Editing Music of Japan

{{Short description|Overview of music traditions in Japan}}
{{Culture of Japan}}
 and modern. The word for "music" in [[Japanese language|Japanese]] is 音楽 (''ongaku''), combining the [[kanji]] 音 ''on'' (sound) with the kanji 楽 ''gaku'' (music, comfort).<ref>Kenkyusha's New Japanese-English Dictionary, {{ISBN|4-7674-2015-6}}</ref> [[Japan]] is the world's largest market for music on physical media{{Citation needed|date=October 2021}} and the [[List of largest recorded music markets|second-largest overall music market]], with a retail value of US$2.7 billion in 2017.<ref>{{Cite web|date=6 June 2018|title=The Record vol. 703|url=https://www.riaj.or.jp/riaj/open/open-record!file?fid=1638|publisher=[[RIAJ]]}}</ref>

==Traditional and folk music==
===Gagaku, hougaku===
{{Main|Traditional Japanese music}}
The oldest forms of traditional Japanese music are:

* {{nihongo|[[shōmyō]]|声明 or 聲明}}, or [[Buddhism|Buddhist]] chanting
* {{nihongo|[[gagaku]]|雅楽}}, or orchestral court music

both of which date to the [[Nara period|Nara]] (710–794) and [[Heian period|Heian]] (794–1185) periods.<ref name="malm.1959">{{cite book
| title = Japanese Music and Musical Instruments | url = https://archive.org/details/japanesemusicmus00malm | url-access = registration | author = Malm, William P. | edition = 1st | place = Tokyo & Rutland, Vt. | publisher = C. E. Tuttle | date = 1959| isbn = 9780804803083 }}</ref> [[Gagaku]] classical music has been performed at the Imperial court since the [[Heian period]].<ref>{{Cite web|url=http://iha-gagaku.com/english/history.html|title=Gagaku, Imperial Court Music & Dance of Japan {{!}} Musicians of the Imperial Household {{!}} History of Gagaku|website=New Site 102E_02|language=ja-JP|access-date=2020-04-14|archive-date=2021-05-08|archive-url=https://web.archive.org/web/20210508231541/http://iha-gagaku.com/english/history.html|url-status=dead}}</ref> Kagura-uta (神楽歌), Azuma-asobi (東遊) and Yamato-uta (大和歌) are [[indigenous (disambiguation) | indigenous]] repertories. [[Tōgaku]] (唐楽) allegedly resembles a Chinese [[Tang dynasty]] (618–907) style; [[komagaku]] may have come from the [[Korean Peninsula]].<ref>
{{Cite web|last= Hays|first= Jeffrey|title= CLASSICAL JAPANESE MUSIC: GAGAKU, SHAKUHACHI FLUTES, KOTO, BIWA AND OTHER TRADITIONAL INSTRUMENTS {{!}} Facts and Details|url= http://factsanddetails.com/japan/cat20/sub130/item708.html#:~:text=In%20ancient%20times,%20nobles%20were,into%20festival%20and%20recital%20music.|access-date=2020-10-02|website= factsanddetails.com |language= en | quote = 'Gagaku' is made up of three bodies of musical pieces: 'togaku', said to be in the style of the Chinese Tang Dynasty (618-907); 'komagaku', said to have been transmitted from the Korean peninsula; and music of native composition associated with rituals of the Shinto religion.}}</ref>
In addition, gagaku subdivides into [[kangen]] (管弦) (instrumental music) and [[bugaku]] (舞楽) (dance accompanied by gagaku).

<!--　Originating as early as the 13th century are [[honkyoku]] (本曲 "original pieces") - single (solo) [[shakuhachi]] (尺八) pieces played by [[mendicant]] [[Fuke sect]] [[priest]]s of [[Zen buddhism]]{{Citation needed |date = November 2009}}. These priests, called [[komusō]] ("emptiness monk"), played honkyoku for [[alms]] and [[Satori| enlightenment]]. The Fuke sect ceased to exist in the 19th century, but a verbal and written lineage of many honkyoku continues today, though this music is now often practiced in a concert or performance setting{{Citation needed |date = November 2009}}-->
[[Samurai]] listened to and performed these music activities, in their practices of enriching their lives and understanding.<ref>Compare: {{Cite web|title=Samurai: A Brief Guide to Samurai Culture {{!}} InsideJapan Tours|url=https://www.insidejapantours.com/japanese-culture/samurai/|access-date=2020-10-02|website=www.insidejapantours.com | quote = [...] it was common for samurai to enjoy calligraphy, tea ceremony, poetry and music, and to study.}}
</ref>

===Biwa hōshi, Heike biwa and goze===
{{stack|[[File:Gifujyou5848.JPG|thumb|upright|Biwa]]}}
The [[biwa]] (琵琶 - Chinese: [[pipa]]), a form of short-necked [[lute]], was played by a group of itinerant performers ([[biwa hōshi]]). The root of Biwa music was [[The Tale of the Heike]]''.<ref name="auto1">{{Cite web|url=http://www.sonic.net/~tabine/heike081003/Heike_mainpage.html|title=Welcome to The Tale of Heike (Heike monogatari)|website=www.sonic.net}}</ref> Biwa hōshi'' organized into a guild-like association. The biwa is Japan's traditional instrument.''{{citation needed|date=February 2020}}''
<!--　In addition, numerous smaller groups of itinerant blind musicians formed, especially in the Kyushu area{{Citation needed|date = November 2009}}. These musicians, known as mōsō (盲僧 ''blind monk'') toured their local areas and performed a variety of religious and semi-religious texts to purify households and to 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 (平家琵琶) played by the biwa hōshi.{{Citation needed |date = November 2009}}　-->

[[Lafcadio Hearn]] related in his book ''[[Kwaidan: Stories and Studies of Strange Things]]'' (1903) "Mimi-nashi Hoichi" (Hoichi the Earless), a Japanese ghost story about a blind biwa hōshi who performs "The Tale of the Heike".<ref name="auto1"/>

Blind women, known as [[goze]] (瞽女), toured beginning in the medieval era, sang and played accompanying music on a lap drum.{{Citation needed |date = November 2009}} From the seventeenth century they often played the [[Koto (musical instrument)|koto]] or the [[shamisen]]. Goze organizations sprung up in many places, and existed until the 21st century in [[Niigata Prefecture]].{{Citation needed|date = November 2009}}

===Wadaiko===

[[File:Taiko drum.jpg|thumb|left|upright|Taiko performing]]
[[Taiko|Wadaiko]], a Japanese drum, comes in various sizes and is used in variety of musical genres. It has become particularly popular in recent years as the central instrument of percussion ensembles whose repertory is based on a variety of folk- and festival-music of the past. Such taiko music is played by large drum ensembles called ''kumi-daiko''. Its origins remain uncertain, but can be traced to the 7th century, when a clay figure of a drummer documented its existence. [[China|Chinese]] influences followed, but the instrument and its music remained uniquely Japanese.<ref>History of Taiko [http://aitech.ac.jp/~inomoto/ino/taiko/] {{Webarchive|url=https://web.archive.org/web/20081220060149/http://aitech.ac.jp/~inomoto/ino/taiko/|date=2008-12-20}} "鼓と太鼓のながれ" - 中国の唐からわが国に入ってきたいろんな太鼓が、時代と共にどのように変遷してきたかを各種の資料からまとめると、次のようになる。</ref> Taiko drums during this period were used during battle to intimidate the enemy and to communicate commands. Taiko continue to be used in the religious music of [[Buddhism]] and [[Shintō]]. In the past players were holy men who played only at special occasions and in small groups, but in time secular men (rarely women) also played the taiko in semi-religious festivals such as the [[bon dance]].

Modern ensemble taiko was invented by [[Daihachi Oguchi]] in 1951.<ref>{{Cite web|title=Grandmaster Daihachi Oguchi|url=http://www.hiryu-project.com/daihachi.html|url-status=live|archive-url=https://web.archive.org/web/20160722054923/http://www.hiryu-project.com/daihachi.html|archive-date=2016-07-22|access-date=2016-05-08}}</ref> A [[jazz]] drummer, Oguchi incorporated his musical background into large ensembles of his design. His energetic style made his group popular throughout Japan, and made the [[Hokuriku region]] a center for taiko music. Musical groups to arise from this wave of popularity included [[Oedo Sukeroku Daiko|Oedo Sukeroku Taiko]], founded by [[Seido Kobayashi]]. 1969 saw a group called [[Ondekoza|Za Ondekoza]]; Za Ondekoza gathered young performers who innovated a new [[roots revival]] taiko, which was used as a way of life in communal [[lifestyle (disambiguation)|lifestyle]]s. During the 1970s the Japanese government allocated funds to preserve Japanese culture, and many community taiko groups formed. Later in the century, taiko groups spread across the world, especially to the [[United States]]. The [[video game]] ''[[Taiko no Tatsujin]]'' is based around taiko.

