Confronting Silence by Toru Takemitsu

Author:Toru Takemitsu
Language: eng
Format: epub
Publisher: Scarecrow Press
Published: 1995-03-14T16:00:00+00:00

Tradition of Sawari

The biwa could be called the mother of Japanese music. The major characteristic that sets it apart from Western instruments in the active inclusion of noise in its sound, whereas Western instruments, in the process of development, sought to eliminate noise. It may sound contradictory to refer to “beautiful noise,” but the biwa is constructed to create such a sound. That sound is called sawari, a term that also has come to be used in a general sense, as we will see.

On the biwa the sawari is part of the neck of the instrument where four or five strings are stretched over a grooved ivory plate. When a string is stretched between these grooves and plucked, it strikes the grooves and makes a noise. The concave area of this ivory plate is called the “valley of the sawari,” the convex area the “mountain of the sawari,” and the entire plate simply sawari. When a string is stretched between these grooves and plucked, it strikes the grooves and makes a noisy “bin.”

The term sawari may also mean “to touch.” But this term, more than referring to a part of an instrument or touching, contains a much wider significance useful in understanding Japanese aesthetics.

In a book from the Edo period [1615–1867], the biwa player is advised to try to imitate the sound of the cicada. The biwa is deliberately designed, with sawari plate, to create such insect sounds. This is also true of the shamisen.

The term sawari, which also means “touch,” may additionally mean “obstacle.” Thus, sawari is the “apparatus of an obstacle” itself. In a sense it is an intentional inconvenience that creates a part of the expressiveness of the sound. Compared to the Western attitude toward musical instruments, this deliberate obstruction represents a very different approach to sound.

In the kabuki repertory there are many long works such as Chūshingura. When one sees only the famous scenes this is referred to as “viewing only the sawari.” In this sense sawari is a very important part of a work.

What we call hōgaku today is that collection of traditional pieces developed and refined by the Edo population. Why did those people bring sawari (understood now in the sense of obstacles) into their music? Whether the reasons were political, religious, or social is not clear to me.

The monthly biological function in women is also referred to in Japanese as the “monthly sawari”—a natural inconvenience for women but essential for producing children. For me there is something symbolic about this: the inconvenience is potentially creative. In music the artificial inconvenience in creating sound produces the sound. The resulting biwa sound is strong, ambiguous, deeply significant. While the Japanese biwa cannot execute the fast passages that are part of the Chinese p’ip’a technique, it is capable of complex, profound, and wonderful sounds.

We can see that the Japanese and Western approaches to music are quite different. We speak of essential elements in Western music—rhythm, melody, and harmony. Japanese music considers the quality of sound rather than melody.

Download

Copyright Disclaimer:
This site does not store any files on its server. We only index and link to content provided by other sites. Please contact the content providers to delete copyright contents if any and email us, we'll remove relevant links or contents immediately.