VOL.207 SEPTEMBER 2025
THE MUSICAL INSTRUMENTS AND MUSIC CULTURE OF JAPAN The World of Sound That Brings Power to the Kabuki Stage

A scene from the kabuki dance Renjishi, in which a parent and child lion shake their long manes. Performance includes nagauta singing accompanied by narimono instruments on stage.
Photo: National Theatre

On the stage of kabuki, a traditional Japanese theatrical art, shifts in emotion, changes in scene, and even the presence of nature are conveyed through live singing and instrumental music. We spoke with a member of the Japan Arts Council, which operates the National Theatre,¹ where kabuki is staged, about the roles of essential instruments and performers and how sound shapes the performance.

A scene from the kabuki play Kanadehon Chushingura. Takemoto² performers are visible at kamite³ (stage right from the audience’s perspective).
Photo: National Theatre

Kabuki is one of Japan’s foremost traditional performing arts, with a history spanning more than 400 years. It is a comprehensive art form that integrates music, dance, and acting. In 2008, it was inscribed as a UNESCO Intangible Cultural Heritage.

A member of the Japan Arts Council, which operates the National Theatre, explained: “Kabuki traces its origins to a performing art called kabuki odori, founded by a woman named Izumo no Okuni. Actors who perform female roles are called onnagata, while those who perform male roles are called tachiyaku. Over time, kabuki developed into a form of theater in which men perform all roles. Its distinctive features include striking poses held in stillness that capture the audience’s attention called mie, the unique makeup style called kumadori,⁴ and rapid costume changes known as hayagawari. On stage, not only the actors’ movements, gestures, and expressive techniques but also the music and sound produced by the performers play an essential role.”

Kabuki music can be broadly divided into utamono (song-based pieces) and katarimono (narrative pieces, also known as joruri). Song-based pieces feature music called nagauta, performed with singing and the shamisen.⁵ This is often accompanied by the narimono, the instruments of the hayashi ensemble—mainly the shibyoshi (four rhythms), made up of kotsuzumi (small hand drum), otsuzumi (large hand drum), taiko (Japanese drums), and fue (Japanese flutes)—which help convey the characters’ emotions and the atmosphere of each scene. Narrative pieces tell the story with shamisen accompaniment. A representative example is the takemoto,² who provide musical support for the storytelling across many different kabuki performances.

These pieces are not just background music; they also support the storytelling and the progression of the dance. The performance style varies depending on the play and the scene. In the case of nagauta music and narimono instruments, the music is performed from a small room behind a bamboo screen called the kuromisu⁶ at shimote (stage left from the audience’s perspective). In dances, musicians sometimes perform debayashi, appearing visibly on stage while playing.

In the case of takemoto, the narrator and shamisen player appear together on stage, usually on a slightly raised platform called the yuka at stage right, to perform the narration.

Beyond the shibyoshi rhythm, the narimono includes dozens of instruments, such as odaiko (large Japanese drums), which are used not only to depict natural elements—rain, wind, thunder, and waves—but also to provide sound effects, such as the tolling of a bell to mark the passage of time.

“In addition, for sound effects, theater staff use various tools to enhance the performance—for example, scraping the surface of a seashell to mimic a frog’s croak, or shaking a bamboo basket filled with adzuki beans to create the sound of waves.”

If you listen closely to the performers and the sounds that perfectly align with the acting, you can feel that this music is not mere background—it plays a vital role in depicting the story’s worldview.

Kabuki is regularly performed at theaters in Tokyo, Osaka, Kyoto, and other locations, and can also be seen at performances hosted by the National Theatre in Tokyo.

“Even if you don’t understand the words, the music can convey meaning. When people from overseas watch kabuki, they often share a variety of impressions: being moved by the actors’ unique, emotional performances or the themes of the story, marveling at the costumes and makeup, or enjoying the live music. The live sound brings power and immediacy to the atmosphere. We hope audiences can experience and enjoy kabuki through its music and sounds as well.

“For international visitors, there is a website explaining kabuki in eight languages, and most performances offer English audio guides for rent. These viewing aids are highly recommended.”

A historical painting depicting actors and musicians in rehearsal, Sanyagura Keiko no Oyose (Rehearsal by Performers from the Three Kabuki Theaters). 
Collection: National Theatre

• 1. A national theater responsible for preserving and promoting traditional performing arts, which is currently closed for renovation. Even during the closure, the theater continues to host performances at venues around the Tokyo area. In September 2025, the masterpiece Kanadehon Chushingura is being staged at the New National Theatre, Tokyo in Shibuya.
• 2. In kabuki, takemoto refers to the musicians responsible for the musical accompaniment of narrative pieces, typically consisting of a narrator and the shamisen players.
• 3. Stage terminology: from the audience’s perspective, the right side of the stage is called kamite (上手) and the left side is called shimote (下手).
• 4. A distinctive kabuki makeup technique used to symbolically represent a character’s personality, emotions, or role. The actor’s entire face is first painted or masked in a single color, then vivid colors are applied on top to create the final design. 
• 5. A traditional  Japanese three-stringed instrument played with a bachi (plectrum). It is classified as hosozao (thin neck), chuzao (medium neck), or futozao (thick neck) depending on the thickness of its neck. (See “A Traditional Japanese Instrument Ensemble Pioneering the Future of Sound,” in HIGHLIGHTING Japan September 2025 issue)
• 6. A small black room at shimote (stage left from the audience’s perspective), covered with a screen made of thin bamboo or wooden slats woven with thread. The interior is hard to see from the outside, but performers inside can clearly view the stage and play music in sync with the performance.

By TANAKA Nozomi
Photo: ISHIZAWA Yoji; National Theatre