===Min'yō folk music===
{{Main|Min'yō}}
[[File:Geishashamisen053.jpg |thumb|left|upright|A Japanese folkswoman with her [[shamisen]], 1904]]

Japanese folk songs (''min'yō'') can be grouped and classified in many ways but it is often convenient to think of five main categories:
 
* fisherman's [[work song]], farmer's work song
* lullaby
* religious songs (such as [[sato kagura]], a form of [[Shintoist]] music)
* songs used for gatherings such as weddings, funerals, and festivals ([[matsuri]], especially [[Obon]])
* children's songs ([[warabe uta]])

In [[min'yō]], three-stringed [[lute]] known as the [[shamisen]], [[taiko]] drums, and a bamboo flute called [[shakuhachi]] typically accompany the singers.<ref name="malm.1963">{{citation | title = Nagauta: The Heart of Kabuki Music | author = Malm, William P. | place = Westport, Conn. | publisher = Greenwood Press  | date = 1963| hdl = 2027/mdp.39015007996476 | isbn = 9780837169002 }}</ref> Other instruments that could accompany include a transverse [[flute]] known as the [[shinobue]], a bell known as [[kane (musical instrument)|kane]], a hand drum called the [[tsuzumi]], and/or a 13-stringed zither known as the [[koto (musical instrument)|koto]]. In [[Okinawa Prefecture|Okinawa]] the main instrument is the [[sanshin]]. These are traditional Japanese instruments, but modern instrumentation, such as [[electric guitars]] and [[synthesizer]]s, is also used in this day and age, when [[enka]] singers cover traditional [[min'yō]] songs ([[enka]] being a Japanese music genre all its own).<ref name="Hughes 2008">
{{cite book
|last= Hughes|first= David W.
|title= Traditional folk song in modern Japan: sources, sentiment and society
|year=2008|publisher=Global Oriental Ltd|location= Folkestone, UK
|isbn= 978-1-905246-65-6
}}
</ref>

An ondo generally describes any folk song with a distinctive swing that may be heard as 2/4 time [[rhythm]] (though performers usually do not group beats). The typical folk song heard at [[Obon]] festival dances is typically an ondo. A bushi ("melody" or "rhythm") is a song with a distinctive melody. The word is rarely used on its own, but is usually prefixed by a term referring to occupation, location, personal name or the like. Bon uta are songs for [[Obon]], the lantern festival of the dead. [[Komori uta]] are [[lullabies]]. The names of min'yo songs often include a descriptive term, usually at the end. For example: Tokyo Ondo, Kushimoto Bushi, Hokkai Bon Uta, and Itsuki no Komoriuta.

Many of these songs include extra stress on certain syllables as well as pitched shouts ([[kakegoe]]). Kakegoe are generally shouts of cheer but in [[min'yō]], they are often included as parts of choruses. There are many [[kakegoe]], though they vary from region to region. In Okinawa Min'yō, for example, the common "ha iya sasa!" appears. In mainland Japan, however, "a yoisho!," "sate!," or "a sore!" are more common. Others include "a donto koi!," and "dokoisho!"

Recently a [[guild]]-based system known as the [[iemoto]] system has been applied{{by whom|date=February 2020}} to some forms of min'yō. This system originally developed for transmitting classical genres such as [[nagauta]], shakuhachi, or koto music, but since it proved profitable to teachers and was supported by students who wished to obtain certificates of proficiency. It continues to spread to genres such as min'yō, [[Tsugaru-jamisen]] and other forms of music that were traditionally transmitted more informally. Today some min'yō are passed on in such pseudo-family organizations and long [[apprentice]]ships are common.

===Okinawan folk music===

{{Main|Ryukyuan music}}
[[Umui]], religious songs, [[shima uta]], dance songs, and, especially [[kachāshī]], lively celebratory music, were all popular on the island. Okinawan folk music differs from mainland Japanese folk music in several ways.

Okinawan folk music is often accompanied by the [[sanshin]], whereas in mainland Japan the [[shamisen]] accompanies instead. Other Okinawan instruments include the [[Sanba (musical instrument)|sanba]] (which produce a clicking sound similar to that of [[castanets]]), [[taiko]] and a sharp [[Wolf-whistling|finger whistle]] called {{nihongo|''yubi-bue''|指笛}}.

A [[pentatonic scale]] is often used in [[min'yō]] from the main islands of Japan. In this pentatonic scale the [[subdominant]] and [[leading tone]] (scale degrees 4 and 7 of the Western [[major scale]]) are omitted, resulting in a musical scale with no [[half step]]s between each note. (Do, Re, Mi, Sol, La in [[solfeggio]], or scale degrees 1, 2, 3, 5, and 6). Okinawan min'yō, however, uses scales that include the half-steps omitted in the aforementioned pentatonic scale, when analyzed in the Western discipline of music. In fact, the most common scale used in Okinawan min'yō includes scale degrees 1, 2, 3, 4, 5, 6, and 7.

===Traditional instruments===
{{Main|Traditional Japanese musical instruments}}{{div col|colwidth=25em}}
* [[Biwa]] (琵琶)
* [[Fue]] (笛)
* [[Hichiriki]] (篳篥)　
* [[Hocchiku]] (法竹)
* [[Hyōshigi]] (拍子木)
* [[Kane (instrument)|Kane]] (鐘)
* [[Kakko (instrument)|Kakko]] (鞨鼓)
* [[Kokyū]] (胡弓)
* [[Koto (instrument)|Koto]] (琴)
* [[Erhu|Niko]] (二胡)
* Okawa (AKA [[Ōtsuzumi]]) (大鼓)
* [[Ryuteki|Ryūteki]] (竜笛)
* [[Sanshin]] (三線)
* [[Shakuhachi]] (bamboo flute) (尺八)
* [[Shamisen]] (三味線)
* [[Shime-Daiko]] (締太鼓)
* [[Shinobue]] (篠笛)
* [[Shō (instrument)|Shō]] (笙)
* [[Suikinkutsu]] (water zither) (水琴窟)
* [[Taiko]] (i.e. [[Wadaiko]]) 太鼓～和太鼓
* [[Tsuzumi]] (鼓) (AKA Kotsuzumi){{div col end}}

== Arrival of Western music ==
{{See also|Western influences in modern Japanese music}}
===Japanese blues/Enka===
{{Main|Ryūkōka|Kayōkyoku|Enka}}
[[File:藤山一郎.jpg|thumb|right|upright|Ichiro Fujiyama, influential ''ryūkōka'' singer]]
After the [[Meiji Restoration]] introduced Western musical instruction, Shuji Isawa compiled songs like "[[Auld Lang Syne]]" for use in public education. <ref>{{cite web |url = http://www.bbc.co.uk/robertburns/works/auld_lang_syne/ |title = Robert Burns – Auld Lang Syne |publisher = BBC |date = 23 April 2009 | access-date = 1 January 2012 }}</ref> Two major forms of music that developed during this period were [[Shōka (music)|shōka]], which was composed to bring western music to schools, and [[gunka]].<ref>Satoshi Sugita (1972). "[https://web.archive.org/web/20110716153318/http://etd.ohiolink.edu/view.cgi?acc_num=osu1170788993 Cherry blossoms and rising sun: a systematic and objective analysis of gunka (Japanese war songs) in five historical periods (1868-1945)]". Dissertation submitted to Ohio State University.</ref>

As Japan moved towards representative [[democracy]] in the late 19th century, leaders hired singers to sell copies of songs that aired their messages, since the leaders themselves were usually prohibited from speaking in public. 
<!--　The street performers were called enka-shi.{{Citation needed|date = November 2009}} Also at the end of the 19th century, an [[Osaka]]n form of streetcorner singing became popular; this was called [[rōkyoku]]. This included the first two Japanese stars, [[Yoshida Naramaru]] and [[Tochuken Kumoemon]].{{Citation needed|date = November 2009}}
Westernized [[pop music]] is called [[kayōkyoku]], which is said to have and first appeared in a dramatization of ''[[Resurrection (novel)|Resurrection]]'' by [[Tolstoy]]. The song "Kachūsha no Uta", composed by [[Shinpei Nakayama]], was sung by [[Sumako Matsui]] in 1914. The song became a hit among enka-shi, and was one of the first major best-selling records in Japan.{{Citation needed|date = November 2009}} [[Ryūkōka]], which adopted Western classical music, made waves across the country in the prewar period.{{Citation needed|date = November 2009}} [[Ichiro Fujiyama]] became popular in the prewar period, but war songs later became popular when [[World War II]] occurred.{{Citation needed|date = November 2009}} Kayōkyoku became a major industry, especially after the arrival of superstar [[Misora Hibari]].{{Citation needed|date = November 2009}} In the 1950s, [[Tango music|tango]] and other kinds of [[Latin music (genre)|Latin music]], especially [[Cuban music]], became very popular in Japan.{{Citation needed|date = November 2009}} -->A distinctively Japanese form of [[tango music|tango]] called "dodompa" emerged. Kayōkyoku became associated with traditional Japanese structures influenced by [[Enka]]. Famous enka singers include [[Hibari Misora]], [[Saburo Kitajima]], [[Ikuzo Yoshi]] and Haruo Minami.

