical parts of taiko, like the drum body, its skin, and the tacks also hold symbolic significance in Buddhism. Kumi-daiko groups consist primarily of percussive instruments where each of the drums plays a specific role. Of the different kinds of taiko, the most common in groups is the nagadō-daiko . Chū-daiko are common in taiko groups and represent
1411-690: A variety of sizes, and their head diameter is traditionally measured in shaku (units of roughly 30 cm). Head diameters range from 1 to 6 shaku (30 to 182 cm; 12 to 72 in). Ko-daiko ( 小太鼓 ) are the smallest of these drums and are usually about 1 shaku (30 cm; 12 in) in diameter. The chū-daiko ( 中太鼓 ) is a medium-sized nagadō-daiko ranging from 1.6 to 2.8 shaku (48 to 85 cm; 19 to 33 in), and weighing about 27 kilograms (60 lb). Ō-daiko ( 大太鼓 ) vary in size, and are often as large as 6 shaku (180 cm; 72 in) in diameter. Some ō-daiko are difficult to move due to their size, and therefore permanently remain inside
1494-507: Is also a reflection of Chinese influence on Japanese civilization. In Japan, the Sinicized court wanted written history that could be compared with the annals of the Chinese. The Nihon Shoki begins with the Japanese creation myth , explaining the origin of the world and the first seven generations of divine beings (starting with Kuninotokotachi ), and goes on with a number of myths as does
1577-558: Is also called the Nihongi ( 日本紀 , "Japanese Chronicles") . It is more elaborate and detailed than the Kojiki , the oldest, and has proven to be an important tool for historians and archaeologists as it includes the most complete extant historical record of ancient Japan . The Nihon Shoki was finished in 720 under the editorial supervision of Prince Toneri with the assistance of Ō no Yasumaro and presented to Empress Genshō . The book
1660-494: Is another major taiko-producing organization, and has been producing taiko for over 400 years. The family-owned business started in Mattō, Ishikawa , and, aside from military equipment, made taiko for Noh theater and later expanded to creating instruments for festivals during the Meiji period . Asano currently maintains an entire complex of large buildings referred to as Asano Taiko Village, and
1743-518: Is equipped with a barrel-shaped drum hung from his shoulder and uses a stick to play the drum at hip height. This statue is titled "Man Beating the Taiko " and is considered the oldest evidence of taiko performance in Japan. Similarities between the playing style demonstrated by this haniwa and known music traditions in China and Korea further suggest influences from these regions. The Nihon Shoki ,
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#17330850579331826-491: Is keeping the body stabilized while performing and can be accomplished by keeping a wide, low stance with the legs, with the left knee bent over the toes and keeping the right leg straight. It is important that the hips face the drum and the shoulders are relaxed. Some teachers note a tendency to rely on the upper body while playing and emphasize the importance of the holistic use of the body during performance. Some groups in Japan, particularly those active in Tokyo, also emphasize
1909-686: Is one of the most recognized taiko groups both in Japan and worldwide. Estimates of the number of taiko groups in Japan vary to up to 5,000 active groups in Japan, but more conservative assessments place the number closer to 800 based on membership in the Nippon Taiko Foundation, the largest national organization of taiko groups. Some pieces that have emerged from early kumi-daiko groups that continue to be performed include Yatai-bayashi from Ondekoza, Isami-goma ( 勇み駒 , lit. "galloping horse") from Osuwa Daiko, and Zoku ( 族 , lit. "tribe") from Kodo. Taiko have been developed into
1992-482: Is played with a drumstick while hanging it with the other hand. Okedō-daiko or simply okedō , are a type of shime-daiko that are stave-constructed using narrower strips of wood, have a tube-shaped frame. Like other shime-daiko , drum heads are attached by metal hoops and fastened by rope or cords. Okedō can be played using the same drumsticks (called bachi ) as shime-daiko , but can also be hand-played. Okedō come in short- and long-bodied types. Tsuzumi are
2075-527: Is the posture and movement associated with taiko performance. The notion is similar to that of kata in martial arts: for example, both traditions include the idea that the hara is the center of being. Author Shawn Bender argues that kata is the primary feature that distinguishes different taiko groups from one another and is a key factor in judging the quality of performance. For this reason, many practice rooms intended for taiko contain mirrors to provide visual feedback to players. An important part of kata in taiko
