Jiuta
is a style of traditional Japanese music. In the Edo period (1603–1867), pieces in the  style were played on the , and were mostly regional to Kamigata. The name  means  of  (Kamigata in this instance), and suggests "not a song from Edo". In the Edo period,  were performed, composed and instructed by the Tōdōza, a guild of blind men; due to this,  is also called . , as well as , is a typical form of  in traditional Japanese music. traces its oldest origins to  music, and is the predecessor of a number of later  pieces, having greatly influence the development of the genre throughout the Edo period; it can be said that both  and  stem from . In the present day,  has spread across Japan, and in its course has been integrated into  (music for the ), and has strong ties with both  and  traditions. Despite the heavy involvement of many other forms of  music in the development of the traditional performing arts, such as  and kabuki, the form of  retains a strong character as purely instrumental music relatively independent of these traditions. Overview 
As a form of  music,  was established in Kamigata region in its early stage, then it was performed in Edo around Genroku era. Later,  would change its form as musical accompaniment of kabuki in Edo; this new form was called . Due to the further popularization of the music of , the original  came to have less occasion to be performed. Until the end of Edo period,  had spread around not only Kamigata but also, to the east, Nagoya, and to the west, Chūgoku region, and Kyusyu region. After the Meiji period,  was once again promoted toward Tokyo (formerly Edo), then spread out rapidly. Today  is popular in traditional music field across Japan, except in Okinawa. However, in Tokyo, the impression of  is as the musical accompaniment of , and it is regarded that the music is composed according to the character of , with elegant and quiet feeling. However, the truth is that  was created as dance accompaniment for , not opposite. The repertory of  is only a part of  repertory, and  music itself requires more technical playing than other  music, so that there are a lot of pieces which have strong character as instrumental music. Having said that,  also has character as a part of traditional vocal music and developed along with it. History

Early years in Edo period

Introduction of the  and origin of  
It can be regarded that introduction of the  and the birth of  occurred at the almost same time; therefore,  has the longest history amongst varieties of  music. The  (Chinese lute) arrived in Japan at Sakai, Osaka via Ryukyu near the end of the Sengoku period. Blind musicians known as  at Tōdōza improved the instrument and created what would be the . They used the plectrum of the Japanese  to play the , thus creating the beginning of  as  music. Ishimura-Kengyo is particularly regarded as originator of  music. After that, musicians, mainly at Tōdōza, performed, composed and handed down . The existing oldest piece is considered as a work of the early years of Edo period. Mid-Edo period

Emergence of  
Around the Genroku era, , which feature a consistent story, appeared. , a blind official often engaged in music, apparently started to compose  in Edo. The famous composers are Asari-kengyo and Sayama-Kengyo, and it seems that before long composers in Kamigata also took this style for their work. In the course of time,  came to be used as musical accompaniment of kabuki. Emergence of  
Another tide around this era, instrumental aspect was focused intensively as well as vocal composition, so that pieces took an instrumental part without vocal, typically it was located in the middle part of a song. This musical interlude, instrumental part between singing is called , and this style is called . In the early stages of the emergence of , simple works were common; however, this style developed hugely in the later Edo period and gained status as the mainstream type of music of . Emergence of  and its boom
Miscellaneous pieces which are not categorized as above were also composed. These kind of pieces are called . contain some elements of popular music and light music, and this character of the style became the contact points between  and popular songs. were composed not only by professional blind musicians, but also by amateur musicians, whose works were generally lyrical. In the middle of the 18th century, a great number of  were composed, with the style becoming more sophisticated as a result. The center of that boom was Osaka. Notable pieces were , , and . and  ensembles 
Originally, blind musicians were engaged in three instruments used in  – the ,  and  – from the early years of Edo period. The all-inclusive term for these three instruments is . These three instruments developed on their own course, and developed their own musical genres ( for ,  for ,  for );  ensembles including all three did not exist in early years. In the Genroku era, Ikuta-kengyou in Kyoto began creating ensemble pieces with  and , hence  and  developed concurrently afterwards. Most of the existing pieces are composed by  with an added  part, so it can be regarded that  was initially created as  music, before  came to develop with  concurrently or afterwards. The  was often used together with other instruments, before finally all three instruments – ,  and  – were used together, creating the  ensemble. Emergence of  and influence from Noh and  
At the end of the 18th century,  composed many  pieces which feature lyrics and stories taken from Noh. This was called . From the Genroku era to the end of 18th century, musical elements from  were introduced into . Thus,  has some relation with performing arts such as Noh and . Emergence of  
Around same time, a genre called  emerged. This genre has comical contents. For example, animals such as rats, snails and raccoon doga are protagonists and make efforts to escape from difficult situations. Narrativity dominates this genre and sound effects are used. is referred to special category within the field of , and requires variety of highly trained technical skills. Later years in the Edo period