===Art music===

====Western classical music====

[[Shuji Isawa]] (1851–1917) studied music at [[Bridgewater Normal School]] and [[Harvard University]] and was an important figure in the development of Western-influenced Japanese music in the [[Meiji Era]] (1868-1912). On returning to Japan in 1879, Isawa formed the Ongaku-Torishirabe-Gakari (Music Investigation Agency), a national research center for Western music; it was later renamed the [[Tokyo Music School]] (Tôkyô ongaku gakkô). In 1880, Isawa's American friend and teacher, [[Luther Whiting Mason]], accepted a two-year appointment. [[Kosaku Yamada]], [[Yoshinao Nakada]], and [[Toru Takemitsu]] are Japanese composers who have successively developed what is now known as Japanese Classical Music.<ref name="Holderer">{{cite web | url=http://www.michaelholderer.com/Documents/Michael_Holderer_JWCM.pdf | title=Japanese Western Classical Music from the Meiji to the Modern Era - Lecture Document | publisher=[[The University of Texas at Austin]] | date=Spring 2009 | access-date=September 15, 2017 | author=Holderer, Michael J. | archive-url=https://web.archive.org/web/20160824080313/http://www.michaelholderer.com/Documents/Michael_Holderer_JWCM.pdf | archive-date=August 24, 2016 | url-status=live }}</ref>

Western [[european classical music|classical music]] established a strong presence in Japan, making the country one of the most important markets for this music tradition.<ref name="Conversations">{{cite book | title=Conversations with the World's Leading Orchestra and Opera Librarians | publisher=Rowman & Littlefield | author=Lo, Patrick | year=2016 | pages=156 | isbn=978-1-4422-5543-2|chapter= Katsu Watanabe Akane Oki and Yasushi Ishii, Librarians of the NHK Symphony Orchestra, Tokyo |chapter-url=https://books.google.com/books?id=CZg5DAAAQBAJ&pg=PA156}}</ref> [[Tōru Takemitsu|Toru Takemitsu]] composed avant-garde music, contemporary classical music, and movie scoring.<ref>"Takemitsu, Toru", ''The Concise Oxford Dictionary of Music'', Ed. [[Michael Kennedy (music critic)|Michael Kennedy]], (Oxford, 1996), ''Oxford Reference Online'', Oxford University Press (accessed March 16, 2007) [http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t76.e8918] (subscription access).</ref>

===== Orchestras =====
* [[Hiroshima Symphony Orchestra]]
* [[Hyogo Performing Arts Center Orchestra]]
* [[Japan Philharmonic Orchestra]]
* [[Kanagawa Philharmonic Orchestra]]
* [[Nagoya Philharmonic Orchestra]]
* [[New Japan Philharmonic]]
* [[NHK Symphony Orchestra]]
* [[Orchestra Ensemble Kanazawa]]
* [[Osaka Philharmonic Orchestra]]
* [[Osaka Shion Wind Orchestra]]
* [[Sapporo Symphony Orchestra]]
* [[Tokyo Kosei Wind Orchestra]]
* [[Tokyo Metropolitan Symphony Orchestra]]
* [[Tokyo Philharmonic Orchestra]]
* [[Tokyo Symphony Orchestra]]
* [[Yomiuri Nippon Symphony Orchestra]]
Besides traditional [[Orchestra|symphony orchestras]], Japan is internationally prominent in the field of [[wind bands]].<ref>Hebert, David G., [https://www.springer.com/gp/book/9789400721777 ''Wind Bands and Cultural Identity in Japanese Schools'']. New York: Springer Press, 2012.</ref> The [[All-Japan Band Association]] is the governing body for wind band competitions in the country.

====Jazz====
{{Main|Japanese jazz}}
From the 1930s on (except during [[World War II]], when it was repressed as music of the enemy)<ref>{{Cite web|url=https://www.japantimes.co.jp/culture/2018/03/29/music/kiyoshi-koyama-life-lived-jazz/|title=Kiyoshi Koyama: A life lived with jazz|last=Whatley|first=Katherine|date=2018-03-29|website=The Japan Times|language=en-US|url-status=live|archive-url=https://web.archive.org/web/20190609165607/https://www.japantimes.co.jp/culture/2018/03/29/music/kiyoshi-koyama-life-lived-jazz/|archive-date=2019-06-09|access-date=2019-12-22|quote=Around the same time as FEN’s broadcasts, jazz experienced a resurgence in popularity in Japan. It first became popular here during the late 1920s and ’30s, but was banned during World War II, along with other non-German music from the West.}}</ref><ref>{{Cite news|url=https://www.nytimes.com/1978/05/26/archives/jazz-from-japan.html|title=Jazz From Japan|last=Wilson|first=John S.|date=1978-05-26|work=The New York Times|access-date=2019-12-22|url-status=live|language=en-US|issn=0362-4331|quote=American jazz was banned during the war, but afterward, Japan leaped into jazz enthusiastically.|archive-url=https://web.archive.org/web/20191222212219/https://www.nytimes.com/1978/05/26/archives/jazz-from-japan.html|archive-date=2019-12-22}}</ref> jazz maintained a strong presence in Japan.<ref>{{Cite web|url=http://www.unesco.org/new/en/unesco/events/prizes-and-celebrations/celebrations/international-days/international-jazz-day-2014/jazz-in-japan-a-history-of-tradition-and-modernity/|title=Jazz in Japan: A History of Tradition and Modernity {{!}} United Nations Educational, Scientific and Cultural Organization|website=www.unesco.org|access-date=2019-12-22|archive-url=https://web.archive.org/web/20191222230604/http://www.unesco.org/new/en/unesco/events/prizes-and-celebrations/celebrations/international-days/international-jazz-day-2014/jazz-in-japan-a-history-of-tradition-and-modernity/|archive-date=2019-12-22|url-status=live}}</ref> The country is an important market for the music, and it is common that recordings unavailable in the [[United States]] or Europe are available there. A number of Japanese jazz musicians, such as June (born in Japan) and [[Sadao Watanabe (musician)|Sadao Watanabe]] have a large fan base outside their native country.{{Citation needed|date = November 2009}}

==Popular music==

===J-pop===
{{Main|J-pop}}

J-pop, an abbreviation for [[Japan]]ese pop is a loosely defined musical genre that entered the musical mainstream of Japan in the 1990s. J-pop has its roots in 1960s [[pop music|pop]] and [[rock music]], such as [[the Beatles]], which 70s rock bands fused rock with Japanese music.<ref name="beatles">{{cite web|url=http://www.oricon.co.jp/news/confidence/25384/|script-title=ja:究極のビートルズ来日賞味法！ ビートルズが日本に与えたもの|publisher=Oricon|date=2006-06-21|language=ja|access-date=2009-01-09|archive-url=https://web.archive.org/web/20130212102840/http://www.oricon.co.jp/news/confidence/25384/|archive-date=2013-02-12|url-status=live}}</ref> J-pop was further defined by Japanese [[New wave music|new wave]] bands such as [[Southern All Stars]] in the late 1970s.<ref>Chikyu Ongaku Library: Southern All Stars [Renewed Edition], Edited by Amuse Inc., Tokyo FM Publishing, {{ISBN|4-88745-135-0}}</ref> Eventually, J-pop replaced ''[[kayōkyoku]]'' ("Lyric Singing Music", a term for Japanese pop music from the 1920s to the 1980s) in the Japanese music scene.<ref name=ctv>{{cite web|url=http://www.ctv.co.jp/otov/column13.html|language=ja|title=J-POPって何だろう？そして今、改めて歌謡曲の魅力とは？|publisher=[[Chūkyō Television Broadcasting]]|year=2008|access-date=2009-10-30|url-status=dead|archive-url=https://web.archive.org/web/20090312033942/http://www.ctv.co.jp/otov/column13.html|archive-date=2009-03-12}}</ref> The term was coined by the Japanese media to distinguish Japanese music from foreign music.

====Idol music====

[[Japanese idol]] musical artists are a significant part of the market, with [[girl group]]s and [[boy band]]s regularly topping the [[Oricon Singles Chart|singles chart]]. These include boy band [[Arashi]], which had the best-selling singles of 2008 and 2009, and girl group [[AKB48]], which have had the best-selling singles each year since 2010.{{Citation needed|date=May 2021}}  Since the end of the 2010s, more and more [[Japanese idol|idol groups]] have emerged. Their success is sometimes termed "Idol sengoku jidai" (アイドル戦国時代; lit. Idol war age).<ref>{{cite web|url=http://www.cyzo.com/2010/04/post_4372.html|title=デビュー続々！ 2010年アイドル戦国時代 生き残るのはどのグループ!?|date=23 April 2010 |access-date=2016-09-12|archive-url=https://web.archive.org/web/20110809045652/http://www.cyzo.com/2010/04/post_4372.html|archive-date=2011-08-09|url-status=live}}</ref>  In 2014, about 486,000 people attended [[Momoiro Clover Z]]'s live concerts, which was the highest record for female musicians in Japan for this year.<ref>{{cite web |url=http://www.nikkei.com/article/DGXMZO79804640X11C14A1000000/ |title=AKB48よりももクロが上 コンサート動員力2014 |work=[[Nihon Keizai Shimbun]] |date=4 December 2014 |access-date=16 September 2015 |language=ja |archive-url=https://web.archive.org/web/20150927135119/http://www.nikkei.com/article/DGXMZO79804640X11C14A1000000/ |archive-date=27 September 2015 |url-status=live }}</ref> [[SMAP]] was a Japanese boy band, recognized. The group was created in 1988. Nogizaka 46 and Keyakizaka 46 were also popular.

