Genre: Biwa
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About Biwa
History
The biwa derives from a Chinese lute called pipa, which itself derives from a Persian/Middle Eastern lute called barbat (whose modern descendant in Arabic regions is called oud). The biwa reached Japan from China during the Nara Period (710-759 AD), and five instruments from that time are kept in the Shōsōin, the national treasure house of Japan. One of them, a rare, five-stringed gogenbiwa (五玄琵琶), is decorated with Central Asian themes, including a camel. Read more on Last.fm.
The biwa derives from a Chinese lute called pipa, which itself derives from a Persian/Middle Eastern lute called barbat (whose modern descendant in Arabic regions is called oud). The biwa reached Japan from China during the Nara Period (710-759 AD), and five instruments from that time are kept in the Shōsōin, the national treasure house of Japan. One of them, a rare, five-stringed gogenbiwa (五玄琵琶), is decorated with Central Asian themes, including a camel. Read more on Last.fm.
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History
The biwa derives from a Chinese lute called pipa, which itself derives from a Persian/Middle Eastern lute called barbat (whose modern descendant in Arabic regions is called oud). The biwa reached Japan from China during the Nara Period (710-759 AD), and five instruments from that time are kept in the Shōsōin, the national treasure house of Japan. One of them, a rare, five-stringed gogenbiwa (五玄琵琶), is decorated with Central Asian themes, including a camel. This instrument is literally one of its kind in Asia, being the only one preserved from the period, although similar instruments are manufactured in small numbers today. Wandering biwa players, similar to minstrels, were known as biwa hōshi (琵琶法師).
The playing of the biwa nearly became extinct during the Meiji period as Western music and instruments became popular.
The biwa, a form of short-necked lute, was played by a group of itinerant performers (biwa hōshi) who used it to accompany stories. The most famous of these stories is The Tale of the Heike, a 12th century history of the triumph of the Minamoto clan over the Taira. Biwa hōshi began to organize themselves into a guild-like association (tōdō) for visually impaired men as early as the thirteenth century. This guild eventually controlled a large portion of the musical culture of Japan.
In addition, numerous smaller groups of itinerant blind musicians were formed especially in the Kyushu area. These musicians, known as mōsō (blind monk) toured their local areas and performed a variety of religious and semi-religious texts to purify households and bring about good health and good luck. They also maintained a repertory of secular genres. The biwa that they played was considerably smaller than the Heike biwa played by the biwa hōshi.
Lafcadio Hearn related in his book Kwaidan: Stories and Studies of Strange Things "Mimi-nashi Hoichi" (Hoichi the Earless), a Japanese ghost story about a blind biwa hōshi who performs "The Tale of the Heike"
Blind women, known as goze, also toured the land since the medieval era, singing songs and playing accompanying music on a lap drum. From the seventeenth century they often played the koto or the shamisen. Goze organizations sprung up throughout the land, and existed until recently in what is today Niigata prefecture.
Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
The biwa derives from a Chinese lute called pipa, which itself derives from a Persian/Middle Eastern lute called barbat (whose modern descendant in Arabic regions is called oud). The biwa reached Japan from China during the Nara Period (710-759 AD), and five instruments from that time are kept in the Shōsōin, the national treasure house of Japan. One of them, a rare, five-stringed gogenbiwa (五玄琵琶), is decorated with Central Asian themes, including a camel. This instrument is literally one of its kind in Asia, being the only one preserved from the period, although similar instruments are manufactured in small numbers today. Wandering biwa players, similar to minstrels, were known as biwa hōshi (琵琶法師).
The playing of the biwa nearly became extinct during the Meiji period as Western music and instruments became popular.
The biwa, a form of short-necked lute, was played by a group of itinerant performers (biwa hōshi) who used it to accompany stories. The most famous of these stories is The Tale of the Heike, a 12th century history of the triumph of the Minamoto clan over the Taira. Biwa hōshi began to organize themselves into a guild-like association (tōdō) for visually impaired men as early as the thirteenth century. This guild eventually controlled a large portion of the musical culture of Japan.
In addition, numerous smaller groups of itinerant blind musicians were formed especially in the Kyushu area. These musicians, known as mōsō (blind monk) toured their local areas and performed a variety of religious and semi-religious texts to purify households and bring about good health and good luck. They also maintained a repertory of secular genres. The biwa that they played was considerably smaller than the Heike biwa played by the biwa hōshi.
Lafcadio Hearn related in his book Kwaidan: Stories and Studies of Strange Things "Mimi-nashi Hoichi" (Hoichi the Earless), a Japanese ghost story about a blind biwa hōshi who performs "The Tale of the Heike"
Blind women, known as goze, also toured the land since the medieval era, singing songs and playing accompanying music on a lap drum. From the seventeenth century they often played the koto or the shamisen. Goze organizations sprung up throughout the land, and existed until recently in what is today Niigata prefecture.
Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.