Abstract
Survey courses in world musics survive on aphorisms, and one of the favorite characteristics appended to Asian music in such studies is its great interest in improvisation. The major problem with this saying is that it is not true. While it may apply to certain forms of South Asian music and be a part of the Southeast Asian polyphonic stratification structures, it is a rare thing in the music of East Asia. Thus, when I was asked to speak on Japanese music for a symposium on improvisation held by the University of Chicago, I was genuinely hesitant, because I simply could not think of examples upon which to base such a discussion. This study is the result of my search.
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