====Dance and disco music====
{{Further|Eurobeat|Para Para}}

In 1984, American musician [[Michael Jackson]]'s album ''[[Thriller (Michael Jackson album)|Thriller]]'' became the first album by a Western artist to sell over one million copies in Japanese [[Oricon]] charts history.<ref>{{cite web|url=http://sankei.jp.msn.com/entertainments/entertainers/090626/tnr0906261505028-n1.htm|script-title=ja:【マイケル急死】日本でもアルバム売り上げ１位を獲得|publisher=Sankei Shimbun|date=2009-06-26|access-date=2009-06-27|language=ja|archive-url=https://web.archive.org/web/20090629071716/http://sankei.jp.msn.com/entertainments/entertainers/090626/tnr0906261505028-n1.htm|archive-date=2009-06-29|url-status=dead}}</ref> His style is cited as one of the models for Japanese [[dance music]], leading the popularity of [[Avex Group]] musicians and dancers.{{Citation needed|date=November 2023}}

In 1990, [[Avex Trax]] began to release the [[Super Eurobeat]] series in Japan. [[Eurobeat]] in Japan led the popularity of [[group dance]] form [[Para Para]]. While Avex's artists such as [[Every Little Thing (band)|Every Little Thing]] and [[Ayumi Hamasaki]] became popular in the 1990s, in the late 1990s [[Hikaru Utada]] and [[Morning Musume]] emerged. Hikaru Utada's debut album, ''[[First Love (Hikaru Utada album)|First Love]]'', became the highest-selling album in Japan selling over 7 million copies, while [[Ayumi Hamasaki]] became Japan's top selling female and solo artist, and Morning Musume remains one of the most well-known girl groups in the Japanese pop music industry.

===Rock===
{{Main|Japanese rock}}

In the 1960s, many Japanese [[rock music|rock]] bands were influenced by Western rock, along with [[Appalachian folk music]], [[psychedelic rock]], [[Mod (subculture)|mod]] and similar genres: a phenomenon called [[Group Sounds]] (G.S.). [[John Lennon]] became one of the most popular Western musicians in Japan.<ref>{{cite news|url=http://news.bbc.co.uk/2/hi/entertainment/7770865.stm|title=Japan keeps Lennon's memory alive|publisher=BBC|date=2008-12-08|access-date=2009-03-10|archive-url=https://web.archive.org/web/20090118014410/http://news.bbc.co.uk/2/hi/entertainment/7770865.stm|archive-date=2009-01-18|url-status=live}}</ref> Late 1960s, Group Sounds bands such as The Tempters, the Tigers, the Golden Cups, the Spiders, the Jaguars, the Ox, the Village Singers, the Carnabeats, the Wild Ones, [[the Mops]]<ref>{{cite web|url= https://www.allmusic.com/album/psychedelic-sounds-in-japan-mw0002033144 | title=AllMusic: The Mops | website=[[AllMusic]] | access-date = 22 October 2020 }}</ref> were popular.<ref>Martin, Ian F. (2016). Quit Your Band: Musical Notes From the Japanese Underground. Awai Books. p. 42. {{ISBN|978-1-937220-05-1}}.</ref> After the boom of Group Sounds came folk singer-songwriters. [[The Tigers (Japanese band)|the Tigers]] was the most popular Group Sounds band in the era. Later, some of the members of the Tigers, [[the Tempters]] and [[The Spiders (Japanese band)|the Spiders]] formed the first Japanese [[Supergroup (music)|supergroup]] [[PYG (band)|Pyg]].

Kenji Sawada and Kenichi Hagiwara started their solo career in the early 1970s along with rock bands such as the Power House, Blues Creation, and late 70s [[hard rock]] bands like Murasaki, Condition Green, Bow Wow. Carol (led by [[Eikichi Yazawa]]), [[RC Succession]] and Funny Company helped define the rock sound. In the late 70s, Creation and Char performed [[Jeff Beck]]-style rock. Beginning in the late sixties, but mostly in the seventies, musicians mixed rock with American-style folk and pop elements, usually labelled folk rock because of their regular use of the [[acoustic guitar]]. This includes bands like Tulip, Banban, and [[Garo (Japanese rock group)|Garo]]. Rock artists  include an early [[Southern All Stars]].

[[File:Yellow Magic Orchestra in 2008.jpg|thumb|upright|alt=A colour photograph of three members of Yellow Magic Orchestra at the front of a stage|Yellow Magic Orchestra in 2008]]
Japanese musicians began experimenting with [[electronic rock]] in the 1970s. The most notable was [[Isao Tomita]], whose 1972 album ''Electric Samurai: Switched on Rock'' featured electronic [[synthesizer]] renditions of contemporary rock and [[Pop music|pop songs]].<ref name="jenkins_2007">{{citation|title=Analog synthesizers: from the legacy of Moog to software synthesis|first=Mark|last=Jenkins|publisher=[[Elsevier]]|year=2007|isbn=978-0-240-52072-8|pages=133–4|url=https://books.google.com/books?id=c3EHIpo0DKwC&pg=PA133|access-date=2011-05-27|author-link=Mark Jenkins (musician)|archive-url=https://web.archive.org/web/20151019003232/https://books.google.com/books?id=c3EHIpo0DKwC&pg=PA133|archive-date=2015-10-19|url-status=live}}</ref> Other early examples of electronic rock records include [[Inoue Yousui]]'s [[folk rock]] and [[pop rock]] album ''Ice World'' (1973) and [[Osamu Kitajima]]'s [[Progressive rock|progressive]] [[psychedelic rock]] album ''[[Benzaiten]]'' (1974), both of which involved contributions from Haruomi Hosono,<ref>{{Discogs release|2509617|井上陽水 – 氷の世界}} ([https://translate.google.com/translate?hl=en&sl=ja&tl=en&u=http://www.discogs.com/%E4%BA%95%E4%B8%8A%E9%99%BD%E6%B0%B4-%E6%B0%B7%E3%81%AE%E4%B8%96%E7%95%8C/release/2509617 Translation] {{Webarchive|url=https://web.archive.org/web/20190420110819/https://translate.google.com/translate?hl=en&sl=ja&tl=en&u=http%3A%2F%2Fwww.discogs.com%2F%E4%BA%95%E4%B8%8A%E9%99%BD%E6%B0%B4-%E6%B0%B7%E3%81%AE%E4%B8%96%E7%95%8C%2Frelease%2F2509617 |date=2019-04-20 }})</ref><ref>{{Discogs release|1303605|Osamu Kitajima – Benzaiten}}</ref> who later started the electronic music group "Yellow Magic Band" (later known as [[Yellow Magic Orchestra]]) in 1977.<ref name="discogs_paraiso">{{Discogs release|1188801|Harry Hosono And The Yellow Magic Band – Paraiso}}</ref>

In the 1980s, Yutaka Ozaki was popular in young rock fans. Pop rock group such as C-C-B, Tokyo JAP, and Red Wariors gained hit songs. [[Boøwy]] inspired [[alternative rock]] bands like [[Shonen Knife]], [[the Pillows]], and [[Tama & Little Creatures]] as well as more experimental bands such as [[Boredoms]] and mainstream bands such as [[Glay]]. In 1980, Huruoma and [[Ry Cooder]], an American musician, collaborated on a rock album with [[Shoukichi Kina]], driving force behind the aforementioned Okinawan band Champloose. They were followed by [[Sandii & the Sunsetz]], who further mixed Japanese and Okinawan influences. Also during the 1980s, Japanese metal and rock bands gave birth to the movement known as [[visual kei]], represented during its history by bands like [[X Japan]], [[Buck-Tick]], [[Luna Sea]], [[Malice Mizer]] and many others, some of which experienced national, and international success in the latest years.

In the 1990s, Japanese rock musicians such as [[B'z]], [[Mr. Children]], [[L'Arc-en-Ciel]], [[Glay]], [[Southern All Stars]], [[Judy and Mary]], [[Tube (band)|Tube]], [[Spitz (band)|Spitz]], [[Wands (band)|Wands]], [[T-Bolan]], [[Field of View]], [[Deen (band)|Deen]], [[Lindberg (band)|Lindberg]], [[Sharam Q]], [[the Yellow Monkey]], [[the Brilliant Green]] and [[Dragon Ash]] achieved great commercial success.{{Citation needed|date = November 2009}} B'z is the #1 best selling act in Japanese music since [[Oricon]] started to count,{{Citation needed|date = November 2009}} followed by Mr. Children.{{Citation needed|date = November 2009}} In the 1990s, pop songs were often used in [[film]]s, [[anime]], [[television advertisement]] and [[dramatic programming]], becoming some of Japan's best-sellers.{{Citation needed|date = November 2009}} The rise of disposable pop has been linked with the popularity of [[karaoke]], leading to criticism that it is [[consumerism|consumerist]]: [[Kazufumi Miyazawa]] of [[the Boom]] said "I hate that buy, listen, and throw away and sing at a karaoke bar mentality." Of the visual kei bands, [[Luna Sea]], whose members toned down their on-stage attire with on-going success, was very successful, while [[Malice Mizer]], [[La'cryma Christi]], [[Shazna]], [[Janne Da Arc]], and [[Fanatic Crisis]] also achieved commercial success in the late 1990s.{{Citation needed|date = November 2009}}