2158-539: Is thought to descend directly from the style reported by Kizan. This style is called Kumaoji-daiko , named after its creator Okuyama Kumaoji, a central performer of the style. Kumaoji-daiko has two players on a single drum, one of whom, called the shita-byōshi ( 下拍子 , "lower beat" ) , provides the underlying beat. The other player, called the uwa-byōshi ( 上拍子 , "upper beat" ) , builds on this rhythmical foundation with unique and typically improvised rhythms. While there are specific types of underlying rhythms,
2241-496: Is used in ensembles that accompany bugaku , a traditional dance performed at the Tokyo Imperial Palace and in religious contexts. Tsuri-daiko are suspended on a small stand, and are played sitting down. Tsuri-daiko performers typically use shorter mallets covered in leather knobs instead of bachi . They can be played simultaneously by two performers; while one performer plays on the head, another performer uses bachi on
2324-415: The Kojiki , but continues its account through to events of the 8th century. It is believed to record accurately the latter reigns of Emperor Tenji , Emperor Tenmu and Empress Jitō . The Nihon Shoki focuses on the merits of the virtuous rulers as well as the errors of the bad rulers. It describes episodes from mythological eras and diplomatic contacts with other countries. The Nihon Shoki
2407-611: The Kojiki are referred to as the Kiki stories. The first translation was completed by William George Aston in 1896 (English). The background of the compilation of the Nihon Shoki is that Emperor Tenmu ordered 12 people, including Prince Kawashima, to edit the old history of the empire. Shoku Nihongi notes that " 先是一品舍人親王奉勅修日本紀。至是功成奏上。紀卅卷系圖一卷 " in the part of May 720. It means "Up to that time, Prince Toneri had been compiling Nihongi on
2490-619: The kakko , also reflect influence from both China and India on drum use in gagaku performance. Archaeological evidence shows that taiko were used in Japan as early as the 6th century CE, during the latter part of the Kofun period , and were likely used for communication, in festivals, and in other rituals. This evidence was substantiated by the discovery of haniwa statues in the Sawa District of Gunma Prefecture . Two of these figures are depicted playing drums; one of them, wearing skins,
2573-788: The taiko and its variants is unclear, though there have been many suggestions. Historical accounts, of which the earliest date from 588 CE, note that young Japanese men traveled to Korea to study the kakko , a drum that originated in South China . This study and appropriation of Chinese instruments may have influenced the emergence of taiko . Certain court music styles, especially gigaku and gagaku , arrived in Japan through both China and Korea. In both traditions, dancers were accompanied by several instruments that included drums similar to taiko . Certain percussive patterns and terminology in togaku , an early dance and music style in Japan, in addition to physical features of
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2656-561: The Song Shu, the Wa paid tribute to Liu Song dynasty in 421, and until 502 (Liu Song ended in 479), five monarchs sought to be recognized as Kings of Wa . However, the Nihon Shoki only shows three successive emperors in this time period; Emperor Ingyō , Ankō , and Yūryaku . Nihon Shoki 's records of events regarding Baekje after Emperor Yūryaku start matching with Baekje records, however. The lifetimes of those monarchs themselves, especially for
2739-408: The traditional folk music of Japan . They comprise a range of string , wind , and percussion instruments. Japanese flutes are called fue ( 笛 ) . There are eight traditional flutes, as well as more modern creations. Nihon Shoki The Nihon Shoki ( 日本書紀 ) , sometimes translated as The Chronicles of Japan , is the second-oldest book of classical Japanese history . The book
2822-669: The 1512 encyclopedia called the Taigensho , but written scores for taiko pieces are generally unavailable. One reason for the adherence to an oral tradition is that, from group to group, the rhythmic patterns in a given piece are often performed differently. Furthermore, ethnomusicologist William P. Malm observed that Japanese players within a group could not usefully predict one another using written notation, and instead did so through listening. In Japan, printed parts are not used during lessons. Orally, patterns of onomatopoeia called kuchi shōga are taught from teacher to student that convey
