The Koto - A Traditional, Stringed Japanese Instrument
The KOTO is a traditional Japanese stringed musical instrument, similar to the Chinese guzheng. The KOTO is the national instrument of Japan. KOTO are almost 6 feet wide (71 inches) and are made from KIRI wood. KOTO have 13 strings that are strung over 13 movable bridges along the width of the instrument. Players can adjust the string pitches by moving these bridges before playing, and use three finger picks (on thumb, index finger, and middle finger) to pluck the strings.
The ancestor of the KOTO originated in its earliest form in the 5th century
and was first introduced to Japan from China in the 7th and 8th century. The first known version had five strings, which eventually increased to seven strings. It had twelve strings when it was introduced to Japan in the early Nara Period, circa (710 –784 AD), and eventually increased to thirteen strings.
Originally, when the SO, or KOTO, was imported to Japan, the word KOTO was a generic term for any and all Japanese stringed instruments. Over time the definition of KOTO could not describe the wide variety of these stringed instruments and the names were changed. The AZUMAGOTO or YAMATOGOTO became the wagon, the KIN NO KOTO became the KIN, and the SAU NO KOTO was changed to the SO or KOTO.
The modern KOTO originates from the SO, or GAKUSO, used in Japanese court music. It was a popular instrument among the wealthy; the instrument KOTO was considered a romantic one. Some literary and historical records solo pieces for KOTO existed centuries before SOKYOKU or the music of the solo KOTO genre was established. According to Japanese literature, the KOTO was used as imagery and other extra music significance. In one part of "The Tales of Genji (Genji monogatari)", Genji falls deeply in love with a mysterious woman, who he has never seen before, after he hears her playing koto from a distance.
The history of the KOTO, or so, in Japan, dates back to the 16th Century. At this time a Buddhist priest by the name of Kenjun (1547–1636), who lived in northern Kyūshū, began to compose for the KOTO, calling the style "tsukushi goto."
Junko devotes much of her time teaching children and adults around Denver how to play KOTO and SHAMISEN (Japanese banjo). She teaches at her home in South Denver, and will also travel to some locations to do group lessons. In addition, she now teaches KOTO at the Denver Buddhist Temple every Sunday and there is currently room for more students. For more information, please contact Junko via phone or email.
Junko performs solo, with Koto Colorado, and with Waves of Peace around the region as well as around the country. In addition to the Koto, Shamisen, and 17-String (bass) Koto, she also demonstrates other Japanese cultural arts such as kimono dressing, Minyo Folk Dancing, origami, and calligraphy. She is also a skilled piano player. Performance rates start at $150 depending on the venue, location of the performance, etc. Please contact Junko for further information.
Koto & Society
Perhaps the most important influence on the development of KOTO was Yatsuhashi Kengyo (1614–1685). He was a gifted blind musician from Kyoto who changed the limited selection of six songs to a brand new style of KOTO music which he called KUMI UTA. Yatsuhashi changed the TSUKUSHI GOTO tunings, which were based on GAGAKU ways of tuning; and with this change, a new style of KOTO was born. Yatsuhashi Kengyo is now known as the "Father of Modern Koto".
At the beginning of the Meiji Period (1868–1912), western music was introduced to Japan. Michio Miyagi (1894–1956), a blind composer, innovator, and performer, is considered to have been the first Japanese composer to combine western music and traditional KOTO music. Miyagi is largely regarded as being responsible for keeping the KOTO alive when traditional Japanese arts were being forgotten and replaced by Westernization. He wrote over 300 new works for the instrument before his unfortunate death in a train accident at the age of 62.
He also invented the popular 17 string bass KOTO, created new playing techniques, advanced traditional forms, and most importantly increased the KOTO's popularity. He performed abroad and by 1928 his piece for KOTO and SHAKUHACHI, Haru no Umi (Spring Sea) had been transcribed for numerous instruments. Haru no Umi is even played to welcome each New Year in Japan.
KOTO Instruction
with Junko Shigeta Sensei
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Traditional Japanese Martial Arts Exclusively for Adults
Junko Shigeta was born and raised in Kamakura, Japan - the city where the first government for Samurai of Japan was established by the Shogun, Minamoto Yoritomo in 12th Century. Many Japanese cultural arts originated in Kamakura.
Junko is a formal member of Miyagikai, one of the largest Koto schools and ensembles in Japan. She received master teacher licence (Shihan) from Miyagikai for Koto, Shamisen, vocal and Base Koto. The Iemoto (the head of the school) is Japanese Human Treasure.
Junko settled in Denver in 1988, and in 1992 became the leader of the Japanese Koto ensemble, Koto Colorado. Junko has been performing for various schools and cultural events in United States and Europe.
Castle Rock AIKIDO & IAIDO
Learn more about Junko Shigeta Sensei at: www.junkoto.com
