The Shamisen, the Resonance of Traditional Japan
By Sébastien Raineri
In the hushed silence of a Japanese room, a sound arises, clear and vibrant. It seems to dance between the walls, brushing against the shadow of a screen before disappearing, leaving behind a fleeting resonance like a drop of rain on a peaceful pond. The geishas glide elegantly across the tatami mats, and with studied slowness, trace invisible shapes in the air as if to capture the music that accompanies them. This sound is that of the shamisen, both powerful and ephemeral, a suspended vibration, the thrill of a struck string. The instrument marks the tempo and the dancers respond, by turns fluid and lively. Sometimes, a pause, a suspension, an inhabited silence.
Then the cadence resumes, in bursts of movements that mingle with the vibrant chords. The spectator holds his breath, captivated by this intimate exchange between sound and gesture, between the visible and the invisible. Music and dance become one, a silent dialogue where the notes become steps, and the steps become an ephemeral melody. Then, slowly, the last vibration fades, and in the air still floats, like a waking dream, the scent of lacquered wood and the murmur of moving silks. These are the emotions felt during a show of geisha dances accompanied by a shamisen. More than a sound, the instrument is also an image, a sensation.
Though of ancient origins, the sounds of the shamisen ring out in modern times, in both Japan and beyond. Its wide range and unique sound give this instrument the ability to adapt to new genres of music as well as find its place in modern visual media. This ability is amplified by the efforts of modern shamisen masters, who seek to both conserve and spread the timeless sound of the shamisen, letting it echo throughout the corridors of history.
Taking Root in Japan
The shamisen traces its origins to China, before making its way to and fully flourishing on the Japanese archipelago. Its direct ancestor, sanxian, was introduced to Japan through commercial and cultural exchanges with the Ryukyu Islands (present-day Okinawa) in the 16th century. Japanese craftsmen adopted this instrument and adapted it to the aesthetic and sonic needs of their own music, modifying its body shape, materials, and playing style.
During the Edo period (1603-1868), the shamisen established itself as an essential element of the performing arts. It becomes the preferred accompaniment of the narrative songs of joruri, a musical genre that tells epic and tragic stories. This use is particularly developing in bunraku, or Japanese traditional puppet theater, where it supports the voice of the narrator by amplifying the dramatic emotion of the puppets. At the same time, the shamisen is fully integrated into kabuki, where it punctuates the scenes and accentuates moments of tension and action, offering a powerful sound dimension to theatrical performances.
The choice of neck influences the sound of the instrument, with each thickness modifying the resonance and playability. It is according to this characteristic that we determine three main categories of shamisen, the first of which is the Hosozao (thin handle), used mainly in nagauta (kabuki music), bunraku, and zoku’uta (popular song). It is characterized by a clear and punchy sound. The second type of shamisen is the Chūzao (medium neck), suitable for folk songs like minyo and the jiuta (regional songs from Kyoto and Osaka), and which offers a softer and more refined sound. Finally, the Futozao (thick handle) is associated with tsugaru shamisen and gidayu-bushi (dramatic stories). It produces a powerful, vivid sound, ideal for expressive performances. Each style imposes specific technical requirements, making the shamisen extremely versatile.
The Shamisen in Contemporary Music
Though its sound has traversed over many centuries, the shamisen has changed little. One of its distinctive elements is the sawari, a unique resonance produced when the lowest string vibrates lightly against the neck. Unlike Western instruments which favor complex melodies, the shamisen focuses on pure expressiveness with a limited number of notes, and does not have a fixed reference pitch. The musician chooses the key according to various factors: their own feelings, the environmental conditions (humidity, acoustics of the room), and the vocal range of the accompanied singer. As modern shamisen master Honjo Hidejiro explains: “There is a protrusion at the top of the handle that can be moved up and down, and this is where the thicker string makes contact. This is what creates the unique friction sound of the shamisen. This allows the shamisen to produce a very wide sound range, even though it only has three strings.”
Born in 1984, Honjo Hidejiro was trained in the tsugaru shamisen style from the age of 15. He then specialized in classical and contemporary repertoires under the tutelage of Honjo Hidetaro, from whom he inherited his stage name. In 2014, he became the first shamisen player to receive the prestigious Idemitsu Music Award. Passionate about exploring new musical forms, he commissions new compositions from musicians around the world, notably works for shamisen and bassoon or a concerto for shamisen and orchestra. His ambition is to create “modern shamisen music,” linking this ancestral instrument to international contemporary music. Honjo considers this approach an artistic and personal challenge, going beyond the simple presentation of the shamisen to explore its full expressive potential. During his tours abroad as a cultural envoy, his instrument arouses wonder and enthusiasm. He aspires to continue these collaborations and integrate the shamisen into the contemporary musical landscape, convinced that even in the digital age, traditional instruments still have much to offer: “The shamisen is a traditional instrument, so there are classics that need to be passed down, but I think the shamisen has the potential to connect to the diverse world of contemporary music. We live in a world where a wide variety of sounds can be created digitally, but I would like to continue to expand the possibilities of music with the sounds of traditional instruments.”
Collaborations between traditional musicians and contemporary artists are becoming more and more frequent. These creative encounters make it possible to break down barriers between genres and open up new sound perspectives. One of the most striking trends in the contemporary use of shamisen is its fusion with jazz, rock, or even electronic music, creating surprising and original sound combinations. One of the first genres to integrate shamisen into non-traditional contexts was jazz. The musician Hiromitsu Agatsuma is one of the major figures of this fusion. A virtuoso of the tsugaru shamisen, he explores new territories by mixing his fast and energetic playing with the sophisticated harmonies of contemporary jazz, notably in his album Beyond (2004).
