Cultural Music of Japan

 Tomoko grew up in a family that appreciated music. Her father played the violin before he married, and her mother actively participated in Christian churches so listened to much religious music. 

As for music in Japan overall, it reflected both the political and religious flows and tensions.  

Traditional Japanese tonality differed from its Western counterparts. Pentatonic five-tone and heptonic seven-tone scales formed the basis of most traditional pieces. The intervals follow the pattern of A, B, C, E, F, A, which is basically a natural minor scale in Western music theory. The Japanese stringed instrument koto is tuned with this scale.  

Late 19th century Meiji dynasty curiosity about Western culture included absorption of foreign classical and religious music. The first piano wasn’t heard until the opening of Japan, but by 1875 the Japanese were manufacturing their own pianos and other Western musical instruments. On the bureaucratic side, the Meiji government created the Music Study Committee, which encouraged Western music. They wanted Japanese composers to write in the Western style, and the committee the German model of music instruction for all students. The committee also led to the founding of the Tokyo National University of Fine Arts and Music, which Tomoko attended.  

Surprisingly, combining Western and Japanese music could be challenging though. For instance, Christian religious tended to be Western based, which was sometimes hard for Japanese to intonate. And when missionaries tried to translate their hymns into Japanese, they found it hard to match the rhythm to Japanese text. For example, Russian musician Iakov Tichai tried to integrate Russian Orthodox singing with Japanese tonality, with mixed results.  

Tomoko was able to bridge that tension between Western and Japanese music. She tends to play Western classical music professionally, and she sings traditional nursery songs to her grandchild.  

Patriotic Music

 Memorial Day in the United States commemorates its military personnel who died in defending their country. Music is often played in remembrance: the national anthem, “Taps,” “God Bless the USA,” “America the Beautiful,” “This Land Is Your Land.”

Music can also reflect political flows and tensions. Mid-nineteenth Meiji curiosity about Western culture included absorption of foreign classical and religious music. The first piano wasn’t heard until the opening of Japan, but by 1875 the Japanese were manufacturing their own pianos and other Western musical instruments. On the bureaucratic side, the Meiji government created the Music Study Committee, which encouraged Western music. They wanted Japanese composers to write in the Western style, and the committee the German model of music instruction for all students. The committee also led to the founding of the Tokyo National University of Fine Arts and Music, which Tomoko attended.

Just as often, Japan co-opted Western music to advance their own patriotism. One propaganda strategy during World War II was singing. As part of Japan’s growing nationalism, the government commissioned lyricists to write patriot words to Westernized music or traditional folk tunes, which became a required part of each grade’s curriculum. Tomoko was in elementary school at that time, and sang those songs. Besides promoting Japanese superiority, these songs also encouraged adventurousness. One of the songs ended with a verse that suggested, “I want to put a boat in the sea and go to another country.” Who knows if those lyrics waited in Tomoko’s subconsciousness to be awakened years later when she set her heart to come to America? 

New Year in Japan

Tomoko remembers how people celebrated the new year in Japan. 

In Japan, Tomoko grew up in a Protestant family, and she converted to Catholicism when in college. On New Year's Eve, Catholics remember St. Sylvester:  the 34th pope who died on December 31st. More known is January 1: the solemnity of Mary. Traditionally, many Japanese families visit shrines to give respect to their ancestors and to with for a happy new year: a practice called Hatsumode. As with Lunar New Year, families might give their children a red envelope with some money: otoshidama. 

Tomoko likes to get up early, so she may have watched the first sunrise of the year: a practice known as Hatsuhinode.

Tomoko also remembers her mother cleaning the house. New Year has been a time to fresh starts, so Tomoko's mother probably followed the tradition of oosouji: big cleaning. 

Food hold special meaning for Tomoko On New Year's Eve her family would likely have eaten soba (buckwheat noodle soup) on New Year's Eve. On New Year's Day they might have eaten ozoni: a vegetable and chicken soup that is associated with long life. Mikan, a citrus fruit that resembles a tangerine, might also have been eaten at that time.  