The rock band [[Supercar (band)|Supercar]], which was characterized as having "almost foundational importance to 21st century Japanese indie rock",<ref name=martin2019>{{citation |last=Martin |first=Ian |title=Supercar's Futurama |newspaper=[[Metropolis (free magazine)|Metropolis]] |date=May 17, 2019 |url=https://metropolisjapan.com/supercar-futurama |access-date=July 7, 2019 |archive-url=https://web.archive.org/web/20190706153158/https://metropolisjapan.com/supercar-futurama/ |archive-date=July 6, 2019 |url-status=live }}</ref> released its influential first album in 1998.<ref name=martin2017>{{citation |last=Martin |first=Ian |title=Supercar's 'Three Out Change!!' may be the most stunning debut in Japanese rock history |newspaper=[[The Japan Times]] |date=October 4, 2017 |url=https://www.japantimes.co.jp/culture/2017/10/04/music/cd-reviews/supercars-three-change-may-stunning-debut-japanese-rock-history/#.WfsUxGhSzmE |access-date=November 3, 2017 |archive-url=https://web.archive.org/web/20171102232137/https://www.japantimes.co.jp/culture/2017/10/04/music/cd-reviews/supercars-three-change-may-stunning-debut-japanese-rock-history/#.WfsUxGhSzmE |archive-date=November 2, 2017 |url-status=live }}</ref> They remained active through 2005, with their later albums containing more electronic rock.<ref name=martin2017/>

[[File:FujiGreenStage.jpg|thumb|Green Stage of the Fuji Rock Festival]]
The first [[Fuji Rock Festival]] opened in 1997. [[Rising Sun Rock Festival]] opened in 1999. [[Summer Sonic Festival]] and [[Rock in Japan Festival]] opened in 2000. Though the rock scene in the 2000s was not as strong, bands such as [[Bump of Chicken]], [[Asian Kung–Fu Generation]], [[One Ok Rock]], [[Flow (Japanese band)|Flow]], [[Orange Range]], [[Radwimps]], [[Sambomaster]], [[Remioromen]], [[Uverworld]] and [[Aqua Timez]] achieved success. Orange Range also ventured into [[hip hop music|hip hop]]. Established bands as B'z, Mr. Children, Glay, and L'Arc-en-Ciel continued to top charts, though B'z and Mr. Children are the only bands to maintain high sales through the years.

Japanese rock has a vibrant underground rock scene,{{Citation needed|date = November 2009}} best known internationally for [[noise rock]] bands such as [[Boredoms]] and [[Melt Banana]], as well as [[stoner rock]] bands such as [[Boris (band)|Boris]], psychedelic rock bands such as [[Acid Mothers Temple]], and alternative acts such as [[Shonen Knife]] (who were championed in the West by [[Kurt Cobain]]), [[Pizzicato Five]] and [[the Pillows]] (who gained international attention in 1999 for the ''[[FLCL]]'' soundtrack). More conventional [[indie rock]] artists such as [[Eastern Youth]], [[the Band Apart]] and [[Number Girl]] found some success in Japan{{Citation needed|date = November 2009}}, but little recognition outside of their home country. Other notable international touring indie rock acts are [[Mono (Japanese band)|Mono]] and [[Nisennenmondai]].

====Punk rock / alternative====
{{Further|Japanese hardcore}}
Early examples of punk rock include [[SS (band)|SS]], [[the Star Club]], [[the Stalin]], {{interlanguage link|INU (band)|lt=INU|ja|INU}}, {{interlanguage link|Gaseneta|ja|ガセネタ (バンド)}}, [[Bomb Factory (band)|Bomb Factory]], Lizard (who were produced by [[the Stranglers]]) and [[Friction (band)|Friction]] (whose guitarist Reck played with [[Teenage Jesus and the Jerks]] before returning to Tokyo) and [[the Blue Hearts]]. The early punk scene was filmed by [[Gakuryū Ishii|Sogo Ishii]], who directed the 1982 film ''[[Burst City]]'' featuring a cast of punk bands/musicians and also filmed videos for The Stalin. In the 1980s, hardcore bands such as [[GISM]], [[Gauze (band)|Gauze]], Confuse, Lip Cream and Systematic Death began appearing, some incorporating [[Crossover thrash|crossover]] elements.{{Citation needed|date = November 2009}} The independent scene also included a diverse number of alternative/post-punk/new wave artists such as [[Aburadako]], [[P-Model]], [[Uchoten]], [[Auto-Mod]], [[Buck-Tick]], [[Guernica (band)|Guernica]] and [[Yapoos]] (both of which featured [[Jun Togawa]]), G-Schmitt, Totsuzen Danball and [[Jagatara]], along with noise/industrial bands such as [[Hijokaidan]] and [[Hanatarashi]].

Ska-punk bands of the late nineties extending in the years 2000 include Shakalabbits and [[175R]] (pronounced "inago rider").

===Heavy metal===
{{Main|Japanese metal}}
Japan is a successful market for [[Heavy metal music|metal]] bands. Notable examples are [[Judas Priest]]'s ''[[Unleashed in the East]]'', [[Deep Purple]]'s ''[[Made in Japan (Deep Purple album)|Made in Japan]]'', [[Iron Maiden]]'s ''[[Maiden Japan]]'', [[Michael Schenker Group]]'s ''[[One Night at Budokan]]'' and [[Dream Theater]]'s ''[[Live at Budokan (Dream Theater album)|Live at Budokan]]''.

Japanese metal emerged in the late 1970s, pioneered by bands like [[Bow Wow (band)|Bow Wow]], formed in 1975 by guitarist [[Kyoji Yamamoto]], and [[Loudness (band)|Loudness]], formed in 1981 by guitarist [[Akira Takasaki]]. Contemporary bands like [[Earthshaker (band)|Earthshaker]], [[Anthem (band)|Anthem]] and [[44 Magnum (band)|44 Magnum]] released their debut albums only around the mid eighties. The first overseas live performances were by Bow Wow in 1978 in [[Hong Kong]], the [[Montreux Jazz Festival]], and the [[Reading and Leeds Festivals|Reading Festival]] in [[England]] in 1982.<ref name="japantimes">{{cite web
| title       = Kyoji Yamamoto leaves all inhibitions behind
| work       = japantimes.co.jp
| date       = 2009-04-18
| url       = http://search.japantimes.co.jp/cgi-bin/fl20090418a1.html
| access-date       = 2011-09-14
| archive-url       = https://web.archive.org/web/20121018230626/http://www.japantimes.co.jp/text/fl20090418a1.html
| archive-date       = 2012-10-18
| url-status       = live
}}</ref> In 1983, Loudness toured United States and Europe. In 1985, the first Japanese metal act was signed to a major US label. Their albums ''[[Thunder in the East (album)|Thunder in the East]]'' and ''[[Lightning Strikes (Loudness album)|Lightning Strikes]]'', released in 1985 and 1986, peaked at number 74 (while number 4 in homeland [[Oricon]] chart), and number 64 in the [[Billboard 200|''Billboard'' 200]] charts respectively.<ref name="Ref_">{{cite magazine |url=http://www.billboard.com/charts/billboard-200#/album/loudness/thunder-in-the-east/10735 |title=Music Albums, Top 200 Albums & Music Album Charts |magazine=Billboard.com |access-date=2012-08-17 |archive-url=https://web.archive.org/web/20160412150156/http://www.billboard.com/charts/billboard-200#/album/loudness/thunder-in-the-east/10735 |archive-date=2016-04-12 |url-status=live }}</ref><ref>{{cite magazine |url=http://www.billboard.com/charts/billboard-200#/album/loudness/lightning-strikes/10736 |title=Lightning Strikes - Loudness |access-date=2010-03-14 |year=1991 |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20160412150156/http://www.billboard.com/charts/billboard-200#/album/loudness/lightning-strikes/10736 |archive-date=2016-04-12 |url-status=live }}</ref> Till the end of the eighties only two other bands, [[Ezo (band)|Ezo]] and [[Dead End (band)|Dead End]], released albums in the United States. In the eighties few bands had a female member, like the all-female band [[Show-Ya]] fronted by [[Keiko Terada]], and [[Terra Rosa (band)|Terra Rosa]] with Kazue Akao on vocals. In September 1989, Show-Ya's album ''[[Outerlimits]]'' was released, reaching #3 on the Oricon album chart.<ref>{{cite web | url = http://ranking.oricon.co.jp/free_contents/search/ranking_list.asp?itemcd=90557&samecd=1&chart_kbn=11A&linkcd=30010757 | title = Outerlimits Oricon chart | access-date = 12 September 2010 | publisher = [[Oricon]] | language = ja}}</ref> Heavy metal bands reached their peak in the late 1980s and then many disbanded until the mid-1990s.

