Influenced by the recitations of blind priests, the music of the heike biwa reflects the mood of the text. These tunings are relative, the actual pitches a given biwa is tuned to being determined by the vocal range of the singer/player. Other early known players of pipa include General Xie Shang from the Jin dynasty who was described to have performed it with his leg raised. The fourth/fifth string G is an octave higher than the second string G. Again, note this is relative tuning; it could be AEAE, GDGD, etc, depending on the players range of voice. The satsuma-biwa is traditionally made from Japanese mulberry, although other hard woods such as Japanese zelkova are sometimes used in its construction. 11.7 in. This instrument also disappeared in the Chinese court orchestras. The five-stringed pipa however had fallen from use by the Song dynasty, although attempts have been made to revive this instrument in the early 21st century with a modernized five-string pipa modeled on the Tang dynasty instrument. Influenced by the shamisen, its music is rather soft, attracting more female players. However, another variant of the biwa known as the ms-biwa or the kjin-biwa also found its way to Japan, first appearing in the Kyushu region. Its classification is a type of an Aerophone. Classification: Chordophone-Lute-plucked-fretted. It has the largest body and relatively short neck among biwas. This category only includes cookies that ensures basic functionalities and security features of the website. A number of Western pipa players have experimented with amplified pipa. Notes played on the biwa usually begin slow and thin and progress through gradual accelerations, increasing and decreasing tempo throughout the performance. 36 in. The transmission parameter (product of propagation speed and Q value of the longitudinal wave along the wood grain . Typically, the lowest notes of the arpeggios are open strings, while the highest ones can either be fingered pitches or an open string. [44] The first volume contains 13 pieces from the Northern school, the second and third volumes contain 54 pieces from the Southern school. The two-headed tacked drum hung in an elaborate circular frame in court music is a gaku-daiko or tsuri-daiko. General tones and pitches can fluctuate up or down entire steps or microtones. [6][7] According to Liu Xi's Eastern Han dynasty Dictionary of Names, the word pipa may have an onomatopoeic origin (the word being similar to the sounds the instrument makes),[6] although modern scholarship suggests a possible derivation from the Persian word "barbat", the two theories however are not necessarily mutually exclusive. greatest depth of resonator, multiple (by pressure stopping against fretted fingerboard). A new way to classify the acoustical properties of woods and clearly separate these two groups is proposed in this paper. The design and construction of the 5-string Chikuzen biwa pictured in gallery #2 is basically the same as for the 4-string model described above except accommodations need to be made to the pegbox (detail #7) and bridge (detail #8) for the additional string. 36 1/2 7 7/8 5 in. Chordophone-Lute-plucked-fretted, Credit Line: Hong Kong: Oxford University Press. Wu Man is probably the best known pipa player internationally, received the first-ever master's degree in pipa and won China's first National Academic Competition for Chinese Instruments. The narrative biwa music adopts a relative tuning; the pitch is decided to match with the players range of voice. It is the most widely used system for classifying musical . Traditionally they are lashed with heavier rope, though some modern instruments are tightened with large screws. Biwa. [10] An instrument called xiantao (), made by stretching strings over a small drum with handle, was said to have been played by labourers who constructed the Great Wall of China during the late Qin dynasty. In the narrative traditions where the pipa is used as an accompaniment to narrative singing, there are the Suzhou tanci (), Sichuan qingyin (), and Northern quyi () genres. The biwas sound at the attack (top) at one second later (bottom). It is made out of wood, with a teardrop-shaped body and a long neck with four or five high frets, and is stringed with four or five silk strings that are plucked by a big pick called bachi (). Thought to be of Persian origin, the biwa was brought to Japan in the 8th century via Central Asia, China and the Korean Peninsula. Pei Luoer was known for pioneering finger-playing techniques,[25] while Sujiva was noted for the "Seven modes and seven tones", a musical modal theory from India. The wen style is more lyrical and slower in tempo, with softer dynamic and subtler colour, and such pieces typically describe love, sorrow, and scenes of nature. The number of frets is considerably fewer than other fretted instruments. [13] What the plectrum is made of also changes the texture, with ivory and plastic plectrums creating a more resilient texture to the wooden