Regardless of the culture, Tomoko agrees that New Year's a good time to start out right -- with MUSIC! May 2023 be harmonious. 

Japanese Candles

 

Candles are a part of several religions practiced in Japan. As Tomoko grew up in Japan, she experienced Protestant uses of candles in religious activities at her high school: Ferris Academy in Yokohama; she accompanied the student choir at these observences. Then during her college musical study Tomoko played the organ at the local Catholic church, which feature votive candles.

Japan has a long history of candles outside of Christianity, starting during the Nara Period in the 8^th century. These first candles were imported from China, and were very expensive. Those candles were molded in paper tubes, used rolled rice paper for wick, and dipped in wax made from whale fish or honey.

During the Muramachi Period (1336-1573) Japanese people started making their own candles, called warosuku. These candles continue to be made by hand by wrapping washi Japanese and then dried rush leaves around a thin bamboo stick. Next melted wax from sumac or haze trees is layered around the covered stick, which results in a cream colored candle. To finish the candle, the bamboo stick is replaced by a candle wick. These candle are part of Buddhist ceremonies; red candles are used for celebratory events such as births, marriages, and graduations.

Another Japanese candle-making technique uses rice. When rice is milled, rice bran wax can be extracted. This kind of wax is harder than paraffin so it burns longer. As with warosuku candles, the wax is painstakingly hand-coated layer by layer.

Candles also add a warm glow to musical performances. Nowadays candlelight concerts of classical music are held in churches in several countries, including Japan.

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Japan, the Olympics and the Paralympics: Family Affairs

 

The world is watching the 2021 Olympics in Tokyo, thanks to the media. Especially with the pandemic, few people get to set foot at the actual venue, but billions can watch – even on a cell phone!

For Tomoko and her family, this event has special meaning. The Olympic Games are being played in their native country, and she attended the university in Tokyo. For Tomoko’s whole family, the Olympic Games have special meaning because Tomoko’s daughter Beata and her husband Charles competed in the 2002 Winter Olympics as ice dancers. Of course, Tomoko and her husband Desi watched Beata and Charles ringside. The family was particularly lucky because the 2002 Olympics were held in Salt Lake City: as close to their homes as possible.

But the connections don’t stop there.

In 1948 the Paralympic Games was launched, mainly to benefit injured war veterans. By 1960 23 countries were represented in the Paralympic Games. Since 1992 both the winter and summer Paralympic Games take place a fortnight after the Olympic Games, in the same arenas and other competition venues.

Since the 2002 Olympics, Handra and Charles have had the opportunity to skate in the Opening Ceremonies for the Paralympic Games. “We felt very lucky to have been able to return to Salt Lake City again and see the Paralympians experience the same exhilaration we did in our Opening Ceremonies,” said Charles.

Beata and Charles returned from the Olympian and Paralympian trip to Washington D.C. feeling refreshed. “For three fun days we hung out with fellow U.S. Olympians and made new Paralympian friends, said Beata. “We all attended two black tie dinners, a lunch hosted by the Speaker of the House, and visited the White House where the President gave a speech to the athletes on the South Lawn.”

Tomoko’s family demonstrates their own great achievements through talent, discipline and perseverance – and they applaud other’s determination and passion as well. It is truly the Olympic/Paralympic spirit!

Music in Memory of Past Military

 

As a child, Tomoko experienced World War II in Japan. Her father and brother were conscripted to help the war effort as civilians, and the entire nation suffered hardship because of the war. After the war, Japan was occupied by U.S. military personnel, and Japan had to agree to never re-establish an offensive  military force.

Tomoko’s husband Desy also suffered from military action as his country, Hungary, was under the policies imposed by the Soviets. He was able to escape during the Hungarian Revolution, safely arriving in the United States -- poor but hopeful.

Composers have often expressed their feelings about war in their music, as the following examples of Ravel’s work demonstrate.

In World War I Maurice Ravel wanted to join the war effort, and so he drove a supply truck to support French troops. His piano suite Le tombeau de Couperin memorialized his friends who were killed in the war, a couple of whom were shot dead their first day at the front.  