2905-718: The 1950s and 1960s. Oedo Sukeroku Daiko was formed in Tokyo in 1959 under Seidō Kobayashi , and has been referred to as the first taiko group who toured professionally. Globally, kumi-daiko performance became more visible during the 1964 Summer Olympics in Tokyo, when it was featured during the Festival of Arts event. Kumi-daiko was also developed through the leadership of Den Tagayasu ( 田耕 ) , who gathered young men who were willing to devote their entire lifestyle to taiko playing and took them to Sado Island for training where Den and his family had settled in 1968. Den chose
2988-560: The Buddhist monk Gwalleuk of Baekje . For the eight emperors of Chapter 4, only the years of birth and reign, year of naming as Crown Prince, names of consorts, and locations of tomb are recorded. They are called the Kesshi Hachidai (" 欠史八代 , "eight generations lacking history") because no legends (or a few, as quoted in Nihon Ōdai Ichiran ) are associated with them. Some studies support
3071-482: The Emperors Jingū , Ōjin , and Nintoku , have been exaggerated. Their lengths of reign are likely to have been extended or synthesized with others' reigns, in order to make the origins of the imperial family sufficiently ancient to satisfy numerological expectations. It is widely believed that the epoch of 660 BCE was chosen because it is a "xīn-yǒu" year in the sexagenary cycle , which according to Taoist beliefs
3154-543: The Foundation's scope. The system of fundamentals Japan Taiko put forward was not widely adopted because taiko performance varied substantially across Japan. An updated 2001 publication from the Foundation, called the Nihon Taiko Kyōhon ( 日本太鼓教本 , "Japan Taiko Textbook" ) , describes regional variations that depart from the main techniques taught in the textbook. The creators of the text maintained that mastering
3237-541: The Japanese theatrical form, gagaku . The lead instrument of the ensemble is the kakko , which is a smaller shime-daiko with heads made of deerskin, and is placed horizontally on a stand during performance. A tsuzumi , called the san-no-tsuzumi is another small drum in gagaku that is placed horizontally and struck with a thin stick. Dadaiko ( 鼉太鼓 ) are the largest drums of the ensemble, and have heads that are about 127 cm (50 in) in diameter. During performance,
3320-468: The United States, Australia, Canada, Europe, Taiwan, and Brazil. Taiko performance consists of many components in technical rhythm, form , stick grip, clothing, and the particular instrumentation . Ensembles typically use different types of barrel-shaped nagadō-daiko as well as smaller shime-daiko . Many groups accompany the drums with vocals, strings, and woodwind instruments. The origin of
3403-417: The accompanying player is free to express an original musical beat. Kumaoji-daiko also features an unusual positioning for taiko: the drums are sometimes suspended from ropes, and historically, sometimes drums were suspended from trees. Traditional Japanese musical instruments Traditional Japanese musical instruments , known as wagakki ( 和楽器 ) in Japanese, are musical instruments used in
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3486-411: The ancient Korean kingdoms of Silla , Goguryeo , and Baekje . Some other sources are cited anonymously as aru fumi ( 一書 ; "some document"), in order to keep alternative records for specific incidents. Most emperors reigning between the 1st and 4th century have reigns longer than 70 years, and aged 100. This could be due to the writers' attempt to overwrite the history of Himiko , and fabricate
3569-438: The body of the drum. The larger ō-tsuzumi and smaller ko-tsuzumi are used in the opening and dances of Noh theater . Both drums are struck using the fingers; players can also adjust pitch by manually applying pressure to the ropes on the drum. The color of the cords of these drums also indicates the skill of the musician: Orange and red for amateur players, light blue for performers with expertise, and lilac for masters of
3652-453: The company reports producing up to 8000 drums each year. As of 2012, there is approximately one major taiko production company in each prefecture of Japan , with some regions having several companies. Of the manufacturers in Naniwa, Taikoya Matabē is one of the most successful and is thought to have brought considerable recognition to the community and attracted many drum makers there. Umetsu Daiko,
3735-451: The context in which they are used. The miya-daiko , for instance, is constructed in the same manner as other byō-uchi-daiko , but is distinguished by an ornamental stand and is used for ceremonial purposes at Buddhist temples . The Sumō-daiko ( 相撲太鼓 ) (a ko-daiko ) and sairei-nagadō ( 祭礼長胴 ) (a nagadō-daiko with a cigar-shaped body) are used in sumo and festivals respectively. Several drums, categorized as gagakki , are used in
