In Japan, as in some other Eastern countries, it is not unusual to find persons among the upper classes, who, while disdaining to study the art themselves, yet are very fond of listening to the performances of hired musicians. The taste seems to run entirely in the direction of melody, and not at all towards harmony; although they have a knowledge of a rude kind of harmony, consisting of melodies played upon two or more instruments tuned a fifth apart, thus forming an endless succession of consecutive fifths. This harmony, or a plain melody played in unison, they prefer to the finest (or, in fact, any) European music. Our readers will recollect the answer made by the Chinese mandarin to Pere Amiot, relative to his opinion on the respective worth of Chinese and European music. A similar reply was given by a Japanese nobleman to Dr. Müller, when asked to give an opinion on our music,—“European music may please women, children, and common people, but Japanese gentlemen may not endure it.”
In singing, the Chinese custom of using falsetto tones, obtains also in Japan. One peculiar taste for Western music exists among the Japanese; they like, and purchase many of our music boxes, and many are made in Switzerland especially for the Chinese and Japanese market. These contain two Chinese airs; but it is said that the people would enjoy them even more, if there were no harmonies attached. The entire instrumental music of Japan, partakes of a tinkling character, suggestive of a music box.
Secular singing is an indispensable adjunct of banqueting and feasting. These are frequently enlivened by songs and the sound of stringed instruments.[167]
The Japanese have a great penchant for excursions, banquets and lively enjoyments; they have been, not inaptly, called the “Parisians of the West;” hence it is not surprising to find houses of entertainment scattered broadcast throughout the realm. In these tea houses, every kind of dissipation, from the most innocent, to the reverse, is found, often under the same roof. The most aristocratic of these resorts, have a numerous staff of attendants, among which are singers, dancers, and guitar-players. Although these establishments appear disreputable in European eyes, yet the Japanese gentleman does not hesitate to take his wife and children thither, for a pleasure jaunt. When we consider that the Japanese are the most careful people in the world regarding the education and behavior of their wives and children, we cannot attribute this seeming incongruity to negligence.
In tea houses of an inferior rank, when female dancers and musicians are not among the assistants, they may be sent for, and engaged by the hour. These women never enter the lower class of tea-houses, unless thus sent for. In this respect, as well as by the correctness of their behavior, they are to be distinguished from the lower order of street musicians and dancers at fairs. These are not allowed to perform in private houses; the law compels them to confine their music to such places as are subject to police regulations. Theatres being included in this category, they often appear there, at the request of performers in the plays, in order to figure in the ballet.[168]
In Yeddo, many of the tea houses are built along the banks of the river; and in this case, they have large family boats or gondolas attached, which they let out by the hour, to such parties (and there are many) as desire to take their recreation upon the water. Guitar players and refreshments are furnished with these boats.
The lower classes are passionately fond of listening to story tellers and singers, and these, as in other Eastern countries, give open air performances, trusting to their ability to delight their audience, for a voluntary recompense.
Every day at the close of working hours, one may see groups of artizans, and laborers, as well as many women of the working classes, either at the door of the workshop or at a street corner, arranged in a semi-circle around the story-teller.
National legends and romances are usually given only by those women who have made a profession of music and singing. This branch of street singers forms a large class; they are less roving than the others, and sometimes of rather a high order of talent, as compared with their more itinerant associates. The most distinguished of them have three or four musicians as accompanists, and do not themselves play upon any instrument. The effect of these combinations is said sometimes to be very charming, when heard and seen on a summer’s evening, in a light bamboo frame work, hung round with vines, and lighted with paper lanterns.
Humbert has given the subject of some of these legendary songs, and they are found to be of a most sensational description. A few examples will suffice to prove this.