In 1914 pianist Paul Wittgenstein a war bullet pierced his right elbow, resulting in amputating his arm. In his honor, several composers wrote pieces that could be performed solely by the left hand, including Ravel.  His left-hand piano concerto became Wittgenstein’s favorite composition to play.

Ravel’s compositions Frontispice (1919) and La Valse (2020) captured his own war-based psychological trauma and grief. Similarly, his Sonata for Violin and Violoncello (1922) and Sonata for Violin and Piano (1927) enabled his musician colleagues to share their mutual grief through duet performances.  

Music can be a powerful cathartic experience, both for a performance and for a listener, to address and remember times of war and suffering: to bear the grief and hope for peace.

Toshiko Akiyoshi: Another Fine Japanese Pianist

 Among the many people who have contributed to the musical scene in the United States are the Japanese. Tomoko is a wonderful example: she was the first Asian and only the second woman to be hired as a faculty member at the San Francisco Conservatory of Music. She has taught there for over fifty years, which is another great achievement.

Here is another notable Japanese pianist who has achieved greatness.

Toshiko Akiyoshi, born in 1926, is a Japanese jazz pianist, bandleader, composer and arranger. Similarly to Tomoko, she began piano lessons early in life, focusing on Western classical music. After World War II, she played the piano for U.S. service members stationed in Japan, and then performed with visiting American jazz artists. With the Peterson jazz trio she recorded her first album Amazing Toshiko Akiyoshi, which had U.S. success. By 1955, Toshiko was considered Japan’s leading jazz pianist.

Also like Tomoko, Toshiko came to the United States to study music, and has remained in the States ever since, although she toured in Japan. Her jazz compositions incorporated Japanese instruments, themes and harmonies. A Buddhist priest asked her to compose a piece in remembrance of the Hiroshima bombing; her three-part suite Hiroshima: Rising from the Abyss premiered just weeks before the September 11, 2001 attack on the U.S.

Over the years Toshiko has been nominated for 14 Grammy awards, and was the first woman to win DownBeat magazine’s reader poll award as best composer and arranger. The U.S. National Endowment of the Arts also named her as an NEA jazz master. The 1984 documentary Jazz Is My Native Language featured this fine musician.

Both Japanese women demonstrate commitment to music, courage to pursue their dreams, high quality professional performance, and sustained long-term careers. And both have been honored by their peers. The United States is fortunate to benefit from their contributions.

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Japanese Catholicism and Its Saints

This week, Saint Patrick’s Day is being celebrated worldwide, including in Japan, where fifteen parades and Irish festivals occur this time every year. The paraders are all Japanese: step dancers, harp players, and céilidh bands. While Japan is typically associated with Shintoism, the Catholic Church has a long history in that country, including their own Catholic saints.

 Indeed, Nagasaki was founded in the mid 16h century by Portuguese Catholics with the hope that it the city would become a significant Christian center for the Far East. The Japanese government first supported the missionaries because the potential for trade with Spain and Portugal, but by the end of the century, that same government became threatened by foreign influence and possible colonialism. Part of the way that the government responded was to ban Christianity and persecute Catholics. As a result, in Catholic history, Nagasaki became known for the 26 Catholics martyrs crucified there in 1597. One of the martyrs was the Jesuit priest Paul Miki, who was sainted; the day of the crucifixion became his feast day: February 6. Since then Catholicism has faced challenges in Japan, and finally experienced acceptance with about half a million practitioners. Nevertheless, in some Japanese circles, Catholicism is still viewed as a foreign religion.

 As for Tomoko, she served as an organist for the nearby Catholic cathedral while in college, and she converted to Catholicism just before she graduated. Tomoko’s experience at the cathedral was deeply artistic and visceral. “Both the Dominicans there and the whole Catholic mindset reflected international values of care and service,” she recalled. Catholics are worldwide and have universal values – as does music.