3818-499: The context of theater, have thinner heads than other kinds of shime-daiko. The head includes a patch of deerskin placed in the center, and in performance, drum strokes are generally restricted to this area. The tsukeshime-daiko ( 付け締め太鼓 ) is a heavier type of shime-daiko . They are available in sizes 1–5, and are named according to their number: namitsuke (1), nichō-gakke (2), sanchō-gakke (3), yonchō-gakke (4), and gochō-gakke (5). The namitsuke has
3901-511: The cowhide are secured to an apparatus below the jacks, and the jacks stretch the skin incrementally to precisely apply tension across the drumhead. Other forms of stretching use rope or cords with wooden dowels or an iron wheel to create appropriate tension. Small tension adjustments can be made during this process using small pieces of bamboo that twist around the ropes. Particularly large drumheads are sometimes stretched by having several workers, clad in stockings, hop rhythmically atop it, forming
3984-412: The drum body (or shell), preparing the drum skin, and tuning the skin to the drumhead. Variations in the construction process often occur in the latter two parts of this process. Historically, byō-uchi-daiko were crafted from trunks of the Japanese zelkova tree that were dried out over years, using techniques to prevent splitting . A master carpenter then carved out the rough shape of the drum body with
4067-412: The drum is placed on a tall pedestals and surrounded by a rim decoratively painted with flames and adorned with mystical figures such as wyverns . Dadaiko are played while standing, and are usually only played on the downbeat of the music. The tsuri-daiko ( 釣太鼓 , "suspended drum" ) is a smaller drum that produces a lower sound, its head measuring about 55 cm (22 in) in diameter. It
4150-499: The drum is worked with a deep-grooved chisel and sanded. Lastly, handles are placed onto the drum. These are used to carry smaller drums and they serve an ornamental purpose for larger drums. The skins or heads of taiko are generally made from cowhide from Holstein cows aged about three or four years. Skins also come from horses , and bull skin is preferred for larger drums. Thinner skins are preferred for smaller taiko, and thicker skins are used for larger ones. On some drumheads,
4233-445: The drum while performing. Illustrations from Kizan's journal show features of Hachijō-daiko . These illustrations also featured women performing, which is unusual as taiko performance elsewhere during this period was typically reserved for men. Teachers of the tradition have noted that the majority of its performers were women; one estimate asserts that female performers outnumbered males by three to one. The first style of Hachijō-daiko
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#17330850579334316-412: The group Ondekoza, Eitetsu Hayashi suggested that a loincloth called a fundoshi be worn when performing for French fashion designer Pierre Cardin , who saw Ondekoza perform for him in 1975. The Japanese group Kodo has sometimes worn fundoshi for its performances. Taiko performance is generally taught orally and through demonstration. Historically, general patterns for taiko were written down, such as in
4399-497: The importance of the lively and spirited iki aesthetic. In taiko, it refers to very specific kinds of movement while performing that evoke the sophistication stemming from the mercantile and artisan classes active during the Edo period (1603–1868). The sticks for playing taiko are called bachi , and are made in various sizes and from different kinds of wood such as white oak , bamboo , and Japanese magnolia . Bachi are also held in
4482-491: The instrument. Nagauta-shime daiko or uta daiko are also featured in Noh performance. Many taiko in Noh are also featured in kabuki performance and are used in a similar manner. In addition to the ō-tsuzumi , ko-tsuzumi , and nagauta-shime daiko , Kabuki performances make use of the larger ō-daiko offstage to help set the atmosphere for different scenes. Taiko construction has several stages, including making and shaping of
4565-410: The interval between hits, until the drummer is playing a rapid roll of hits. Oroshi are also played as a part of theatrical performance, such as in Noh theater. Drums are not the only instruments played in the ensemble; other Japanese instruments are also used. Other kinds of percussion instruments include the atarigane ( 当り鉦 ) , a hand-sized gong played with a small mallet. In kabuki, the shamisen ,