[[File:Xjapan hongkong.jpg|thumb|right|Concert of pioneer of [[visual kei]], [[X Japan]] at [[Hong Kong]] in 2009 after their 2007 reunion]]
In 1982, some of the first Japanese [[glam metal]] bands were formed, like [[Seikima-II]] with [[Kabuki]]-inspired makeup, and [[X Japan]] who pioneered the Japanese movement known as [[visual kei]], and became the best-selling metal band.<ref>{{cite web|author=Strauss, Neil|url=https://query.nytimes.com/gst/fullpage.html?res=9D00EFD7103DF93BA25755C0A96E958260&sec=&spon=&pagewanted=all|title=The Pop Life: End of a Life, End of an Era|date=1998-06-18|work=The New York Times|access-date=2008-05-09|archive-url=https://web.archive.org/web/20120413165821/http://www.nytimes.com/1998/06/18/arts/the-pop-life-end-of-a-life-end-of-an-era.html|archive-date=2012-04-13|url-status=live}}</ref> In 1985, Seikima-II's album ''Seikima-II - Akuma ga Kitarite Heavy Metal'' was released and although it reached number 48 on the Oricon album chart, it exceeded 100,000 in sales, the first time for any Japanese metal band. Their albums charted regularly in the top ten until the mid 1990s. In April 1989, X Japan's second album ''[[Blue Blood (X Japan album)|Blue Blood]]'' was released and went to number 6, and after 108 weeks on charts sold 712,000 copies.<ref name="BBJeoricon">{{cite web|url=http://www.oricon.co.jp/news/rankmusic/42172/|title=X、初期のリマスター再発商品2作が好調！|publisher=Oricon|date=2007-02-14|language=ja|access-date=2009-07-23|archive-url=https://web.archive.org/web/20100507050228/http://www.oricon.co.jp/news/rankmusic/42172/|archive-date=2010-05-07|url-status=live}}</ref> Their third and best-selling album ''[[Jealousy (X Japan album)|Jealousy]]'' was released in July 1991; it topped the charts and sold 1.11 million copies.<ref name="BBJeoricon"/> Two number one studio albums, ''[[Art of Life]]'' and ''[[Dahlia (album)|Dahlia]]'', a singles compilation ''[[X Singles]]'', all sold more than half a million,<ref>{{cite web|url=http://www7a.biglobe.ne.jp/%257Eyamag/album/al_x.html|title=X JAPAN|work=biglobe.ne.jp|language=ja|access-date=2011-10-21|url-status=dead|archive-url=https://archive.today/2007.11.11-034142/http://www7a.biglobe.ne.jp/~yamag/album/al_x.html|archive-date=2007-11-11}}</ref> ending up with thirteen top five singles before disbanding in 1997.<ref name="Oricon singles">{{cite web|url=http://www.oricon.co.jp/prof/artist/26180/ranking/cd_single/|title=X JAPANのシングル売り上げランキング|language=ja|publisher=oricon.co.jp|access-date=2011-08-31|archive-url=https://archive.today/2012.12.05-051936/http://www.oricon.co.jp/prof/artist/26180/ranking/cd_single/|archive-date=2012-12-05|url-status=live}}</ref>

Japanese metal came to global attention in 2014 with the success of "[[kawaii metal]]" band [[Babymetal]]. They recorded viral [[YouTube]] hits like "[[Gimme Chocolate!!]]" as well as international performances including at the UK's [[Sonisphere Festival#Sonisphere 2014|Sonisphere Festival 2014]] and Canada's [[Heavy Montréal]] alongside the likes of [[Metallica]] and [[Slayer]]. Babymetal was the opening act to five of [[Lady Gaga]]'s concerts in her [[ArtRave: The Artpop Ball]] 2014 tour.<ref>{{cite web|url=http://www.billboard-japan.com/d_news/detail/20622|title=BABYMETAL レディー・ガガの米ツアーに大抜擢、LAワンマンも – Daily News – Billboard JAPAN|language=ja|access-date=2016-03-15|archive-url=https://web.archive.org/web/20160303165246/http://www.billboard-japan.com/d_news/detail/20622|archive-date=2016-03-03|url-status=live}}</ref><ref>{{cite web|url=http://www.kdramastars.com/articles/25403/20140618/lady-gaga-artrave-tour-2014-babymetal-confirmed-opening-act-japanese.htm|title=Lady Gaga Artrave US Tour 2014: Babymetal Confirmed As Opening Act|author=<!--Staff writer(s); no by-line.-->|date=2014-06-18|website=KDramaStars.com|access-date=2014-06-18|archive-url=https://web.archive.org/web/20140714162414/http://www.kdramastars.com/articles/25403/20140618/lady-gaga-artrave-tour-2014-babymetal-confirmed-opening-act-japanese.htm|archive-date=2014-07-14|url-status=live}}</ref> Babymetal won numerous awards including [[Kerrang!]]'s The Spirit of Independence Award and [[Metal Hammer]]'s Breakthrough Band Award.<ref name="ro69151214">{{Cite news |url= http://ro69.jp/news/detail/135677 |title= BABYMETAL、宙を舞う！ 新曲連打、大発表続々で燃えた横浜アリーナ公演レポート！ |newspaper= [[Rockin'On Japan]] |publisher= 株式会社[[ロッキング・オン]] |author= 高橋智樹 |date= 2015-12-14 |access-date= 2015-12-21 |language= ja |archive-url= https://web.archive.org/web/20151222151529/http://ro69.jp/news/detail/135677 |archive-date= 2015-12-22 |url-status= live }}</ref>

====Extreme metal====
Japanese [[extreme metal]] bands formed in the wake of the American and European wave, but did not get any bigger exposure until the 1990s, and the genre took underground form in Japan.{{Citation needed|date = November 2009}} The first [[thrash metal]] bands formed in the early 1980s, like [[United (band)|United]], whose music incorporates [[death metal]] elements, and [[Outrage (band)|Outrage]]. United performed in Los Angeles at the metal festival "Foundations Forum" in September 1995 and released a few albums in North America. Formed in the mid 1980s, [[Doom (Japanese band)|Doom]] played in the United States in October 1988 at [[CBGB]], and was active until 2000 when it disbanded.

The first bands to play [[black metal]] music were [[Sabbat (Japanese band)|Sabbat]], who is still active, and [[Bellzlleb]], who was active until the early 1990s. Other notable acts are [[Sigh (band)|Sigh]], [[Abigail (band)|Abigail]], and [[Gallhammer]].

[[Doom metal]] also gained an audience in Japan. The two best-known Japanese doom metal acts are [[Church of Misery]] and [[Boris (band)|Boris]]: both gained considerable popularity outside the country.

====Metalcore====
In the 2000s, Japanese metalcore bands such as Tokyo's [[Crystal Lake (band)|Crystal Lake]], Nagoya natives [[Coldrain]] and [[Deathgaze]], Kobe's [[Fear, and Loathing in Las Vegas]], and Osaka's [[Crossfaith]] formed.

===Hip hop===
{{Main|Japanese hip hop}}
Hip-hop came in the late 1980s and continues to thrive. This was mainly due to the music world's belief that "Japanese sentences were not capable of forming the rhyming effect that was contained in American rappers' songs."<ref>Kinney, Caleb. "Hip-hop influences Japanese Culture. http://www.lightonline.org/articles/chiphopjapan.html {{Webarchive|url=https://web.archive.org/web/20150509064724/http://www.lightonline.org/articles/chiphopjapan.html |date=2015-05-09 }}</ref>

Different "families" of rappers perform on stage at a [[genba]], or nightclub. A family is essentially a collection of rap groups that are usually headed by one of the more famous Tokyo acts, which also include proteges.<ref name="Ref-2">Condry, Ian. "A History of Japanese Hip-Hop: Street Dance, Club Scene, Pop Market." In Global Noise: Rap and Hip-Hop Outside the USA, 237, Middletown: Wesleyan University Press, 2001.</ref> They are important because they are "the key to understanding stylistic differences between groups."<ref name="Ref-2" /> Hip-hop fans in the audience are in control of the club. They judge who is the winner in rap contests on stage. An example of this can be seen with the battle between rap artists [[Dabo]] (a major label artist) and [[Kan (musician)|Kan]] (an indie artist). Kan challenged Dabo while Dabo was mid-performance. The event highlighted showed "the openness of the scene and the fluidity of boundaries in clubs."<ref>Condry, Ian. "Hip-Hop Japan". Durham and London, Duke University Press, 144.</ref>