plectrum's twangy hum. The wu style was associated more with the Northern school while the wen style was more the Southern school. Samurai ethics and battles were selected as the main themes for this style, called Satsuma-biwa (), and more dynamic techniques were developed. Exploiting the sound of the open strings increases the overall sounds volume. Finally, measure 5 shows a rare instance where a melodic tone (F# in this case) is doubled on the second beat of the biwa's pattern. Played with a large wooden plectrum, the instrument has four or five strings of twisted silk stretched over four or more . The fourth/fifth string G is an octave higher than the second string G. Again, note this is relative tuning; it could be AEAE, GDGD, etc, depending on the players range of voice. Although no longer as popular as it once was, several chikuzen biwa schools have survived to the present day in Japan and to a lesser extent in Japanese communities abroad (such as in Hawaii). [20], Garfias, Gradual Modifications of the Gagaku Tradition 16, Garfias, Gradual Modifications of the Gagaku Tradition 18, Ferranti, Relations between Music and Text in "Higo Biwa", The "Nagashi" Pattern as a Text-MusicSystem 150, Learn how and when to remove this template message, https://en.wikipedia.org/w/index.php?title=Biwa&oldid=1097578427, This page was last edited on 11 July 2022, at 14:28. [67] It is very much the same as the modern pipa in construction save for being a bit wider to allow for the extra string and the reintroduction of the soundholes at the front. The earliest-known piece in the collection may be "Eagle Seizing a Crane" () which was mentioned in a Yuan dynasty text. Kishibe, Shigeo. This is a type of biwa that wandering blind monks played for religious practice as well as in narrative musical performances during the medieval era, widely seen in the Kyushu area. It is an instrument in China, its mouth-blown free reed instrument consisting of vertical pipes. This 5-stringed lute with a powerful. Koto 3. [61][33], During the Song dynasty, players mentioned in literary texts include Du Bin (). [21] During this time, Persian and Kuchan performers and teachers were in demand in the capital, Chang'an (which had a large Persian community). The exception for these methods is for when hazusu or tataku are performed on the 4th string. Multiple strings are often played in one pluck like an arpeggio. Also known as mouth organ. 2. The number of frets is considerably fewer than other fretted instruments. Idiophones African Thumb Pianos All rights reserved. Also, thanks to the possibility of relying on a level of virtuosity never before attempted in this specific repertory, the composer has sought the renewal of the acoustic and aesthetic profile of the biwa, bringing out the huge potential in the sound material: attacks and resonance, tempo (conceived not only in the chronometrical but also deliberately empathetical sense), chords, balance and dialogue (with the occasional use of two biwas in Nuove Musiche per Biwa), dynamics and colour.[4]. Further important collections were published in the 20th century. Today, the instrument is played in both narrative and instrumental formats, in the traditional music scene as well as in various popular media. 1969. In modern biwa, particularly in Satsuma-biwa, one sometimes strikes the soundboard sharply to get percussive effects. Hornbostel-Sachs or Sachs-Hornbostel is a system of musical instrument classification devised by Erich Moritz von Hornbostel and Curt Sachs, and first published in the Zeitschrift fr Ethnologie in 1914. The scores were written in tablature form with no information on tuning given, there are therefore uncertainties in the reconstruction of the music as well as deciphering other symbols in the score. [citation needed]. In the late 20th century, largely through the efforts of Wu Man (in USA), Min Xiao-Fen (in USA), composer Yang Jing (in Europe) and other performers, Chinese and Western contemporary composers began to create new works for the pipa (both solo and in combination with chamber ensembles and orchestra). Shamisen. Even though the system has been criticized and revised over the years, it is the most widely accepted system of musical instrument classification used by organologists and . The instrument itself resembles gaku-biwa but is slightly smaller, and is held horizontally. [3][4][5], The earliest mention of pipa in Chinese texts appeared late in the Han dynasty around the 2nd century AD. 20002023 The Metropolitan Museum of Art. These players had considerable influence on the development of pipa playing in China. Bodmin, Cornwall, Great Britain: MPG Books, pp. sanxian, (Chinese: "three strings") Wade Giles romanization san-hsien also called xianzi, any of a group of long-necked, fretless Chinese lutes. [66] Some other notable pipa players in China include Yu Jia (), Wu Yu Xia (), Fang Jinlong () and Zhao Cong (). The most basic technique, tantiao (), involves just the index finger and thumb (tan is striking with the index finger, tiao with the thumb). But opting out of some of these cookies may have an effect on your browsing experience. [36][37] The Ming collection of supernatural tales Fengshen Yanyi tells the story of Pipa Jing, a pipa spirit, but ghost stories involving pipa existed as early as the Jin dynasty, for example in the 4th century collection of tales Soushen Ji. Players hold the instrument vertically. The pear-shaped biwa lute has enchanted listeners in Japan for centuries. In spite of its popularity, the nin War and subsequent Warring States Period disrupted biwa teaching and decreased the number of proficient users. We speculate that being half-way in the section, the purpose of this clash may be to avoid a too strong feeling of cadence on the 'tonic E,' since there is one more phrase to come before completing this section. After almost dying out post-World War II, the tradition was revived in part due to interest shown in the instrument by the internationally known contemporary composer Tru Takemitsu, who wrote instrumental compositions for the instrument. By the Song dynasty, the word pipa was used to refer exclusively to the four-stringed pear-shaped instrument. Traditional Chinese narrative prefers the story of the Han Chinese Princess Liu Xijun sent to marry a barbarian Wusun king during the Han dynasty, with the pipa being invented so she could play music on horseback to soothe her longings. Life in post-war Japan was difficult, and many musicians abandoned their music in favor of more sustainable livelihoods. Komoda Haruko. This is the original form of biwa that came to Japan in the 8. century. Sandstone carving, showing the typical way a pipa was held when played with plectrum in the early period. The Koto came from the Chinese zither "Gu Zheng" during the Nara period in Japan. Updates? Because of this tradition as a narrative music, the biwa is mostly played solo and is less commonly played with other types of instruments, except in gagaku () or the court orchestra where it is used in its original instrumental role, and in modern instrumental repertoire. [49] In Nanguan music, the pipa is still held in the near-horizontal position or guitar-fashion in the ancient manner instead of the vertical position normally used for solo playing in the present day. This is the original form of biwa that came to Japan in the 8th century. [51] The music collections from the 19th century also used the gongche notation which provides only a skeletal melody and approximate rhythms sometimes with the occasional playing instructions given (such as tremolo or string-bending), and how this basic framework can become fully fleshed out during a performance may only be learnt by the students from the master. The 14- or 16-fret pipa had frets arranged in approximately equivalent to the western tone and semitone, starting at the nut, the intervals were T-S-S-S-T-S-S-S-T-T-3/4-3/4-T-T-3/4-3/4, (some frets produced a 3/4 tone or "neutral tone"). This music called heikyoku () was, cherished and protected by the authorities and particularly flourished in the 14-15. We'll assume you're ok with this, but you can opt-out if you wish. Formation: Japanese. Another excerpt of figurative descriptions of a pipa music may be found in a eulogy for a pipa player, Lament for Shancai by Li Shen:[33]. During the 1910s a five-string model was developed that, since the 1920s, has been the most common form of the instrument (gallery #2). Typically 60 centimetres (24in) to 106 centimetres (42in) in length, the instrument is constructed of a water drop-shaped body with a short neck, typically with four (though sometimes five) strings. One of these, the new chikuzen biwa tradition, became popular amongst many thousands of amateurs between c.1900 and 1920. 89.4.2088. The Met Fifth Avenue 1000 Fifth Avenue There are three small soundholes on the soundboard: two visible ones (hangetsu) partially covered with moon-shaped caps made of ivory and a hidden one (ingetsu) beneath the string holder. Noted contemporary pipa players who work internationally include Min Xiao-Fen, Yang Jin(), Zhou Yi, Qiu Xia He, Liu Fang, Cheng Yu, Jie Ma, Yang Jing(, Yang Wei (),[64] Guan Yadong (), Jiang Ting (), Tang Liangxing (),[65] and Lui Pui-Yuen (, brother of Lui Tsun-Yuen). 