Min'yō sept musicA Japanese folkswoman with her shamisen, 1904
Japanese sept songs (min'yō) can be grouped and classified in many ways but it is ofttimes convenient to think of four main categories: work songs, religious songs (such as sato kagura, a modify of Shintoist music), songs used for gatherings much as weddings, funerals, and festivals (matsuri, especially Obon), and children's songs (warabe uta).
In min'yō, singers are typically accompanied by the three-stringed lute known as the shamisen, taiko drums, and a bamboo flute called shakuhachi. Other instruments that could play are a transverse flute known as the shinobue, a bell known as kane, a hand drum called the tsuzumi, and/or a 13-stringed zither known as the koto. In Okinawa, the main instrument is the sanshin. These are traditional Japanese instruments, but modern instrumentation, much as electric guitars and synthesizers, is also used in this day and age, when enka singers cover traditional min'yō songs (Enka being a Japanese music genre all its own).
Terms ofttimes heard when speaking most min'yō are ondo, bushi, bon uta, and komori uta. An ondo mostly describes any sept song with a characteristic swing that may be heard as 2/4 time rhythm (though performers usually do not group beats). The typical sept song heard at Obon festivity dances module most likely be an ondo. A fushi is a song with a characteristic melody. Its very name, which is pronounced \"bushi\" in compounds, effectuation \"melody\" or \"rhythm.\" The word is rarely used on its own, but is usually prefixed by a constituent referring to occupation, location, personal name or the like. Bon uta, as the name describes, are songs for Obon, the lantern festivity of the dead. Komori uta are children's lullabies. The obloquy of min'yo songs ofttimes allow descriptive term, usually at the end. For example: Tokyo Ondo, Kushimoto Bushi, Hokkai Bon Uta, and Itsuki no Komoriuta.
Many of these songs allow extra stress on certain syllables as well as pitched shouts (kakegoe). Kakegoe are mostly shouts of cheer but in min'yō, they are ofttimes included as parts of choruses. There are many kakegoe, though they depart from location to region. In Okinawa Min'yō, for example, one module center the ordinary \"ha iya sasa!\" In mainland Japan, however, one module be more likely to center \"a yoisho!,\" \"sate!,\" or \"a sore!\" Others are \"a donto koi!,\" and \"dokoisho!\"
Recently a guild-based system known as the iemoto system has been applied to whatever forms of min'yō; it is called. This system was originally developed for transmitting Hellenic genres much as nagauta, shakuhachi, or koto music, but since it proved profitable to teachers and was supported by students who wished to obtain certificates of proficiency and artist's obloquy continues to spread to genres much as min'yō, Tsugaru-jamisen and other forms of music that were traditionally transmitted more informally. Today whatever min'yō are passed on in much pseudo-family organizations and long apprenticeships are common.
See also Ainu music of north Japan.
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