In rock and pop, the shamisen also stands out as an instrument capable of bringing a unique and deeply rooted touch. The Yoshida Brothers duo, formed by Ryoichiro and Kenichi Yoshida, is one of the most emblematic examples of this hybridization. Their piece Rising (2006), used often in international advertisements, demonstrates the extent to which this instrument can blend into contemporary aesthetics while retaining its authentic character. The Japanese rock band, Wagakki Band, also incorporates shamisen into their compositions. By mixing traditional Japanese instruments (koto, shakuhachi, shamisen) and modern rock, the band offers a demonstration of the ways in which traditional musical culture can reinvent itself. Their song Kishikaisei or their cover of Senbonzakura illustrates this powerful fusion between the sounds of the past and the energy of modern rock.
In electronic music, some artists do not hesitate to sample or electronically modify the sound of the shamisen to create new soundscapes. DJ Krush, a pioneer of Japanese trip-hop, uses shamisen recordings to enrich some of his productions or surrounds himself with renowned artistic collaborators. In his album Jaku (2004), he mixes ancestral melodies with more metallic electronic sounds, particularly in the piece Beyond Raging Waves, where he is accompanied by tsugaru shamisen specialist Shinichi Kinoshita.
In the United States, artists like Kevin Kmetz play a major role in the internationalization of the instrument. As a member of the California band, God of Shamisen, he covers a multitude of genres, including progressive rock, metal, and funk. By shaking up the codes, he proves that this instrument can be integrated into completely new mediums, such as film, both live-action and animated.
The Resilience of Shamisen in Modern Visual Arts
The evocative power of the shamisen plays a key role in the soundtrack of many cinematic and animated works. Its ability to express nostalgia, dramatic tension, and exhilaration makes it a preferred choice for composers seeking an immersive atmosphere.
One of the most notable examples is Zatoichi (2003) by Takeshi Kitano, where the soundtrack composed by Keiichi Suzuki highlights the shamisen to accentuate the epic and folkloric dimensions of the film. The instrument accompanies the combat scenes with striking intensity, reinforcing the link between the tradition of chanbara (sword fighting films) and the modern approach to visual processing.
In contemporary animation, several examples can be cited. First of which is Nitaboh (2004), which traces the life of this blind musician and historical figure in Japan at the end of the Edo period, who greatly contributed to the development of tsugaru shamisen. After a difficult childhood (he lost his mother at the age of one, then his father ten years later), he escaped death following an epidemic which nevertheless cost him his sight. He then developed a very particular sensitivity to hearing and wished to follow in the footsteps of his mother and his friend Yuki, in order to become a shamisen player who could touch people's hearts. In this work, the instrument becomes a real character, embodying both the protagonist's fight against adversity and the explosion of his musical talent.
Another Japanese work using the same themes helped popularize shamisen to a new audience. The series Those Snow White Notes (2021) follows Setsu Sawamura, a teenager passionate about tsugaru shamisen, an instrument played by his grandfather for whom he has great respect. The latter's death plunges him into deep trouble which leads him to go to Tokyo in order to “find his sound.” Based on the manga series Mashiro no oto by Marimo Ragawa, the animation is led by the Shin-Ei studio, and the Yoshida Brothers take care of the musical part with the tsugaru shamisen.
Creators in the United States have also taken inspiration from the distinctive sound of the shamisen in Kubo and the Two Strings (2016), produced by Laika. This stop-motion animation film features a young boy living on the edge of a small village in medieval Japan, watching over his mother who only seems fully conscious for a few hours a day. Kubo entertains the villagers with fantastical stories that he tells by spinning origami figures that come to life to the sound of his magical shamisen. The instrument is once again at the center of the work, especially since the film's soundtrack, composed by Dario Marianelli, incorporates traditional Japanese melodies and highlights the sounds of the shamisen played by Kevin Kmetz.
Video games are not left out, and the shamisen regularly appears in soundtracks where it contributes to the soundscape of the universe represented. Okami (2006), a video game masterpiece released by Capcom, is inspired by Japanese myths and legends. The very particular aesthetic of the game gives it an incredibly poetic, captivating atmosphere, carried by shamisen sounds which reinforce the immersion in a fantastic Japan. The instrument is also present in the narrative itself, with one of the game's enemies, a Red Imp whose flabby skin and muscles are crimson in color, using a shamisen as a weapon. More recently, the action game set in feudal Japan, Ghost of Tsushima (2020), makes remarkable use of the shamisen, imparting a mysterious and nostalgic aura, reinforcing the cinematic atmosphere influenced by the master film maker, Akira Kurosawa.
Whether performed on a kabuki stage, in a rock concert, at a folk festival, or in an animated film, the shamisen embodies the soul of Japan. A living symbol testifying to the richness and diversity of Japanese cultural identity, it remains a pillar that adapts to new requirements. If it continues to occupy a special place in musical heritage, it is thanks to its capacity for adaptation and the enthusiasm of musicians who explore it in new forms. Its presence in contemporary music and arts testifies to its timelessness and its ability to transcend eras and styles, allowing its distinct notes to carry on the waves from the past to the future.
About the Author: Sébastien is a writer and videographer living in Tokyo. Born in 1995 under the sun of Marseille in the South of France, he has been living in Japan since 2022. He has written for several international media outlets, mainly about Japan, art, and cinema. In his free time, he enjoys drinking coffee and taking 35mm photos.
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