20002023 The Metropolitan Museum of Art. Two basic types of wood are used to make stringed musical instruments: woods for soundboards (top plates) and those for frame boards (back and side plates). The archlute ( Spanish: archilad, Italian: arciliuto, German: Erzlaute) is a European plucked string instrument developed around 1600 as a compromise between the very large theorbo, the size and re-entrant tuning of which made for difficulties in the performance of solo music, and the Renaissance tenor lute, which lacked the bass range of the Further, the frets and the nut are wide, which provides a surface, not a point, for a string to touch. The Korean instrument is the only one of the three that is no longer widely used. Kaeshibachi: The performance of arpeggio with an up-ward motion of the plectrum, and it is always soft. [34][57][58] Duan Anjie described the duel between the famous pipa player Kang Kunlun and the monk Duan Shanben () who was disguised as a girl, and told the story of Yang Zhi () who learned how to play the pipa secretly by listening to his aunt playing at night. Thick strings clatter like splattering rain, While blind biwa singers no longer dominate the biwa, many performers continue to use the instrument in traditional and modern ways. In the 1920s and 1930s, the number of frets was increased to 24, based on the 12 tone equal temperament scale, with all the intervals being semitones. Tokyo:Kokusai Bunka Shinkokai. [8] The varying string thickness creates different timbres when stroked from different directions. As the biwa does not play in tempered tuning, pitches are approximated to the nearest note. Different schools however can have sections added or removed, and may differ in the number of sections with free meter. Example 4 shows the basic melody of Etenraku's section B and C, and its rhythmic accompaniment. Over the centuries, several types of biwa were created, each having a certain size plectrum, a specialized purpose, a unique performance technique, and varying numbers of strings and frets. (88.9 30.8 29.2 cm) Classification: Chordophone-Lute-plucked-fretted Credit Line: Rogers Fund, 1968 Accession Number: 68.62.1 Signatures, Inscriptions, and Markings [43] The collection was edited by Hua Qiuping (, 17841859) and published in 1819 in three volumes. [41] Three Ming dynasty pieces were discovered in the High River Flows East (, Gaohe Jiangdong) collection dating from 1528 which are very similar to those performed today, such as "The Moon on High" (, Yue-er Gao). Typically, the lower strings of the arpeggio are open, as indicated with the '0' in Example 4, while the last string hit may either be open or fingered (numbers 1 to 4 refers to the left hand's fingers from the index to the 4th finger, respectively). The instrument is plucked with a pick made out of animal horn. Carlo Forlivesi's compositions Boethius () and Nuove Musiche per Biwa () were both written for performance on the satsuma-biwa designed by Tsuruta and Tanaka. [24] However, it continued to be played as a folk instrument that also gained the interest of the literati. L 31 1/2 W. 11 13/16 D. 1 5/16 in. The pipa, pp, or p'i-p'a (Chinese: ) is a traditional Chinese musical instrument, belonging to the plucked category of instruments. This type of biwa is used for court music called gagaku (), which has been protected by the government until today. Even the biwa hshi transitioned to other instruments such as the shamisen (a three-stringed lute).[15]. Performers on the instrument frequently pluck two notes simultaneously, producing a variety of intervals, especially when the singer is silent. This website uses cookies to improve your experience while you navigate through the website. to the present. The strings are tuned in fourths, and the melody is played almost exclusively on the highest pitched string. Further, the frets and the nut are wide, which provides a surface, not a point, for a string to touch. It had close association with Buddhism and often appeared in mural and sculptural representations of musicians in Buddhist contexts. Omissions? Popular Japanese three-stringed lute. The left hand techniques are important for the expressiveness of pipa music. 89.4.123. Instrument Information Origins. Several schools of biwa playing evolved from the ms tradition, one of which, founded in the 1890s by Tachibana Chij and others and called the Asahi-kai, was based on the style of the Chikuzen region of Kyushu. Written by Nobuko Fukatsu Its plectrum is small and thin, often rounded, and made from a hard material such as boxwood or ivory. biwa, Japanese short-necked lute, distinguished by its graceful, pear-shaped body. Tachibana sought to create a new narrative style that would appeal to a contemporary urban audience (de Ferranti p. 120) and that would be performed by sighted musicians. [1][2] Modern researchers such as Laurence Picken, Shigeo Kishibe, and John Myers suggested a non-Chinese origin. In Japan the loquat is known as biwa (, ) and has been grown for over . Although typically it is used to play short standardized phrases between lines of vocal text, it may be used for longer programmatic pieces depicting battles, storms, or other dramatic events. Sort by. The first and second strings are generally tuned to the same note, with the 4th (or doubled 4th) string is tuned one octave higher. The biwa is a pear-shaped instrument with four or five strings. [62] From the Ming dynasty, famous pipa players include Zhong Xiuzhi (), Zhang Xiong (, known for his playing of "Eagle Seizing Swan"), the blind Li Jinlou (), and Tang Yingzeng () who was known to have played a piece that may be an early version of "Ambushed from Ten Sides".