The inner world opened by the gagaku instrument, the gakubiwa - Freedom is found amid restrictions.

//Summary - Level-B2//

Taro Ishida, a Japanese composer, introduces the Gaku Biwa, a traditional string instrument used in Gagaku, Japan’s ancient court music. In his talk titled “The Inner World Opened by the Gaku Biwa – Freedom Exists Within Limitations”, he explains how working with this limited instrument led him to deep artistic and personal insights. At first, the Gaku Biwa’s fixed notes and strict patterns felt frustrating. However, over time, Ishida discovered that true freedom can come from within even the most restrictive situations. He compares this process to Zen philosophy, where stillness and repetition allow one to look inward. The Gaku Biwa became a mirror to his inner world, helping him create music with emotional depth. Ishida now believes that its unchanging sounds invite the performer and the listener to reflect. He recommends the solo album Yusura by Kaori Nakamura to experience the quiet beauty and expressive power of the Gaku Biwa.

1. Introduction to Gagaku and the Gaku Biwa

Presenter: Taro Ishida, a Japanese composer and music producer, introduces the Gaku Biwa, a traditional string instrument used in Gagaku—the ancient ceremonial court music of Japan.

Audience-Friendly Approach: Though Gagaku may seem complex or unfamiliar, Ishida explains it in a way that even those with no background in music can understand.

Philosophical Significance: He believes Gagaku is not just music but a vessel of profound philosophical wisdom, reflecting centuries of Japanese culture and values.

2. What is the Gaku Biwa?

Definition: The Gaku Biwa is one type of biwa, a pear-shaped lute. It is used exclusively in Gagaku ensembles, distinguishing it from other types like the heike biwa or chikuzen biwa.

Name Origin: The name “biwa” is said to come from the fruit-like shape resembling a halved loquat or pear.

Structure:

It has four strings and four frets, and is played horizontally.
The performer plucks the strings with a large, fan-shaped plectrum (bachi).
The upper strings produce lower tones, and the lower strings higher tones.

Basic Technique:

Most phrases follow a low-to-high string plucking order, though variations occur.
It has a distinct, percussive sound that adds rhythm to the Gagaku ensemble.

3. The Gaku Biwa’s Role and Uniqueness

Musical Role:

In a typical four-beat Gagaku rhythm, the Gaku Biwa strikes the strong first beat, giving the music a sense of grounding.
It is similar to a bass instrument in Western ensembles, offering rhythmic and tonal foundation.

Tuning (Chōgen):

Unlike modern instruments, the Gaku Biwa requires manual tuning each time the mode (chō) changes.
After tuning, players make a clear “kachin” sound by placing the plectrum into a holder, signalling to others that tuning is complete.

Notation and Language:

Each note position has a kanji name, and these notations are unique to traditional Japanese music, making it deeply tied to cultural expression.

4. A Composer’s First Encounter with Gaku Biwa

Unexpected Challenge:

Ishida first composed for Gagaku by chance after being asked to create background music for an exhibition at a university museum.

Though unfamiliar with Gagaku, he accepted the challenge and chose two instruments: shō (mouth organ) and Gaku Biwa, to simplify his task.

Reason for Choosing the Biwa:

Instruments like hichiriki and ryūteki allow complex pitch bending (portamento), which was initially difficult to understand and control.

The Gaku Biwa, on the other hand, uses fixed pitches, making it easier to grasp conceptually and technically.

5. Discovering Freedom Within Limits
Struggles in Composition:

At first, Ishida was frustrated by how limited the instrument seemed. It played the same tones repeatedly and had very little room for variation.

He compared this to trying to write music with a tiny set of letters or tools, which made him feel creatively stuck.

Philosophical Turn:

However, over time, Ishida began to feel something shift. The repetition led him inward, forcing him to explore deeper emotional and musical spaces.

He compared this experience to shogi (Japanese chess), where great masters find infinite depth in 81 squares.

Zen Influence:

This realisation reminded him of Zen philosophers like Kitaro Nishida and D.T. Suzuki, who found vast insight through meditation and stillness.

Like sitting silently in front of a wall, working with the Gaku Biwa turned Ishida’s attention inward, opening up a whole new universe.

6. Music as a Mirror of the Soul

Creative Breakthrough:

Ishida named his first composition "Kotsu-ka" (Bone Song), symbolising the Gaku Biwa as the “skeleton” or structural core of the music.
Instead of seeing limitation as a weakness, he saw it as a source of power and focus.

Spiritual Message:

The Gaku Biwa's repetitive nature is not just musical—it’s also philosophical. It invites listeners to reflect inwardly.
Rather than delivering a changing melody, the instrument acts as a mirror, allowing each listener to discover something within themselves.

Trust in the Audience:

Ishida believes that repetition is a form of trust. The composer trusts the listener to engage actively, not to consume passively.

7. Final Thoughts and Recommendation

Reevaluation of the Instrument:

What Ishida once saw as a restrictive instrument, he now sees as a deeply expressive and spiritual tool.
It has changed his view of music composition and expanded his creativity.

Future Desire:

He wants to compose many more pieces for the Gaku Biwa and encourages others to explore its unique sound.

Listening Recommendation:

He highly recommends the album "Yusura" by Kaori Nakamura, one of the few solo Gaku Biwa recordings. It showcases the instrument’s quiet power and emotional depth.