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Valentine’s Day in Japan

 

Japan has many holidays, as Tomoko knows because she grew up there. Several holidays are centuries old and others are more modern, sometimes imported from other cultures. Valentine’s Day is one of the latter types of celebrations; it became popular starting in the 1950s due to commercial campaigns targeted to women.

February 14 is mainly enjoyed by students, but chocolate is given between couples and even coworkers.  In fact, in Japan, it is usually the woman who gives gifts to men such as candy; girl friends might make brownies (‘honmei-chocos” homemade chocolates), for instance, for their boy friends. Women may also give chocolates to their women friends too (“tomo choco”), and one can treat oneself to chocolate too (“jibun choco”)/

However, there is equal opportunity for giving in Japan, a custom that started in the 1980s by the Japanese Confectionery Industry Association. White Day, which occurs on March 14, is the day where people chocolates and other gifts to the people who gave them gifts on Valentine’s day – so men will give gifts then, sometimes returning the favor three-fold. The day is named based on the idea that the color what is a symbol of purity: an innocent kind of love.

Some things -- such as chocolate, gifts, and love – are international, and Tomoko shares them all.

Tomoko American

Tomoko decided to come to America by the time she was in college. “In Japan graduation is the end, in America it is just part of life,” Tomoko says. She wanted to continue to learn and grow professionally, and she has remained in the educational arena ever since.   

She also came to the United States because of its culture and attitude about music. She recounts her career journey. “I wanted to get out of Japan. Europe was the cultural center, but the US was very welcoming to musicians such as Paderewski. I got an exchange student status. I wanted a Fulbright but was too old for that particular program. I had to have a job to pay tuition. Fortunately, UCLA had a special opera workshop, and a Japanese composer was there, so I was an accompanist for the program.” She also played at Stanford. “In 1965 I had to get a green card, and in five years I became a US citizen.” 
 
Tomoko recalls her arrival in California. “When I came to California, I picked up a couple of California poppies, which they didn’t have in Japan, and put them in my book. I’ve never gone back to Japan.” 
 
I ask her what she liked about America. “I love the freedom. It is very comfortable, like a flowing painting. There is not tension and stress that I felt in Japan. It’s “high tech high touch.” People need a balance, and I feel that in the US you can maintain an equilibrium in life.”  
 
Tomoko goes on to compare Japan and the US in terms of music choices. “When I was in Japan, I wanted to play Chopin, but they said I was too young. ‘You have no experience. You are not ready until you are a Junior.’” Tomoko contrasts that attitude to her own teaching. “For a concert, I assigned a Beethoven piece that was heavy for a 14 year old. I think it is better to start students early with substantial music, and have the experience rather than not have that challenge. Students need to be curious and courageous. How much they understand, we don’t know, but it’s better than to protect the student. They can always return to the piece later on, and bring in more interpretation based on their own lives. The technique is always there.” 
 
Tomoko continues to compare music teaching methods, “Japanese music teachers focused on the rules of technique. There was a pattern to the teaching, which was a kind of military training because of the strong music competition; 80% was technique. The teachers also controlled more power, and pushed students down. Only after years of lessons would the teacher become more generous.” Tomoko compares her teaching in the US. “I love this country to teach – I can do anything.” Tomoko expands on her attitude. “In Japan, the results are more important than the process. However, the process is so complicated, and there are so many ways to reach your musical goal. And you cannot know the process of development for each child; you have to look long term. That is why  I think teaching should be custom-made to fit each student.” 
 
Tomoko also notes her professional opportunities in the US. “I was the first Asian teacher at the San Francisco Conservatory of Music. The first non-white was a black woman who did jazz.” Tomoko mentions the diversity of the conservatory. “There are lots of Eurasian students now. It is good for them to connect with different cultures.” Tomoko concludes: “Without music you don’t see as much of the world, and you don’t see the challenge.” 
 
Tomoko Hagiwara is a wonderful example of America: a land of immigrants who have contributed to this nation, making it richer in culture.