[63]. On view at The Met Fifth Avenue in Gallery 681. 2. Ieyasu favored biwa music and became a major patron, helping to strengthen biwa guilds (called Todo) by financing them and allowing them special privileges. Heike-biwa is an accompaniment instrument specifically used to chant the Tale of Heike stories () in the traditional way dating from the medieval era. He also qualified as a doctor of Chinese medicine. Australian dark rock band The Eternal use the pipa in their song "Blood" as played by singer/guitarist Mark Kelson on their album Kartika. In the 13th century, the story "The Tale of Heike" ()was created and told by them. The piece is in Hy-j mode (E Dorian) and the basic melody is centered on the pitches: E, B, and A, three of the four fundamental pitches of the Japanese modes. 13 in. The excerpt is performed by the ensemble Reigakusha. [39] The plectrum has now been largely replaced by the fingernails of the right hand. The strings are made of wound silk. The open strings are shown in the first measures, and the pitches assigned the left-hand fingered notes in the following four measures. It was those blind monks who fell outside of governmental protection who, during the 17. century, creatively modified the biwa to introduce a shamisen flavor, such as making frets higher to play in-between notes. At the beginning of the Meiji period, it was estimated that there were at least one hundred traditional court musicians in Tokyo; however, by the 1930s, this number had reduced to just 46 in Tokyo, and a quarter of these musicians later died in World War II. In addition, there are a number of techniques that produce sound effects rather than musical notes, for example, striking the board of the pipa for a percussive sound, or strings-twisting while playing that produces a cymbal-like effect. [22] Some delicately carved pipas with beautiful inlaid patterns date from this period, with particularly fine examples preserved in the Shosoin Museum in Japan. As in shamisen music, vocal and instrumental parts are sometimes combined and played at the same time. The gagaku biwa (), a large and heavy biwa with four strings and four frets, is used exclusively for gagaku. the fingers and thumb flick outward, unlike the guitar where the fingers and thumb normally pluck inward towards the palm of the hand. Sun performed in the United States, Asia, and Europe, and in 1956 became deputy director of the Shanghai Chinese Orchestra. The biwa strings are plucked with large wooden pick called bachi () that requires a full-handed grip. The phrase structure is of four measures of four beats, and each section is composed of two phrases. The name "pipa" is made up of two Chinese syllables, "p" () and "p" (). Malm, William P. 1959. Biwa playing has a long history on Kyushu, and for centuries the art was practiced within the institution of ms, blind Buddhist priests who performed sacred and secular texts for agrarian and other rituals. [19] Pipa acquired a number of Chinese symbolisms during the Han dynasty - the instrument length of three feet five inches represents the three realms (heaven, earth, and man) and the five elements, while the four strings represent the four seasons.[7]. [10] In solo performances, a biwa performer sings monophonically, with melismatic emphasis throughout the performance. As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes. used only as a drone, and usually tuned to the same note as the third string, making the second the lowest. Its tuning is A, E, A, B, for traditional biwa, G, G, c, g, or G, G, d, g for contemporary compositions, among other tunings, but these are only examples as the instrument is tuned to match the key of the player's voice. Hitting the body of the instrument: The plectrum is used to hit the black protective part on the front of the instrument. By the middle of the Meiji period, improvements had been made to the instruments and easily understandable songs were composed in quantity. Players from the Wang and Pudong schools were the most active in performance and recording during the 20th century, less active was the Pinghu school whose players include Fan Boyan (). Like pearls, big and small, falling on a platter of jade. As part of, Mamoru Ohashi (Japanese, active Ogasa, Shizouka Prefecture 1953). The strings are depressed not directly against the frets, but between them, and by controlling the amount of applied pressure the performer can achieve a range of pitches and pitch inflections. The plectrum also contributes to the texture of biwa music. It is a lute with a round, hollow soundboard, a short fretted neck, and usually four strings. Biwa 6. Note however that the frets on all Chinese lutes are high so that the fingers and strings never touch the fingerboard in between the frets, this is different from many Western fretted instruments and allows for dramatic vibrato and other pitch changing effects. Most contemporary performers use the five string version. The surface of the frets is constantly shaved down by the strings, and one