=== Grime ===
{{Main|Grime_(music_genre)#Japanese_grime|l1=Japanese grime}}[[Grime (music genre)|Grime]] is a British electronic genre<ref>{{Cite news|url=https://www.dictionary.com/e/slang/wagwan/|title=What Does wagwan Mean? {{!}} Slang by Dictionary.com|work=Everything After Z by Dictionary.com|access-date=2018-11-18|language=en-US|archive-url=https://web.archive.org/web/20181119010707/https://www.dictionary.com/e/slang/wagwan/|archive-date=2018-11-19|url-status=live}} {{verify source |date=August 2019 |reason=This ref was deleted ([[Special:Diff/901422525]]) by a bug in VisualEditor and later restored by a bot from the original cite at [[Special:Permalink/901162895]] cite #7 - please verify the cite's accuracy and remove this {verify source} template. [[User:GreenC bot/Job 18]]}}</ref><ref>{{Cite web|url=https://www.complex.com/music/an-idiots-guide-to-edm-genres/grime|title=An Idiot's Guide to EDM GenresGrime|website=Complex|language=en|access-date=2018-11-18|archive-url=https://web.archive.org/web/20181118153102/https://www.complex.com/music/an-idiots-guide-to-edm-genres/grime|archive-date=2018-11-18|url-status=live}} {{verify source |date=August 2019 |reason=This ref was deleted ([[Special:Diff/901422525]]) by a bug in VisualEditor and later restored by a bot from the original cite at [[Special:Permalink/901162895]] cite #8 - please verify the cite's accuracy and remove this {verify source} template. [[User:GreenC bot/Job 18]]}}</ref> that emerged in the early 2000s derived from [[UK garage]] and [[Oldschool jungle|jungle]],<ref name="auto">{{cite news |first=Matthew |last=McKinnon |title=Grime Wave |url=http://www.cbc.ca/arts/music/grimewave.html |work=[[Canadian Broadcasting Corporation]] |date=5 May 2005 |archive-url=https://web.archive.org/web/20070126235949/http://www.cbc.ca/arts/music/grimewave.html |archive-date=26 January 2007 |access-date=23 January 2016}} {{verify source |date=August 2019 |reason=This ref was deleted ([[Special:Diff/901422525]]) by a bug in VisualEditor and later restored by a bot from the original cite at [[Special:Permalink/901162895]] cite #9 - please verify the cite's accuracy and remove this {verify source} template. [[User:GreenC bot/Job 18]]}}</ref> and draws influence from [[dancehall]], [[ragga]], and [[Hip hop music|hip hop]].<ref>{{Cite web |url=http://uk.complex.com/music/2016/06/hip-hop-dancehall-breaking-down-the-origins-of-grime/dizzee-talks-hip-hop-rosenberg |title=Hip-Hop Or Dancehall? Breaking Down The Grime Scene's Roots |website=Complex UK |language=en |access-date=5 February 2017 |archive-url=https://web.archive.org/web/20170206103917/http://uk.complex.com/music/2016/06/hip-hop-dancehall-breaking-down-the-origins-of-grime/dizzee-talks-hip-hop-rosenberg |archive-date=6 February 2017 |url-status=live }} {{verify source |date=August 2019 |reason=This ref was deleted ([[Special:Diff/901422525]]) by a bug in VisualEditor and later restored by a bot from the original cite at [[Special:Permalink/901162895]] cite #2 - please verify the cite's accuracy and remove this {verify source} template. [[User:GreenC bot/Job 18]]}}</ref> The style is typified by rapid, syncopated [[breakbeat]]s, generally around 140 [[Tempo#Beats per minute|bpm]],<ref name="auto"/><ref>{{cite book|last=Cowie|first=Richard Kylea|date=2017|title=Eskiboy|location=London|publisher=William Heinemann|page=72|isbn=978-1-785-15159-0}} {{verify source |date=August 2019 |reason=This ref was deleted ([[Special:Diff/901422525]]) by a bug in VisualEditor and later restored by a bot from the original cite at [[Special:Permalink/901162895]] cite #1 - please verify the cite's accuracy and remove this {verify source} template. [[User:GreenC bot/Job 18]]}}</ref> and often features an aggressive or jagged electronic sound.<ref>{{cite web|title=Garage rap/Grime overview|url=http://www.allmusic.com/style/garage-rap-grime-ma0000004464|website=[[AllMusic]]|access-date=9 February 2017|archive-url=https://web.archive.org/web/20170119215703/http://www.allmusic.com/style/garage-rap-grime-ma0000004464|archive-date=19 January 2017|url-status=live}} {{verify source |date=August 2019 |reason=This ref was deleted ([[Special:Diff/901422525]]) by a bug in VisualEditor and later restored by a bot from the original cite at [[Special:Permalink/901162895]] cite #10 - please verify the cite's accuracy and remove this {verify source} template. [[User:GreenC bot/Job 18]]}}</ref> [[Rapping]] is a significant element, and lyrics often revolve around gritty depictions of urban life.<ref>{{cite book|last1=Bramwell|first1=Richard|title=UK Hip-Hop, Grime and the City: The Aesthetics and Ethics of London's Rap Scenes|date=2012|publisher=Routledge|isbn=9781135085971|url=https://books.google.com/books?id=nDesCQAAQBAJ&q=grime+urban+life|access-date=2019-08-30|archive-url=https://web.archive.org/web/20190612042650/https://books.google.com/books?id=nDesCQAAQBAJ&dq=grime+urban+life&source=gbs_navlinks_s|archive-date=2019-06-12|url-status=live}} {{verify source |date=August 2019 |reason=This ref was deleted ([[Special:Diff/901422525]]) by a bug in VisualEditor and later restored by a bot from the original cite at [[Special:Permalink/901162895]] cite #11 - please verify the cite's accuracy and remove this {verify source} template. [[User:GreenC bot/Job 18]]}}</ref>

In 2004, Japanese DJ's began to play grime.<ref name=":20">{{Cite news|url=https://ukf.com/words/mc-duff-and-the-rise-of-japanese-grime/18472|title=MC Duff and the rise of Japanese grime|date=2017-01-27|work=UKF|access-date=2018-04-03|language=en-US|archive-url=https://web.archive.org/web/20180404201101/https://ukf.com/words/mc-duff-and-the-rise-of-japanese-grime/18472|archive-date=2018-04-04|url-status=live}}</ref> In 2008 that MC's, primarily from [[Osaka]], began to emerge. The MC's were inspired by British grime crew [[Roll Deep]], and their mixtape ''Rules And Regulations.'' The Osaka MC's consisted of pioneers MC Dekishi, MC Duff and MC Tacquilacci.<ref name=":1">{{Cite news|url=http://mixmag.net/feature/meet-the-five-mcs-and-producers-at-the-forefront-of-grime-in-japan|title=Meet the five MCs and producers at the forefront of grime in Japan|work=Mixmag|access-date=2018-04-03|archive-url=https://web.archive.org/web/20180404201117/http://mixmag.net/feature/meet-the-five-mcs-and-producers-at-the-forefront-of-grime-in-japan|archive-date=2018-04-04|url-status=live}}</ref><ref>{{Cite news|url=https://metropolisjapan.com/japans-underground-meets-u-k/|title=Japan's underground meets the U.K. – Metropolis Magazine|date=2016-06-26|work=Metropolis Magazine|access-date=2018-04-04|language=en-US|archive-url=https://web.archive.org/web/20180404134720/https://metropolisjapan.com/japans-underground-meets-u-k/|archive-date=2018-04-04|url-status=live}}</ref> MC Dekishi released the first ever Japanese grime mixtape in 2009, titled "Grime City Volume 1".<ref name=":20" /> Osaka MC's are known for rapping extremely fast.<ref name="grm">{{Cite web|url=http://grmdaily.com/mc-pakin-dj-sakana-interview|title=GRM Exclusive: An Interview With Japanese grime artists MC Pakin & DJ Sakana|date=2 June 2017|website=GRM Daily - Grime, Rap music and Culture|language=en-GB|access-date=2018-04-03|archive-url=https://web.archive.org/web/20180404134654/http://grmdaily.com/mc-pakin-dj-sakana-interview|archive-date=4 April 2018|url-status=live}}</ref> Another scene sprung up in the Tokyo region of [[Shibuya]] led by Carpainter, Double Clapperz, MC ONJUICY, PAKIN and Sakana Lavenda.<ref name=":1" />

===Synth-pop and club music===
{{See also|Electronic music|synth-pop|electro music}}

[[Synth-pop]] in Japan was influenced by German electronic and techno artists such as [[Kraftwerk]]. New wave and synth-pop bands such as Hikasyuu, [[P-Model]] and [[Plastics (band)|The Plastics]] were popular. Many musicians of the 1970s and 80s who were known for pop music turned to techno production such as C-C-B and [[Akiko Yano]]. In the 1990s, [[Denki Groove]] formed and became mainstays of the Japanese [[electronica]] scene. Artists such as [[Polysics]] pay explicit homage to this era. [[Capsule (band)|Capsule]]'s [[Yasutaka Nakata]] has been involved behind the scenes of popular [[electropop]] acts [[Perfume (Japanese band)|Perfume]] and [[Kyary Pamyu Pamyu]], both of which had domestic and international success; Kyary in particular was dubbed the "Kawaii Harajuku Ambassador".

==== Kawaii Future Bass ====
{{Main|Kawaii Future Bass}}
Kawaii Future Bass is a subgenre of [[Future bass|Future Bass]], with a generally upbeat sound and heavily inspired by Japanese culture, and often includes Japanese lyrics or references to anime or manga. It began to see success around 2015, mostly pioneered by [[Snail's House]]. Due to Japan's increasing influence in foreign countries, Kawaii Future Bass grew popular around the world.

===Roots and country music===
In the late 1980s, [[Traditional music|roots bands]] like [[Shang Shang Typhoon]] and [[the Boom]] became popular. Okinawan roots bands like [[Nenes]] and [[Kina (band)|Kina]] were also commercially and critically successful. This led to a second wave of Okinawan music, led by the sudden success of [[Rinken Band]]. Bands followed, including the comebacks of Champluse and Kina, as led by Kawachiya Kikusuimaru; very similar to [[kawachi ondo]] is [[Tadamaru Sakuragawa]]'s [[goshu ondo]].