4648-486: The island based on a desire to reinvigorate the folk arts in Japan, particularly taiko ; he became inspired by a drumming tradition unique to Sado called ondeko ( 鬼太鼓 , "demon drumming" in the Sado dialect) that required considerable strength to play well. Den called the group "Za Ondekoza" or Ondekoza for short, and implemented a rigorous set of exercises for its members including long-distance running. In 1975, Ondekoza
4731-532: The main rhythm of the group, whereas shime-daiko set and change tempo. A shime-daiko often plays the Jiuchi , a base rhythm holding together the ensemble. Ō-daiko provide a steady, underlying pulse and serve as a counter-rhythm to the other parts. It is common for performances to begin with a single stroke roll called an oroshi ( 颪 , "wind blowing down from mountains" ) . The player starts slowly, leaving considerable space between strikes, gradually shortening
4814-435: The mythological creation of taiko music. In feudal Japan, taiko were often used to motivate troops, call out orders or announcements, and set a marching pace; marches were usually set to six paces per beat of the drum. During the 16th-century Warring States period , specific drum calls were used to communicate orders for retreating and advancing. Other rhythms and techniques were detailed in period texts. According to
4897-623: The orders of the emperor; he completed it, submitting 30 volumes of history and one volume of genealogy". The Nihon Shoki is a synthesis of older documents, specifically on the records that had been continuously kept in the Yamato court since the sixth century. It also includes documents and folklore submitted by clans serving the court. Prior to Nihon Shoki , there were Tennōki and Kokki compiled by Prince Shōtoku and Soga no Umako , but as they were stored in Soga's residence, they were burned at
4980-617: The performance space, such as temple or shrine. Ō-daiko means "large drum" and for a given ensemble, the term refers to their largest drum. The other type of byō-uchi-daiko is called a hira-daiko ( 平太鼓 , "flat drum" ) and can be any drum constructed such that the head diameter is greater than the length of the body. Shime-daiko are a set of smaller, roughly snare drum -sized instrument that are tunable. The tensioning system usually consists of hemp cords or rope, but bolt or turnbuckle systems have been used as well. Nagauta shime-daiko ( 長唄締め太鼓 ) , sometimes referred to as "taiko" in
5063-498: The performer's index finger and thumb, while the other fingers remain relaxed and slightly curled around the stick. Performance in some groups is also guided by principles based on Zen Buddhism . For instance, among other concepts, the San Francisco Taiko Dojo is guided by rei ( 礼 ) emphasizing communication, respect, and harmony. The way the bachi are held can also be significant; for some groups, bachi represent
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#17330850579335146-476: The performers. In addition to the instruments, the term taiko also refers to the performance itself, and commonly to one style called kumi-daiko , or ensemble-style playing (as opposed to festival performances, rituals, or theatrical use of the drums). Kumi-daiko was developed by Daihachi Oguchi in 1951. He is considered a master performer and helped transform taiko performance from its roots in traditional settings in festivals and shrines. Oguchi
5229-534: The philosophical concept of ma , or the space between drum strikes, is also important in shaping rhythmic phrases and creating appropriate contrast. There is a wide variety of traditional clothing that players wear during taiko performance. Common in many kumi-daiko groups is the use of the happi , a decorative, thin-fabric coat, and traditional headbands called hachimaki . Tabi , momohiki ( もも引き , "loose-fitting pants" ) , and haragake ( 腹掛け , "working aprons" ) are also typical. During his time with
5312-548: The preparation of both the drum body and skin can take several years depending on the method. Taiko have a mythological origin in Japanese folklore , but historical records suggest that taiko were introduced to Japan through Chinese and Korean cultural influence as early as the 6th century CE; pottery from the Haniwa period depicting taiko drums has also been found. Some taiko are similar to instruments originating from India. Archaeological evidence also supports