of the most important points in the maintenance of the biwa is to keep the surfaces as flat as possible to get goodsawari, The narrative biwa music adopts a relative tuning; the pitch is decided to match with the players range of voice. Wei Zhongle (; 19031997) played many instruments, including the guqin. The method of holding the plectrum is different when performing kaeshibachi or kakubachi, and consequently composers need to allow a few seconds for the repositioning of the hand when using the two techniques in sequence. It was in the late 20th century that this instrument started to be re-discovered and re-evaluated in various musical settings, such as soundtrack for movies and ensemble and orchestra music, culminating in Toru Takemitsus signature piece November Steps, which premiered in New York City in 1967. The Museum's collection of musical instruments includes approximately 5,000 examples from six continents and the Pacific Islands, dating from about 300 B.C. greatest width of resonator Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded. (80 30 3.4 cm), Classification: The gogen-biwa (, lit. The biwa (Japanese: ) is a Japanese short-necked wooden lute traditionally used in narrative storytelling. The biwa is a plucked lute chordophone of Japan. These, according to the Han dynasty text by Liu Xi, refer to the way the instrument is played "p" is to strike outward with the right hand, and "p" is to pluck inward towards the palm of the hand. From the Dingjiazha Tomb No. So, here are six traditional Japanese instruments you can listen to today! [27] The traditional 16-fret pipa became less common, although it is still used in some regional styles such as the pipa in the southern genre of nanguan/nanyin. Heike Biwa (), Medium: Its purpose is to show in context how the biwa uses its various patterns to color some melodic tones. [21] For example, masses of pipa-playing Buddhist semi-deities are depicted in the wall paintings of the Mogao Caves near Dunhuang. The instrument is also held vertically while playing. A pipa player playing with the pipa behind his back. The instrument is played with a large wedge-shaped plectrum called a bachi. There are seven main types of Biwa, each distinguished by the number of strings, sound produced, and use. In the 9th century the Ms (blind monks') biwa began to be used by blind musicians as an accompaniment to chanted religious texts and sutras. The sanxian is made in several sizes. The biwa player with whom we worked, NAKAMURA Kahoru, improvised ten different versions of this rhythm. Resonator design, chordophone: bowl with wood soundboard, Vibrational length: tension bridge to ridge-nut, Pitches per string course: multiple (by pressure stopping against fretted fingerboard), 4-string biwa (gallery #1): Players hold the instrument vertically. Telling stories and holding religious practices with biwa accompaniment became a profession for blind monks, and it was these wandering blind monks who carried on the tradition. The . The Museum's collection of musical instruments includes approximately 5,000 examples from six continents and the Pacific Islands, dating from about 300 B.C. Example 4 shows that the biwa's melodic pitch doubles the basic melodic tone on the downbeat of almost every measure, except in measure 4 where the melodic tone 'E' is supported with a 'D' in the biwa's part. Nation: Japan. Ye Xuran (), a student of Lin Shicheng and Wei Zhongle, was the Pipa Professor at the first Musical Conservatory of China, the Shanghai Conservatory of Music. Since the revolutions in Chinese instrument-making during the 20thcentury, the softer twisted silk strings of earlier times have been exchanged for nylon-wound steel strings, which are far too strong for human fingernails, so false nails are now used, constructed of plastic or tortoise-shell, and affixed to the fingertips with the player's choice of elastic tape. . It helps illustrate the neglible amount of resonance the biwa produces, because already after 1 second most of its sound energy is below the threshold of hearing. Though its origins are unclear, this thinner variant of the biwa was used in ceremonies and religious rites. Pipa is commonly associated with Princess Liu Xijun and Wang Zhaojun of the Han dynasty, although the form of pipa they played in that period is unlikely to be pear-shaped as they are now usually depicted. It may be played as a solo instrument or as part of the imperial orchestra for use in productions such as daqu (, grand suites), an elaborate music and dance performance. The biwa has a shallow, rounded back and silk strings (usually four or five) attached to slender lateral pegs. His well-received compositions, such as November Steps, which incorporated biwa heikyoku with Western orchestral performance, revitalized interest in the biwa and sparked a series of collaborative efforts by other musician in genres ranging from J-Pop and enka to shin-hougaku and gendaigaku.

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