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The shamisen or samisen, in Japanese, literally means 'three taste strings', which is also called sangen, meaning 'three strings'
(kidzsearch, 2021)

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Its construction and body structure follows a model similar to a guitar or a banjo, with a neck and strings stretched across the body. The neck of the shamisen is fretless and slimmer than a guitar or banjo.

The traditional materials used in the neck of shamisen include redwood, oak, rosewood and mulberry, while cat and dog skin is also used to cover the sound hole of the instrument. Yes, animals were literally harmed in the making of this instrument, but they were already dead when skinned.
(Kidadl, 2022)

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The Shamisen is quite unique as it is a string instrument, and much like any other string instruments, it can alter its tuning according to the piece or for the of ease of playing in terms of fingering.

It has three main tuning systems:

1. Hon Choshi, which translates to "home tuning" or "base tuning," earned this name because it is said to be the source of other tunings. The first and third strings on an honchoushi are tuned to be an octave apart, while the center string is tuned to be, in Western terminology, the equivalent of a fourth away from the first string. C-F-C is the most widely used tune.

2. Ni Agari, means "raised two" or "raised second", referring to the fact that the second string's pitch has been raised (from honchoushi), bringing the first and second strings' interval closer to a fifth (while, conversely, bringing the second and third strings' interval closer to a fourth). C-G-C is the most widely used tune. Tsugaru Jongara Bushi is a song that demonstrates the use of this tune.

3. San Sagari, refers to tuning the shamisen to honchoushi and lowering the third string (the string with the highest pitch) down a whole step, resulting in the instrument being tuned in fourths, such as C-F-B. Its literal translation is "lowered three" or "lowered third." Tsugaru Sansagari is a song that uses this tuning.
(Wikipedia)

Image source: (Bachido, 2016)

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Western music notation can be used to write music for the shamisen, however tablature notation is more common. While tunings may vary by genre, the names given to the nodes on an instrument's neck, known as tsubo in Japanese, do not. As a result, tablature is written differently for each genre. For instance, nodes on the shamisen are labeled from 0 in the min'yo shamisen style, which uses the open string "0" as the label. However, nodes are separated and named according to octaves in the jiuta shamisen style, with "1" standing for the open string and first note of an octave and counting down from there. For tsugaru-style shamisen, the labels for the nodes are also different. Nodes can occasionally be "sharped," which can further complicate matters because each genre has its own set of names for nodes and placements for them. Therefore, unless they have had special training to read various types of tablatures, students of one genre of shamisen will find it challenging to read tablature from another genre of shamisen.
(Wikipedia)

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Differences between the Japanese Shamisen and the Chinese Sanxian/Sangen

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Differences between the Japanese Shamisen and the Chinese Sanxian/Sangen

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The Japanese Shamisen is, so to speak, a remodeled style of the Chinese sangen. The remodeling in Japan has been accomplished under the influences of the biwa in many respects: because, having been imported into Japan, this instrument was first taken by biwa players. Drawing a parallel between (A) the Japanese shamisen and (B) the sangen of other Asiatic peoples including Chinese, which are played today, we can find these differences as follows.

1) Either of them has a body made of a wooden frame covered with skin on both faces. But, the frame of (B), made by hollowing out a block of wood, is more oval than square, while that of (A), made by gluing together four pieces of wood, is rather square: the former is covered with snake skin, the latter with tanned leather of cats or dogs.

2) There is at the upper end of the fingerboard a small cross ledge that terminates the vibrating section of the strings and holds them away form the fingerboard. (it corresponds to the nut in the violin. In Japan it is called kamikoma) In case of (B), it holds all of the three strings, whereas in case of (A), being a little shorter than of (B), it does not hold the lowest string, which touches the surface of the stick at its end.
(Kikkawa, E., 1958)

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This project will cover several aspects of the traditional Japanese instrument, 'the shamisen'. We'll go over its origin and background, traditional examples, some modern contexts, and some personal observations of this instrument.

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In this project and research of the Shamisen, I learned that this instrument can be considered as a 'timeless' piece of instrument, that carries a long history from its origin till today and is showcased in both theatrical and concert performances.