5395-663: The rhythm and timbre of drum strikes for a particular piece. For example, don ( どん ) represents a single strike to the center of the drum, where as do-ko ( どこ ) represents two successive strikes, first by the right and then the left, and lasts the same amount of time as one don strike. Some taiko pieces, such as Yatai-bayashi , include patterns that are difficult to represent in Western musical notation . The exact words used can also differ from region to region. More recently, Japanese publications have emerged in an attempt to standardize taiko performance. The Nippon Taiko Foundation
5478-414: The second-oldest book of Japanese classical history, contains a mythological story describing the origin of taiko . The myth tells how Amaterasu , who had sealed herself inside a cave in anger, was beckoned out by an elder goddess Ame-no-Uzume when others had failed. Ame-no-Uzume accomplished this by emptying out a barrel of sake and dancing furiously on top of it. Historians regard her performance as
5561-501: The skin placed over iron or steel rings, which are then tightened with ropes. Contemporary shime-daiko are tensioned using bolts or turnbuckles systems attached to the drum body. Tsuzumi are also rope-tensioned drums, but have a distinct hourglass shape and their skins are made using deerskin. Byō-uchi-daiko were historically made only using a single piece of wood; they continue to be made in this manner, but are also constructed from staves of wood. Larger drums can be made using
5644-513: The taiko. Some performers use drums while dancing, and generally speaking, perform in one of two styles: groups on the Yokatsu Peninsula and on Hamahiga Island use small, single-sided drums called pāranku ( パーランク ) whereas groups near the city of Okinawa generally use shime-daiko . Use of shime-daiko over pāranku has spread throughout the island, and is considered the dominant style. Small nagadō-daiko , referred to as ō-daiko within
5727-541: The theatrical performance. Patterns are also often connected together in progressions. Taiko continue to be used in gagaku , a classical music tradition typically performed at the Tokyo Imperial Palace in addition to local temples and shrines. In gagaku , one component of the art form is traditional dance, which is guided in part by the rhythm set by the taiko . Taiko have played an important role in many local festivals across Japan. They are also used to accompany religious ritual music. In kagura ,
5810-409: The thinnest skins and the shortest body in terms of height; thickness and tension of skins, as well as body height, increase toward the gochō-gakke . The head diameters of all shime-daiko sizes are around 27 cm (10.6 in). Uchiwa-daiko ( 団扇太鼓 , literally, fan drum) is a type of racket-shaped Japanese drum. It is the only Japanese traditional drum without a sound box and only one skin. It
5893-634: The time of the Isshi Incident . The work's contributors refer to various sources which do not exist today. Among those sources, three Baekje documents ( Kudara-ki , etc.) are cited mainly for the purpose of recording diplomatic affairs. Textual criticism shows that scholars fleeing the destruction of the Baekje to Yamato wrote these histories and the authors of the Nihon Shoki heavily relied upon those sources. This must be taken into account in relation to statements referring to old historic rivalries between
5976-537: The tradition, are also used and are worn in front of the performer. These drum dances are not limited to Okinawa and have appeared in places containing Okinawan communities such as in São Paulo , Hawaii , and large cities on the Japanese mainland . Hachijō-daiko ( 八丈太鼓 , trans. "Hachijō-style taiko") is a taiko tradition originating on the island of Hachijō-jima . Two styles of Hachijō-daiko emerged and have been popularized among residents: an older tradition based on
6059-457: The traditional founding of the imperial dynasty in 660 BCE is a myth and that the first nine emperors are legendary. This does not necessarily imply that the persons referred to did not exist, merely that there is insufficient material available for further verification and study. Dates in the Nihon Shoki before the late 7th century were likely recorded using the Genka calendar system brought by
6142-468: The view that taiko were present in Japan during the 6th century in the Kofun period . Their function has varied throughout history, ranging from communication, military action, theatrical accompaniment, religious ceremony and concert performances. In modern times, taiko have also played a central role in social movements for minorities both within and outside Japan. Kumi-daiko performance, characterized by an ensemble playing on different drums,
