Overview of Japanese Drums and Gongs
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Matt Emmanuel BlanzaOverview of Japanese Drums and Gongs
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Matt Emmanuel BlanzaINSTRUMENTS DESCRIPTION
1. OKEDO (沖戸) The body of an okedo daiko (meaning ‘barrel drum’) has the shape
of a stave, crafted from quarter-sawn Japanese cedar. The leather
head is stretched across an iron ring, and attached to the body by
ropes. Because of this construction, the pitch of an okedo daiko
can be tuned relatively easily by adjusting the tension on the rope.
Okedo daiko drums are generally cheaper and lighter than a
comparative nagado daiko and therefore often used in a set of
varying sizes.
Okedo daiko are placed vertically on stands. The smaller ones can
be carried on a strap hanging across the player’s shoulder,
allowing the performer to move around freely. This so-called
katsugi okedo daiko gives the performer much room for creativity
to incorporate dance movements into the musical performance
and are very suitable for parades.
2. DAIBOYOSHI
大ボーイヨシ Daiboyoshi is a Japanese drum that is played by holding it up to
the shoulder and striking the head with the hand. It is used in
traditional folk music, Nō, nagauta, and geza.
How it's played:
The left hand holds the drum up to the shoulder and
squeezes the rope
The right hand strikes the head in different ways
There are two basic playing techniques
Holding the cords slack produces softer sounds
Squeezing the cords produces higher-pitched sounds
How it's tuned:
The drum is tuned with small leather patches on the inside of
the heads
The drum heads need to be exposed to a certain level of
moisture to produce a desirable sound
The player breathes directly onto both heads before playing
The player may also apply saliva to the drum head
3. GAKU-DAIKO The gaku-daiko is a large, hanging Japanese drum used in gagaku,
楽太鼓 a type of court music. The term "gaku-daiko" translates to "music
drum". Also known as the tsuri-daiko, which means "suspended
drum"
Used for kangen and small-scale bugaku performances
Description :
A double-headed drum made of cowhide
Played with two mallets on one side only
Hung from a circular frame made of lacquered wood
Decorated with a wooden flame attachment on top
4. DORA（銅鑼）
Japanese gong is called dora. It takes the form of a flat, circular
metal disc hanging in a frame and hit with a mallet. The size of a
Japanese gong varies from small to very large. Dora are made
mainly form bronze or brass but there are many other alleys in use.
Dora are used in traditional Japanese theater, tea ceremonies,
Buddhist rituals as well as in modern taiko or other music
performances.
5. SOBAN ソバン
The soban is a small gong used in Japanese Kabuki and Noh
theater. It is a thin metal gong used to mark the entrance of
antagonist characters
6. REI レイ
The rei is a Japanese bell-clapper that is struck to make a sound. It
is a small hand instrument that is similar to a suzu, another
Japanese bell.
In Japanese culture, bells are believed to ward off evil and bring
protection. In Shinto rituals, bells are used to get the attention of
gods and bring them down to offer protection.
7. MOKKIN もっきん It is a wood xylophone. The Mokkin is a Japanese struck-bar-wood
idiophone instrument from the 19th century. It is part of the Crosby
Brown Collection of Musical Instruments at the Metropolitan
Museum of Art.
The Mokkin is a wooden instrument that measures 71.7 cm long,
31.6 cm high, and 29.5 cm wide.
The Metropolitan Museum of Art has an image of the Mokkin in
their "Free Reed Instruments of the Nineteenth Century" exhibition.
SUBMITTED BY:
MATT EMMANUEL M. BLANZA
G8 PIETY
Common questions
Powered by AIThe use of wood in the mokkin allows for clear, resonant percussive sounds, emphasizing natural timbre and enhancing traditional musical compositions . Similarly, metal used in making dora provides a distinct, powerful resonance necessary for dramatic effect in performances and rituals . Together, these materials ensure durability and cultural resonance, aligning with Japanese aesthetics of harmony between sound and material .
The daiboyoshi is tuned through small leather patches inside the heads, and players manage moisture levels by breathing on the drum heads or applying saliva . Its sound is produced by striking with the hand while modulating pitch through the tension of squeezing the cords . In contrast, the okedo daiko uses ropes for tuning, adjusted for pitch changes, and is generally played with sticks, affording a different tone and dynamic range . These methods highlight distinct cultural approaches to instrument tuning and sound production, reflecting their unique roles in musical contexts .
The soban is a small, thin metal gong used in Japanese Kabuki and Noh theater to mark the entrance of antagonist characters . Its distinct sound helps create dramatic tension and draws audience attention to key moments, significantly enhancing the auditory and narrative experience within the performance .
Traditionally, the dora plays a functional role in Japanese theater, tea ceremonies, and Buddhist rituals, where it provides musical punctuation and contributes to spiritual ambiance . Symbolically, it suggests meditation and focus. In modern taiko performances, its resonant sound complements the rhythmic dynamics and expressive power, maintaining its significance as both a musical and cultural instrument .
In Shinto rituals, bells like the rei are believed to ward off evil and bring protection by attracting the attention of gods . They are used to call gods down to offer protection to the practitioners, thereby acting as a bridge between the spiritual and physical worlds . This cultural belief underscores the importance of sound in spiritual practices and the role of instruments in facilitating divine communication and blessing .
The okedo daiko's construction, with its body crafted from quarter-sawn Japanese cedar and a leather head attached via ropes, allows for relatively easy tuning by adjusting the rope tension . This makes it versatile in performances, as the pitch can be modified to suit different musical contexts. Its lightweight nature and ability to be carried with a shoulder strap (in the katsugi okedo daiko version) also afford performers considerable mobility and creativity, enabling integration of dance into performances, making it ideal for parades .
The okedo daiko's portability, especially in the katsugi form, allows for dynamic performances incorporating movement and dance, enhancing visual and acoustic energy . In contrast, the gaku-daiko's stationary position in gagaku limits physical movement, focusing on auditory richness and ceremonial precision rather than performer mobility . This difference highlights how physical instrument characteristics influence performance style and audience engagement .
The daiboyoshi's construction, featuring a drum held up to the shoulder with cords that can be squeezed to alter pitch, allows performers to achieve a range of tonal expressions . Striking with the hand and controlling cord tension enables soft to high-pitched sounds, accommodating nuanced expressions essential in traditional Japanese music contexts, such as Nō and geza .
The mokkin is classified as a struck-bar-wood idiophone because it consists of wooden bars that are struck to produce sound, typical of xylophone-like instruments . Its dimensions, measuring 71.7 cm long, 31.6 cm high, and 29.5 cm wide, suggest a compact size conducive to clear, resonant sound production, emphasizing its idiophonic nature . The wood material facilitates natural resonance and tonal quality characteristic of struck-bar instruments .
The gaku-daiko's design as a large, hanging drum, featuring a double-headed cowhide construction and suspended from a lacquered wood frame, allows for powerful, resonant sound production suitable for gagaku performances, which are distinguished by their grandeur and formality . Played with two mallets only on one side, this method aligns with the controlled, ceremonial nature of gagaku, enhancing the aura of the performance with its ornate decoration and structure .