Having to preserve this traditional instrument by passing the arts of constructing it and playing it, to incorporating the instrument into modern contexts to bring more awareness and create more audiences to it. This shows us how this instrument truly stands through the test of time to continually hold its identity and iconic sound to entertain us either in traditional or modern contexts.

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Hiromitsu Agatsuma is a renowned shamisen player who has gained popularity for his dynamic and innovative performances. His rendition of "Tsugaru Jongarabushi" blends the traditional Tsugaru-jamisen style with elements of contemporary music, showcasing the versatility of the instrument.

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上妻宏光 (Hiromitsu Agatsuma) Official YouTube Channel

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上妻宏光 津軽じょんから節(新節)　AGATSUMA / Tsugaru jonkara-bushi (Shin-bushi)　　津軽じょんがら節

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Today in modern times, different schools or styles of playing the shamisen emerged, each with its own techniques and repertoire. These schools, such as the Kinko and Ikuta, contributed to the development and preservation of the instrument's distinctive sound and playing techniques.

The shamisen continues to be an integral part of Japanese culture and music. While it retains its traditional roots, it has also been incorporated into modern and experimental genres, showcasing its adaptability and enduring appeal.

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The shamisen has made appearances in popular culture, particularly in the soundtracks of anime and video games. Its distinctive sound adds a touch of tradition and authenticity to these modern media forms, creating memorable musical moments.

The shamisen is often portrayed in anime and manga as a symbol of tradition, elegance, or as part of historical settings. It can be seen in the anime series such as "Shigatsu wa Kimi no Uso" (Your Lie in April), where the main character plays the shamisen, or in "Kono Oto Tomare!" where a high school club is dedicated to playing the instrument.

Various anime have featured traditional Japanese performances that include the shamisen. These performances often highlight the beauty and skill involved in playing the instrument. For example, in "K-On!", the characters visit a traditional tea house where they witness a shamisen performance.

Many historical anime or period dramas showcase the shamisen as part of their storytelling. For instance, in "Samurai Champloo," the shamisen is used in the soundtrack to evoke a traditional Japanese atmosphere within the context of a samurai-themed series.

The shamisen is often depicted in anime as a symbol of Japanese culture, reflecting its historical and artistic importance. It is shown as a part of festivals, geisha performances, or traditional ceremonies, reinforcing its role in preserving Japanese heritage.

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Other than the shamisen having made appearances in Japanese Anime/Mangas, the instrument can be also heard in the making of soundtracks for video games or movies. One of the best examples of the shamisen being showcased in a video game, is Genshin Impact. The soundtracks for a specific theme or city within the game were performed and recorded professionally by the Tokyo Philharmonic Orchestra. In the context of the video game, whilst they feature fictitious cities/civilizations that are based off the culture and ethnical beliefs of those in real-life, often so are the traditional era of each region/continent in this real world. So for the specific city that is inspired by Japanese architecture and culture, it is not surprising to hear traditional Japanese musical instruments being showcased in the video game.

From the soundtrack in Genshin Impact, named 'Overlord of the Thunderstorm' (from 5:40 onwards in the Youtube video reference), we hear the shamisen being played and introduced at the beginning of the soundtrack.

It carries the central theme or melody while being backed with Western classical orchestral instruments. While later on in the song, the shamisen then takes the backlight, letting other instruments shine.

Due to its nature of timbre, it adds that 'traditional' Japanese sound and texture to the soundtrack, as we can hear it being played throughout the track till the end, although being minimally heard.

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Realm of Tranquil Eternity：Inazuma Live Symphony Performance | Genshin Impact

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More Examples of Modern Context - Yoshida Brothers

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More Examples of Modern Context - Yoshida Brothers

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Yoshida Brothers, a Japanese duo and siblings that features mainly two shamisen played in a contemporary style, often blending the instrument with drums and synthesizers.

The song from the video above, was featured in one of Nintendo Wii's commercial in 2006. (Wikipedia)

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The shamisen is a traditional Japanese musical instrument with a rich history. Its origins can be traced back to the 16th century, although it has evolved over time. The shamisen is a three-stringed instrument played with a plectrum called a bachi.

Originally, the shamisen was introduced to Japan from China, where it was known as the sanxian. The instrument underwent modifications in Japan to suit the musical tastes and traditions of the country. During the Edo period (1603-1868), the shamisen gained popularity among the urban population, particularly with geisha and in the entertainment districts. (Malm, W. P., 2000).