Japan's Thanksgiving

 

Tomoko is thankful that she immigrated to the United States and became a U.S. citizen. She is thankful for her family and friends, including her musical family. Before she left Japan, that country has established its own national Thanksgiving Day on November 23, more specifically called Labor Thanksgiving Day: kinrōkanshahi.

Both the U.S. and Japan have celebrated fall harvest festivals for centuries. Japan’s harvest celebration dates back over 2500 years ago, and more formal observances are almost 1500 years old. The tradition celebrated the year’s hard work, and the harvest was dedicated to kami (spirits). The current form of Japan’s Thanksgiving was established in 1948, and focused on human rights and expanded worker rights.

While both countries give thanks, in Japan the holiday focuses on thanking workers and their good labors. Children sometimes write thank you cards to local public workers such as firefighters and healthcare workers. In that sense, Japan’s Thanksgiving is more political than the U.S.’s.

Turkey is not on the plate on Japan’s Thanksgiving Day, but families do get together and enjoy each other’s company. Fireworks also mark that holiday in Japan.

As a lifelong hard worker and distinguished teacher, Tomoko deserves our thanks – every day.

The music of Japanese poetry

Over the centuries, poetry has often been set to music. Indeed, Tomoko’s brother Hidehiko became a composer who would draw upon Japanese nature poetry to inspire his own compositions. On May 5, 1997, at the San Francisco Palace of the Legion of Honor, Tomoko and a handful of other instrumentalists performed music based on the poetry of Hojo Nakajima.

Hojo Nakajima is a contemporary of Tomoko. He was born in Fukuoka, Japan, and was educated at Kyushu University. The first anthology of his poetry was published in 1990, and that decade was his more productive one. He rose to become a Chamberlain to the Crown Prince of Japan, taking charge of the royal family’s daily life. In particular, he was responsible for music and ceremonies.

One of his most important duties was serving as special assistant of the New Year Poetry Recitation Commission (KyuchuKtakai Hajime), one the most popular and famous imperial ceremonies. This annual event is a legacy of Japanese courtly literature, dating back to the eighth century. Each year the Emperor chooses a theme, and anyone can submit an original poem. Specialists perform the winning poems performed in a traditional manner. The defining Japanese poetry form is tanka, a short poem of 31 syllables arranged in lines of 5-7-5-7-7 syllables each. Not surprisingly, Hojo Nakajima is a master of this form.

 On the international scene, Hojo Nakajima has been honored in Brazil, Finland, France, Mexico, the Netherlands, Portugal, and the United States.  

Tomoko appreciates the importance of lyrics in musical compositions. She advises her students to study the words of a piece before launching into the musical notes because that exercise helps her students understand and interpret the music. Tomoko knows: “The power of words is made stronger by music.”

Food for Thought

Tomoko knows the value of food, both in her professional and personal life.

In Japan, where Tomoko was born, food has ceremonial importance, starting almost from birth. About a hundred days after a child is born, families celebrate with the ceremony of okuizome. Parents buy black dishes, and serve they baby with the wish of abundance of food throughout her life. At baby’s first birthday, there is a usually a red-and-white birthday rice cake. P:arents also have the baby walk and carry four pounds of mochi (a sticky rice cake, which is a sacred food in Shintoism) in a little bag on her back to wish food, health and harmony – even when one is burdened in life.

Speaking of burden, food had a heavy meaning for Tomoko as she was growing up in Japan in war time. Food was rationed, and people had to be creative to find ways to cook with the food that was available, even grasshoppers. They would also grow their own food to deal with food shortages. After the war, when the U.S. shipped food to Japan, people still experienced shortages. People at that time were more anxious about food than politics.

So it is no surprise that Tomoko values food. She provides yummy food at home and knows how to choose a good restaurant based on its food. And she has great taste.

As part of preparing for her recitals, Tomoko likes to have food as part of the event. Her students’ families and Tomoko’s friends bring wonderful dishes and beverages. The smorgasbord of food reflects the many cultures of the families: it is a global potluck. 

And music is food for the soul. It fills humanity’s emotional and psychological needs. Tomoko provides for both kinds of food. And we all benefit from her expertise and care.