Maturity of  
From the middle to the end of Edo period, pieces which had high musical achievement were composed. Key developments were long interludes and instrumental parts between blocks of vocal parts called . Many pieces in this style, known as , have been handed down and are extant today. Minesaki-koutou, active in the end of 18th century in Osaka, achieved success in the  field. He defined  as long and technical instrumental parts within a piece and composed great number of pieces which focused on the 's technical playing. His follower, Mitsuhashi-koutou, increased the  part within a piece, resulting in  becoming longer and more varied than ever. As a result,  came to have and emphasized instrumental part in the course of its development. Beginning of polyphonic composition and development of ensemble 
Around the Bunka era, Ichiura-kengyo from Osaka elaborated the ensemble playing of the . Most previous compositions had been almost in unison in  ensembles; in contrast, Ichiura began composing polyphonic ensembles. Polyphonic parts for the  were known as , a style which Yaezaki-kengyo sophisticated. Ensemble playing of the  was also popular in that era, and  pieces for  were also composed. Another similar style was ; composition of another piece based on an original piece, which would be played at the same time. Major development of  
Later, the majority of  composition moved to Kyoto. At first, Matsuura-kengyo composed a number of sophisticated  in the Kyoto style;  composed in Kyoto were called  or . Kikuoka-kengyo (1792–1847 composed  and contributed its development in Kyoto. Yaezaki-kengyo (1776–1848), who was also active in same era, composed the  part of most pieces and arranged Kikuoka's compositions. The two musicians contributed greatly to their development, and can be said to have created the heyday of  as a style; by integrating  and  together, here  reached the perfection of its craft as  music. Improvement of  plectrum 
Around this era, Tsuyama-kengyo from Osaka invented an improved plectrum used in  playing. Emergence of independent  
Mitsusaki-kengyo, a junior fellow musician of Kikuoka-kengyo, was active then. He was also a pupil of Yaezaki-kengyo. He focused on the  because it had the possibility to develop more than , which had been developed far enough that there seemed to be little room to develop further. He composed some pieces featuring a solo , and this became a trigger to develop  independently. Yoshizawa-kengyo took over and promoted this movement, then began to develop it gradually. Integrated parts 
Mitsusaki-kengyo composed traditional , and in his original works, he composed both parts of  and  as the only composer, a novel concept at the time. Thus the instrumental parts were integrated and refined. His junior followers also took over this method. One of his followers, Yoshizawa-kengyo, went further; he composed three instrumental parts of ,  and  by himself. In the last years of the Edo period,  became popular across Japan and was influenced and integrated into local styles of music. After the Meiji period