[[Country music#Japan and Asia|J-country]] is a form of J-pop that originated in the 1960s, during the international popularity of [[Western (genre)|Westerns]].<ref name="Furmanovsky 2008 p. ">{{cite journal | last=Furmanovsky | first=Michael | title=American Country Music in Japan: Lost Piece in the Popular Music History Puzzle | journal=Popular Music and Society | publisher=Taylor & Francis | volume=31 | issue=3 | date=January 1, 2008 | pages=357–372 | issn=0300-7766 | url=https://www.tandfonline.com/doi/abs/10.1080/03007760701682383 | access-date=October 14, 2022 | doi=10.1080/03007760701682383 | s2cid=191566118 }}</ref> Major companies such as [[Nintendo]] and [[Sony]] continue to produce country and [[Western music (North America)|Western music]] within Japan.<ref name="Lee 2021">{{cite web | last=Lee | first=Julia | title=Animal Crossing: New Horizons K.K. Slider song list, music guide | website=Polygon | date=November 8, 2021 | url=https://www.polygon.com/animal-crossing-new-horizons-switch-acnh-guide/22770283/k-k-slider-song-list-music-how-to-get-titles-request-unlock-stereo-speakers-how-to-play | access-date=October 14, 2022}}</ref><ref name="Goldmine Magazine: Record Collector & Music Memorabilia 2022">{{cite web | title=See Willie Nelson live footage from long-out-of-print Japanese performance in 1984 | website=Goldmine Magazine: Record Collector & Music Memorabilia | date=October 13, 2022 | url=https://www.goldminemag.com/artist-news/see-willie-nelson-live-footage-from-long-out-of-print-japanese-performance-in-1984 | access-date=October 14, 2022}}</ref>

===Latin, reggae and ska music===
{{Further|Japanese reggae|Japanese ska}}
Music from [[Indonesia]], [[Jamaica]] and elsewhere were assimilated. African [[soukous]] and Latin music, like [[Orquesta de la Luz|Orquesta de la Luz (オルケスタ・デ・ラ・ルス)]], was popular as was Jamaican [[reggae]] and [[ska]], exemplified by Mice Teeth, [[Mute Beat]], La-ppisch, Home Grown and Ska Flames, Determinations, and [[Tokyo Ska Paradise Orchestra]].

===Noise music===
{{Main|Japanoise}}
Another recognized music form from Japan is [[noise music]]. The noise from this country is called [[Japanoise]]. Its most prominent representative is [[Masami Akita]] with his project [[Merzbow]].

=== Theme music ===
{{See also|Anime composer|Anime song}}
[[Theme music]] for films, [[anime song|anime]], [[tokusatsu]] ({{nihongo|tokuson|特ソン}}) and [[Japanese television drama|dorama]] are considered a separate music genre. While musicians and bands from all genres have recorded for Japanese television and film, several artists and groups have spent most of their careers performing theme songs and composing [[soundtrack]]s for visual media. Such artists include [[Masato Shimon]] (current holder of the world record for most successful single in Japan for "[[Oyoge! Taiyaki-kun]]"),<ref>{{cite web|url=http://contents.oricon.co.jp/news/music/52143/full/|title=「およげ！たいやきくん」がギネス認定、再評価の気運高まる|publisher=Oricon|date=2008-02-20|access-date=2008-12-16|archive-url=https://web.archive.org/web/20111001093643/http://contents.oricon.co.jp/news/music/52143/full/|archive-date=2011-10-01|url-status=live}}</ref> [[Ichirou Mizuki]], all of the members of [[JAM Project]] (i.e. [[Hironobu Kageyama]] who sung the openings for ''[[Dengeki Sentai Changeman]]'' and ''[[Dragon Ball Z]]''), [[Akira Kushida]], members of [[Project.R]], [[Isao Sasaki]] and [[Mitsuko Horie]]. Notable composers of Japanese theme music include [[Joe Hisaishi]], [[Michiru Oshima]], [[Yoko Kanno]], [[Toshihiko Sahashi]], [[Yuki Kajiura]], [[Kōtarō Nakagawa]], [[Shunsuke Kikuchi]] and [[Yuki Hayashi (composer)|Yuki Hayashi]].

=== Game music ===
{{See also|Video game music|Chiptune|Bitpop|Nintendocore}}
[[File:Nobuo Uematsu.jpg|thumb|upright|[[Nobuo Uematsu]], composer for the ''[[Final Fantasy]]'' game series]]
When the first [[electronic games]] were sold, they had rudimentary [[Chip music|sound chips]] with which to produce music. As the technology advanced, quality increased dramatically. The first game to take credit for its music was ''[[Xevious]]'', also noteworthy (at that time) for its deeply constructed stories. One of the most important games in the history of the video game music is ''[[Dragon Quest]]''. [[Koichi Sugiyama]], who composed for various anime and TV shows, including ''[[Cyborg 009]]'' and a feature film of ''[[Godzilla vs. Biollante]]'', got involved in the project out of curiosity and proved that games can have serious soundtracks. Until his involvement, music and sounds were often neglected in the development of video games and programmers with little musical knowledge were forced to write the soundtracks as well. Undaunted by technological limits, Sugiyama worked with only 8-part polyphony to create a soundtrack that would not tire the player despite hours of gameplay.

A well-known author of game music is [[Nobuo Uematsu]]. Uematsu's earlier compositions for the game series, ''[[Final Fantasy]]'', on [[Nintendo Entertainment System|Famicom]] (Nintendo Entertainment System in America), were arranged for full orchestral score. In 2003, he took his rock-based tunes from their original MIDI format and created [[the Black Mages]].  [[Yasunori Mitsuda]] is the composer of music for such games as ''[[Xenogears]]'', ''[[Xenosaga Episode I]]'', ''[[Chrono Cross]]'', and ''[[Chrono Trigger]]''. [[Koji Kondo]], the sound manager for [[Nintendo]], wrote themes for ''[[The Legend of Zelda|Zelda]]'' and ''[[Mario (franchise)|Mario]]''. [[Jun Senoue]] composed for ''[[Sonic the Hedgehog]]''. He also is the main guitarist of [[Crush 40]], which is known for creating the theme songs to ''[[Sonic Adventure]]'', ''[[Sonic Adventure 2]]'', ''[[Sonic Heroes]]'', ''[[Shadow the Hedgehog (video game)|Shadow the Hedgehog]]'', and ''[[Sonic and the Black Knight]]'', as well as other ''Sonic'' games. [[Motoi Sakuraba]] composed the ''[[Tales (video game series)|Tales]]'', ''[[Dark Souls]]'', ''[[Eternal Sonata]]'', ''[[Star Ocean]]'', ''[[Valkyrie Profile]]'', ''[[Golden Sun]]'', and the ''[[Baten Kaitos: Eternal Wings and the Lost Ocean|Baten Kaitos]]'' games, as well as numerous [[Mario sports games]]. [[Yuzo Koshiro]] composed electronic music-influenced soundtracks for games such as ''[[The Revenge of Shinobi (1989 video game)|Revenge of Shinobi]]'' and the ''[[Streets of Rage]]'' series.

Pop singers such as [[Hikaru Utada]], [[Nana Mizuki]] and [[BoA]] sometimes sing for games.

==See also==
* [[Cool Japan]]
* [[Oricon]]
* [[Shibuya-kei]]
* [[List of musical artists from Japan]]
* [[List of Japanese hip hop musicians]]
* [[List of J-pop artists]]

==Further reading==
* {{citation
| title = Japanese Music and Musical Instruments
| author = [[William P. Malm|Malm, William P.]]
| edition = 1st
| place = Tokyo & Rutland, Vt.
| publisher = C. E. Tuttle Co.
| date = 1959}}
* {{citation
| title = Nagauta: The Heart of Kabuki Music
| author = [[William P. Malm|Malm, William P.]]
| place = Westport, Conn.
| publisher = Greenwood Press
| date = 1963| hdl = 2027/mdp.39015007996476
| isbn = 9780837169002
}}

==References==
{{Reflist}}

==External links==
* {{in lang|fr}} [http://www.ville-ge.ch/meg/musinfo_ph.php?what=pays=Japon&debut=0&bool=AND Audio clips: Traditional music of Japan.] [[Musée d'ethnographie de Genève]]. Accessed November 25, 2010.
* [http://www.bbc.co.uk/programmes/p005xlpc BBC Radio 3 Audio (60 minutes): Minyo singers and Taiko drumming.] Accessed November 25, 2010.
* [http://www.bbc.co.uk/programmes/p005xlpv BBC Radio 3 Audio (60 minutes): Sadao China, Yoriko Ganeko, The Rinken Band.] Accessed November 25, 2010.
* [http://jtrad.columbia.jp/ columbia.jp – Japanese Traditional Music]
* [https://web.archive.org/web/20121115003507/http://japanese.lingualift.com/blog/best-japanese-music-artists/ Best Japanese non-pop music artists]
* [http://www.ethnomusicology.org/?Groups_SIGsJPA Japanese Performing Arts special interest group, Society for Ethnomusicology] (international group of scholars who research Japanese music and performing arts)

{{Music of Japan}}
{{Japan topics}}
{{Music of Asia}}
{{Authority control}}
{{World topic|Music of}}

[[Category:Japanese music| ]]