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For more than 1,200 years, “Gagaku” has been performed at the imperial court without changing its style; “Noh” has been a distinct form of dance theater; and “Kabuki” has been performed since the Tokugawa era. Many different Japanese musical instruments have played an important role in these traditional Japanese performances.
These instruments have been played without altering their style, and few new ones are made today. Most have been passed down from player to player for hundreds of years.

The world of traditional Japanese instruments is a mysterious one, requiring an understanding of advanced craftsmanship and materials that are difficult to find today. “Wagakki” are not merely instruments to be played; they are also part of our cultural heritage and works of art.
“HYAKUNINDO” is a fascinating shop that carries a wide variety of rare “Wagakki” and, fortunately, maintains strong connections with professionals in every field of traditional Japanese music.

 

“Noukan”

A wind instrument used in “Noh” and “Kabuki” performances. It produces a strong, rhythmic beat without a melody, despite having a flute-like structure. It is also used as a percussion instrument during performances.

It is approximately 39 cm long with an external diameter of 3 cm, crafted from soot-colored bamboo. Seven tone holes are arranged in a straight line. The interior and exterior of the “Noukan” are coated with several layers of red Japanese lacquer. The joint, mouthpiece, and the body (excluding the tone holes) are covered with cherry bark pleated like strings and coated with black Japanese lacquer. The areas between the tone holes and around the mouthpiece have been shaved using traditional techniques.

The “Noukan” embodies perseverance and the formation of resonance; the more it is played, the richer its sound becomes. It reaches its peak performance approximately one hundred years after manufacture. Professional “Noukan” players perform using instruments that are several hundred years old.

“Kotsuzumi”

A drum used in “Noh” and “Kabuki.” It consists of a “Kodoh”—a slender wooden frame—with leather stretched over both ends and secured with strings called “Shirabeo.”
It produces a flexible sound with a variety of tonal colors. The player holds the “Shirabeo” strings with the left hand and rests the drum on the right shoulder, then strikes the leather with the right hand.
“Kodoh” is made from well-dried cherry wood and produced through a 40-step process. Although the lineage of artisans dates back to the Muromachi period (14th century), the finest craftsmen emerged during the Tokugawa period (17th century) when “Nohgaku” gained popularity among the general public.
“Makie,” the gold lacquer decoration, is created by specialized artisans known as “Makie-shi.” The valuable and elaborate “Makie” designs originated in the Tokugawa era. There is little variation in the size of the “Doh,” which is 25–26 cm long and weighs approximately 450 g. Each maker draws on their family’s traditional expertise to hollow out the interior of the “Doh.”
“Doh”
The craftsman leaves the “Kanname”—the original mark of the engraving knife—inside the “Doh.” This mark typically reflects the craftsman’s family techniques and aesthetic sensibilities.

“Kawa”
Horse leather is attached to both ends of the “Doh,” with a diameter of about 20 cm. Traditionally, leather from the saddle area of a foal is used. Bamboo skin is wrapped around a round steel frame, and the leather is stitched in place with thread. It is then lacquered to ensure long-term durability. A “Rou-kawa” in good condition—vintage leather that has been used for over 150 years—is extremely rare and highly valued. “Kawa” for “Kotsuzumi” requires proper care to maintain a specific humidity level, and the player must take precautions against the weather during performances.
“Shirabeo”
The name of the thong used to construct the “Kotsuzumi.” It is more labor-intensive than “Doh” or “Kawa,” but plays a crucial role in sound production and tuning. A highly specialized technique is required to create the highest quality “Shirabeo,” which possesses unique strength and flexibility.

“Ohtsuzumi”

Similar to the “Kotsuzumi,” it is larger and produces a very high-pitched note. It is also called “Ohkawa.” It has the same structure as the “Kotsuzumi,” but differs in the tightness of the “Shirabeo,” which is tied very tightly. The player holds it with the left hand and places it on the left knee, then strikes the “Kawa” directly with the right hand.
“Doh”
The production technique is the same as for the “Kotsuzumi”; it is 28–29.5 cm long and weighs about 750 g. There is a “Tsuba” decorative engraving in the center of the “Doh.” It also features “Kanname,” the mark left by the engraving knife, just like the “Kotsuzumi.”

“Kawa”
Horsehide is stretched over both ends of the “Doh,” which has a diameter of about 23 cm. The hide is very thick and unvarnished. Unlike the “Kotsuzumi,” it must be kept very dry to produce an extremely high pitch. Before the performance, the player places the assembled “Ohtsuzumi” on its original stand in front of a “Hibachi,” a traditional Japanese charcoal brazier, for about two hours. Due to the intensity of use, the instrument has a lifespan of about 10 performances. This is a fascinating contrast to the “Kotsuzumi,” which requires humidity and can last for hundreds of years.

“Shirabeo”
Like the “Kotsuzumi,” they are made from twisted hemp yarn.

 

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