The Chinese sanxian, which gave rise to the Japanese shamisen. The Ryky Kingdom (Okinawa) was the first place the sanxian was brought, and it was there that it evolved into the Okinawan sanshin, from which the shamisen ultimately comes. The port city of Sakai, close to Osaka, is thought to have had a role in the introduction of the ancestor of the shamisen in the 16th century.

The shamisen can be played alone, in groups with other shamisen, with singing like nagauta, in ensembles with other Japanese instruments, or as a background for drama, particularly kabuki and bunraku. The shamisen was traditionally played by both men and women.
(Wikipedia)

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Attached here is a Word document with a list of references for research and citations.

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Some of the many ways that the Shamisen functions in a setting of a Kabuki are;

1) Musical Accompaniment: The shamisen is part of the traditional kabuki ensemble, which typically includes other instruments like drums and flutes. It provides the melodic foundation for the music accompanying the play, adding rhythm, harmony, and emotional depth to the performance.

2) Sound Effects: The shamisen can produce a wide range of sounds, including sharp strums, gentle plucking, and sliding techniques. These sounds are often used to create specific effects, such as imitating the sound of nature, enhancing suspenseful moments, or emphasizing the emotional intensity of a scene.

3) Narrative Support: In some instances, the shamisen player may serve as a narrator, providing musical commentary and cues for the unfolding events. Through subtle musical cues, the shamisen can indicate changes in mood, signify character entrances or exits, and highlight significant plot developments.

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Similarities of the Shamisen in Traditional and Modern Context

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Similarities of the Shamisen in Traditional and Modern Context

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One of the main similarities that I see from both traditional and modern examples of the shamisen, is the preservation of its traditional construction and material used to make the instrument. Despite of it being used in modern contexts, playing in a metal band or such, we still see that the instrument itself is still very much the same instrument used in traditional contexts, whether or not the method or technique of the construction has differed or not.

The shamisen has in both contexts plays different genres and styles, retaining its original or authentic 'sound'. Which can be seen as its own identity that cannot be altered. The shamisen then and today have no difference in the way its being played, therefore, nothing much has changed in terms of playing technique, as they still do use a plectrum and fingers to press on the strings against the frets of the neck to produce the same 'sound' then and now.

Also, it retains its versatility for expression in both traditional and modern contexts. It can convey a wide range of emotions, moods, and musical styles, whether it be the evocative and melodic tones of traditional pieces or the incorporation of contemporary techniques and genres in modern adaptations.

Another similarity that these two contexts has shown us that the shamisen is used in contexts of entertainment, from theatrical plays to concert performances, it still remains as an instrument to either be focused on or heard of in the midst of an ensemble. In any way, it carries the identity of an instrument that is seen in entertainment contexts and not in any way religiously linked.

In both traditional and modern contexts, the shamisen retains its cultural significance as an emblem of Japanese heritage and identity. It represents a connection to Japan's rich history, traditional arts, and musical traditions.

In modern contexts, the shamisen has been adapted and fused with various genres and styles. Artists and musicians experiment with blending the shamisen's distinct sound with rock, pop, jazz, electronic, and other contemporary genres. This adaptation showcases the instrument's versatility and ability to transcend traditional boundaries.

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Musicians and composers have incorporated the shamisen into fusion genres, blending traditional Japanese sounds with elements of jazz, rock, pop, and electronic music. These innovative compositions often feature the shamisen alongside Western instruments, creating a unique and dynamic fusion of styles.

A good example of the shamisen being incorporated into modern music, is the Japanese metal band, Wagakki Band.

Wagakki Band's lineup consists of traditional Japanese instruments, including the shamisen. The band combines the distinct sound of the shamisen with other instruments such as the koto (a traditional stringed instrument), shakuhachi (bamboo flute), and wadaiko (Japanese drums), along with modern instruments like guitars and drums.

The band often features solo performances by the shamisen player, Machiya. His dynamic and skilled shamisen solos captivate the audience and add a traditional flair to their songs. These solos showcase the versatility of the instrument and highlight its unique sound within a contemporary music context.