6225-559: The view that these emperors were invented to push Jimmu's reign further back to the year 660 BCE. Nihon Shoki itself somewhat elevates the "tenth" emperor Sujin , recording that he was called the Hatsu-Kuni-Shirasu (" 御肇国 : first nation-ruling) emperor. The tale of Urashima Tarō is developed from the brief mention in Nihon Shoki ( Emperor Yūryaku Year 22) that a certain child of Urashima visited Horaisan and saw wonders. The later tale has plainly incorporated elements from
6308-402: The war chronicle Gunji Yoshū , nine sets of five beats would summon an ally to battle, while nine sets of three beats, sped up three or four times, was the call to advance and pursue an enemy. Folklore from the 16th century on the legendary 6th-century Emperor Keitai offers a story that he obtained a large drum from China, which he named Senjin-daiko ( 線陣太鼓 , "front drum") . The Emperor
6391-434: Was an appropriate year for a revolution to take place. As Taoist theory also groups together 21 sexagenary cycles into one unit of time, it is assumed that the compilers of Nihon Shoki assigned the year 601 (a "xīn-yǒu" year in which Prince Shotoku's reformation took place) as a "modern revolution" year, and consequently recorded 660 BCE, 1260 years prior to that year, as the founding epoch. Most modern scholars agree that
6474-498: Was developed in 1951 through the work of Daihachi Oguchi and later in 1961 by the Ondekoza , and taiko was made later popular with many other groups copying the format of Ondekoza such as Kodo , Yamato, Tao, Taikoza, Fuun No Kai, Sukeroku Taiko , etc. Other performance styles, such as hachijō-daiko , have also emerged from specific communities in Japan. Kumi-daiko performance groups are active not only in Japan, but also in
6557-688: Was formed in 1979; its primary goals were to foster good relations among taiko groups in Japan and to both publicize and teach how to perform taiko. Daihachi Oguchi, the leader of the Foundation, wrote Japan Taiko with other teachers in 1994 out of concern that correct form in performance would degrade over time. The instructional publication described the different drums used in kumi-daiko performance, methods of gripping, correct form, and suggestions on instrumentation. The book also contains practice exercises and transcribed pieces from Oguchi's group, Osuwa Daiko. While there were similar textbooks published before 1994, this publication had much more visibility due to
6640-577: Was the first taiko group to tour in the United States. Their first performance occurred just after the group finished running the Boston Marathon while wearing their traditional uniforms. In 1981, some members of Ondekoza split from Den and formed another group called Kodo under the leadership of Eitetsu Hayashi . Kodo continued to use Sado Island for rigorous training and communal living, and went on to popularize taiko through frequent touring and collaborations with other musical performers. Kodo
6723-837: Was thought to have used it to both encourage his own army and intimidate his enemies. Taiko have been incorporated in Japanese theatre for rhythmic needs, general atmosphere, and in certain settings decoration. In the kabuki play The Tale of Shiroishi and the Taihei Chronicles , scenes in the pleasure quarters are accompanied by taiko to create dramatic tension. Noh theatre also features taiko music, where performance consists of highly specific rhythmic patterns. The Konparu ( 金春流 ) school of drumming, for example, contains 65 basic patterns in addition to 25 special patterns; these patterns are categorized in several classes. Differences between these patterns include changes in tempo , accent , dynamics , pitch , and function in
6806-743: Was trained as a jazz musician in Nagano , and at one point, a relative gave him an old piece of written taiko music. Unable to read the traditional and esoteric notation, Oguchi found help to transcribe the piece, and on his own added rhythms and transformed the work to accommodate multiple taiko players on different-sized instruments. Each instrument served a specific purpose that established present-day conventions in kumi-daiko performance. Oguchi's ensemble, Osuwa Daiko , incorporated these alterations and other drums into their performances. They also devised novel pieces that were intended for non-religious performances. Several other groups emerged in Japan through
6889-402: Was written in classical Chinese , as was common for official documents at that time. The Kojiki , on the other hand, is written in a combination of Chinese and phonetic transcription of Japanese (primarily for names and songs). The Nihon Shoki also contains numerous transliteration notes telling the reader how words were pronounced in Japanese. Collectively, the stories in this book and
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