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The is a Japanese short-necked fretted lute, often used in narrative storytelling. The ''biwa'' is the chosen instrument of Benten, goddess of music, eloquence, poetry, and education in Buddhism. It arrived in Japan in two forms. Since that time, the number of biwa types has more than quadrupled. Guilds supporting biwa players, particularly the biwa hoshi, helped proliferate biwa musical development for hundreds of years. Biwa hōshi performances overlapped with performances by other biwa players many years before heikyoko and continued until today. This overlap resulted in a rapid evolution of the biwa and its usage and made it one of the most popular instruments in Japan. Yet, in spite of its popularity, the Onin War and subsequent Warring States Period disrupted biwa teaching and decreased the number of proficient users. With the abolition of Todo in the Meiji period, biwa players lost their patronage. Furthermore, reforms stemming from the Meiji Restoration led to massive, rapid industrialization and modernization. Japan modeled its development on Europe and the US, praising everything Western and condemning everything native. Traditions identifiably Japanese became associated with terms like backwards or primitive. Such associations even extended into areas like art and music, and the biwa. By the late 1940s, the biwa, a thoroughly Japanese tradition, was nearly completely abandoned for Western instruments; however, thanks to collaborative efforts by Japanese musicians, interest in the biwa is being revived. Japanese and foreign musicians alike have begun embracing traditional Japanese instruments, particularly the biwa, in their compositions. While blind biwa singers no longer dominate the biwa, many performers continue to use the instrument in traditional and modern ways. ==History== The biwa came to Japan in the 7th century and it was evolved from the Chinese instrument pipa,〔(biwa from Britannica )〕 while the pipa itself was derived from similar instruments in Western Asia. This type of biwa is called the gaku-biwa and was used in gagaku ensembles and is the most commonly known type. While the route is unclear, another type of biwa found its way to the Kyushu region, and this thin biwa (called mōsō-biwa or kōjin-biwa) was used in ceremonies and religious rites. Before long, as the Ritsuryō state collapsed, the court music musicians were faced with the reconstruction and sought asylum in Buddhist temples. There they assumed the role of Buddhist monks and encountered the mōsō-biwa. They incorporated the convenient aspects of mōsō-biwa, its small size and portability, into their large and heavy gaku-biwa, and created the heike-biwa, which, as indicated by its namesake, was used primarily for recitations of The Tale of the Heike. Through the next several centuries, players of both traditions intersected frequently and developed new music styles and new instruments. By the Kamakura period (1185–1333), the heike-biwa had emerged as a popular instrument. The heike-biwa could be described as a cross between both the gaku-biwa and mōsō-biwa. It retained the rounded shape of the gaku-biwa and was played with a large plectrum like the mōsō-biwa. The heike biwa was also small, like the mōsō-biwa (actually smaller) and was used for similar purposes. While the modern satsuma-biwa and chikuzen-biwa both find their origin with the mōsō-biwa, the Satsuma biwa was used for moral and mental training by samurai of the Satsuma Domain during the Warring States period, and later in general performances. The Chikuzen biwa was used by Buddhist monks visiting private residences to perform memorial services, not only for Buddhist rites, but also for telling entertaining stories and news while accompanying themselves on the biwa, and this form of storytelling was thought to be spread in this way. Not much seems to have been written about biwas from roughly the 16th century to the mid-19th century. What is known is that three main streams of biwa emerged during that time: zato (the lowest level of the state-controlled guild of blind biwa players), shifu (samurai style), and chofu (urban style). These styles emphasized 琵琶歌 (biwa-uta) — vocalization with biwa accompaniment — and formed the foundation for 江戸歌 (edo-uta) styles such as shinnai and kota (Marett 103 ). From these styles also emerged the two principal survivors of the biwa tradition: satsuma-biwa and chikuzen-biwa (156 ). From roughly the Meiji Era (1868–1912) until the Pacific War, the satsuma-biwa and chikuzen-biwa were popular across Japan, and, at the beginning of the Showa Era (1925–1989), the nishiki-biwa was created and gained popularity. Of the remaining biwa traditions, only higo-biwa remains a style almost solely performed by blind persons in the post-war era. The higo-biwa is closely related to the heike-biwa and, similarly, relies on an oral-narrative tradition focusing on wars and legends. By the middle of the Meiji period (1868–1912), improvements had been made on the instruments and easily understandable songs were composed in quantity. In the beginning of the Taisho period (1912–1926), the Satsuma biwa was modified into the Nishiki biwa which was popular among female players at the time. With this the biwa met a great period of prosperity, and the songs themselves were not just about the Tale of the Heike but songs connected to the Sino-Japanese War and the Russo-Japanese War such as “Takeo Hirose”, “Hitachimaru”, “203 Hill” gained popularity. However, the playing of the biwa nearly became extinct during the Meiji period as Western music and instruments became popular, until players such as Tsuruta Kinshi and others revitalized the genre with modern playing styles and collaborations with Western composers. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「biwa」の詳細全文を読む スポンサード リンク
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