They also collaborate with vocalists and musicians from various genres, both from Japan and internationally. And the shamisen often takes center stage during these collaborations, providing a fusion of traditional and modern sounds. These collaborations demonstrate how the shamisen can seamlessly blend with different musical styles.

The band's innovative use of the shamisen has helped introduce traditional Japanese instruments to a wider audience and has gained them international recognition. By incorporating the shamisen into their contemporary rock sound, they have created a distinct musical style that blends traditional and modern elements in a captivating and accessible way.

In the video clip attached above, from the timestamp 2:20 onwards, in the song 'Homura', we see a feature of the shamisen playing along with a metal band, which incorporates traditional Japanese 'sound' with modern Western instruments. The shamisen player only joins in the performance or stage after 2 minutes in the song, and it had a section fully showcasing the shamisen playing a 'solo' over the band. And later on, stepping behind another soloist to add the 'texture' of the shamisen to the overall 'sound' of the band.

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Wagakki Band - 焔 (Homura) + 暁ノ糸 (Akatsuki no Ito) / 1st JAPAN Tour 2015 Hibiya Yagai Ongakudo

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Tsugaru-jamisen is a style of shamisen playing from the Tsugaru region in northern Japan. It is known for its energetic and virtuosic performance techniques, characterized by rapid picking and percussive strikes on the instrument. Tsugaru-jamisen has gained popularity in recent times and is often performed solo.

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Shamisen in other Japanese theatrical arts

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Shamisen in other Japanese theatrical arts

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The shamisen is primarily used as an accompaniment to various traditional Japanese musical styles, such as kabuki theater, nagauta, and jiuta. It is also utilized in folk music and contemporary compositions. The instrument's distinct sound and expressive capabilities make it a versatile and beloved part of Japanese music. In the image above, it is an example of a nagauta, which is a form of specific style of Japanese theatrical art.

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Attached here is the Word document of the all the texts and citations used and quoted in this Padlet Project.

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World Music Padlet Project (Text Format)

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Difference of the Shamisen in Traditional and Modern Context

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Difference of the Shamisen in Traditional and Modern Context

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One of the more apparent differences that the shamisen has in both contexts is its purpose and audience. In both contexts, the shamisen carries very different roles or feature, as the audience from traditional contexts would expect to hear the shamisen in a theatrical setting as a support role or a member of the ensemble, while in modern contexts, the instrument can be seen featured more as a solo instrument that takes more of the focus and spotlights, whether in the setting of a shamisen duo or a fusion band with the instrument.

In traditional contexts, the shamisen is primarily associated with classical Japanese music genres such as Jiuta, Nagauta, Kabuki, and Tsugaru-jamisen. These traditional styles have specific techniques, melodies, and structures. In contrast, in modern contexts, the shamisen has expanded its repertoire to include adaptations of contemporary music genres like rock, pop, jazz, fusion, and even experimental or electronic music.

The modern shamisen has undergone modifications to suit the needs of amplified performances. Electric shamisen models have been developed, incorporating pickups to capture the sound and allow for amplification in live settings. These modifications enable the shamisen to compete with louder instruments in modern bands or concert environments.

Traditionally, the shamisen is often performed in traditional Japanese settings, such as tea houses, temples, or theaters, often catering to an audience familiar with traditional arts and music. However, in modern times, the shamisen can be found in a wide range of performance venues, including music festivals, concert halls, clubs, and even online platforms. The audience in modern contexts may consist of individuals with diverse musical backgrounds and tastes, expanding the reach of the shamisen beyond traditional enthusiasts.

These variations show how the shamisen is growing as it fits into contemporary musical settings and allows for experimentation, cooperation, and the exploration of new musical possibilities while maintaining its traditional roots.

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Jiuta is a type of chamber music that emerged during the Edo period. It combines the shamisen with koto (a stringed instrument) and sometimes shakuhachi (bamboo flute). Jiuta features intricate melodies and poetic lyrics, often drawing inspiration from classical Japanese literature.

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Nagauta is a genre of traditional Japanese music that originated as an accompaniment to Kabuki theater. It features the shamisen along with other instruments like the fue (flute) and taiko (drums). Nagauta typically has a melodic and rhythmic structure, with vocalists singing in a distinctive style.