Disorder after the Meiji Restoration and popularization of  
In the Meiji period,  developed independently, and composition of  declined. composition did not disappear entirely, and some composers continued to create their own works; however, tunes composed only for the  increased overwhelmingly. , having already reached its perfection, saw little further room for improvement or innovation, whereas the  could easily deal with the tonal scale elements from Western music and Chinese music. The modernising and fresh spirit of the Meiji period was suitable for the tone of the  better than the , whose Edo-period sound reminded people of love affairs and the pleasure districts. As the new government dissolved , musicians there lost their status, which had previous been protected by the privilege system, and musical activity changed accordingly. who lost their authority faced hardship, and had to earn their living by appearing in popular theater. Meanwhile,  music had a chance once again to be well known by the general publkc, specifically in the eastern part of Japan such as Tokyo, where  was not so much performed. Many musicians from the western part of Japan, such as the Kyusyu region and Osaka, found their way to Tokyo. Later, after the period that Western things were valued exclusively had gone,  became a popular music spread whole of country as well as  and , and developed a wide range of listeners. Meanwhile, new compositions of  reduced. However, the  had taken a larger role in compositions in place of the , and pieces in the  style accompanied by  were far fewer in number. One notable composer was Michio Miyagi. Up to today, composers habe tried to introduce various forms (such as Western sonatas) to the  style. Today,  ensembles consists of the ,  and . The  has replaced the role of the  in modern  ensembles, though ensembles with the  have not disappeared entirely. Musical features 
In early modern Japanese music which involved the use of the , one feature was for a  player to sing their own accompaniment. flourished in the Kyoto and Osaka regions, and thus was called  or  played by groups of blind men (see ). After the middle of the Edo period,  – ,  and  – started to contain common pieces to play in ensemble, then integrated themselves gradually, before finally consolidating with each other. After end of the Edo period, , which had been developing along with , marked advanced development – thus  sometimes is included in . However, originally  was created for  music, and early -oriented music such as  accordingly is not  in origin. Introspective pieces 
Most pieces for  have been composed by blind musicians; thus,  is regarded as an expression of emotion, and not of visual impression. As a musical style that has developed without relation to the performing arts, the general expression of  is introspective and delicate, and less dramatically expressive than those styles developed in tandem and for accompaniment with the performing arts. Polyphonic and diverse ensemble playing 
 has the strongest aspects of instrumental ensemble among modern Japanese traditional music, as most of the pieces are played in ensemble. Along with the progress of , polyphonic and complex ensemble playing also developed. Most pieces have parts for ,  and , with some including a  part for . Strong instrumental features 
, which has a long instrumental interlude without a vocal part, is the most common and most often performed style of . This is because , the instrumental part, takes precedence over the vocal part. Some pieces make full use of the three octave range of the , which has led to the development of technically challenging  parts. Few pieces are purely instrumental; most include a vocal part. Some instrumental pieces for the , called , are arranged for . Most pieces in this style are considered to be highly artistic as pure instrumental music, not as a simple description of nature and emotion. technique

Wide range of octaves 
There exists some  which require the use of up to 3 octaves, or 3 octaves and 3 degrees in the most extreme cases. Techniques that require fine skill 
There is extensive use of ornamental techniques such as portamento, tremolo in , and some other special techniques to express the nature sound such as sound of wind or insects. In contrast, the use of percussive techniques, which create dramatic effects when playing for performing arts, is rare. Frequent modulation and tuning change 
Most pieces have modulation at least once even if the piece is short, and pieces more than medium duration have frequent modulation. Common modulations are dominant key and sub-dominant key, though this is not always the case. Most pieces more than medium duration have tuning change in middle of the piece at least once. Long pieces change tuning almost twice, and changing tuning three times is not uncommon. The purpose of tuning change is for modulation and to change the mood of the sound. Vocal technique

Articulation 
Singing usually uses the stretching of each one note, and its long vowel tone accompanies certain articulation. especially features skill of articulation; some  pieces also focus on the articulation of singing. Vocal melody is based on the intonation of dialect of the Kansai region, where  was born in. Vocal melody employing a wide range of octaves 
Vocal melodies in  usually utilise about 2 octaves. The character of a piece decides whether to use high tones more often than low tones, depending on the intent of the song – for example, a song for a woman, or a requiem. Narration 
Pieces which contain a narrative vocal part are very rare. Less dramatic expression 
 has developed without a relation to the performing arts, and thus dramatic expression is less used. Classification of pieces 
Great number of pieces and long history make Jiuta have many sub-styles. Thus classification is done by  not only musical style, but also variety of viewpoint, accordingly a piece can belong to different class. Below are some examples. Class for musical style
 Nagauta （'長歌' songs with solid story, long pieces are common）
 Hauta （'端歌' miscellaneous pieces, relatively short and lyrical pieces）
 Tegotomono （'手事物' pieces with Tegoto part）
 Instrumental piece （without vocal part）
 Class for musical content and feeling
 Sakumono （'作もの' pieces with comical stories, often employs Tegoto）
 Shishimono （'獅子もの' pieces which has postfix 'shishi', which means lion, to its title, features solemn and splendour feeling. All the pieces of this type belong to Tegotomono）
 Class for location
 Osakamono （'大阪もの' Tegotomono composed in Osaka）
 Kyomono （'京もの' Tegotomono composed in Kyoto）
 Nagoyamono （'名古屋もの' pieces composed by Yoshizawa-kengyo and his followers）
 Kyusyumono （'九州もの' pieces composed in Kyusyu）

See also 
 Sankyoku
 Shakuhachi
 Kokyū

References

Japanese traditional music
Japanese words and phrases