Tokyo Koto (Japanese Harp)〜Traditional Crafts of Tokyo JAPAN

History and Characteristics:
Written in kanji characters, “koto” (the name of the Japanese harp) may be expressed as either “so” (「筝」) or as “koto” (「琴」).
However, “so” (「筝」) is now also read as “koto,” and it is used to describe a 13-string instrument. Strictly speaking, ”koto”(「琴」), originally described a completely different 7-string instrument that lacked a bridge used for heightening or lowering sound pitch.
At present, of these two kanji characters, only “koto” (「琴」) is designated for everyday use. Accordingly, it is more commonly used to describe both the 13-string and 7-string instruments than “so” (「筝」).
Composing music for the 13-string koto commenced with a Buddhist priest called Kenjun (believed to have lived 1534-1623), who hailed from the Zendoji Temple in Kurume, Kyushu. In being greatly influenced by gagaku (ancient court music) and kinkyoku (music played on the 7-string instrument), Kenjun is said to have composed koto music in the Chikushi Style, achieving great success at around the end of the Muromachi Period (1336-1573).
With the passage of time, the Chikushi Style gave birth to the Ikuta and Yamada Styles, along the way it also giving rise to the Yatsuhashi Style.
In 18th century Edo, Yamada Toyoichi (later called Kengyo) (1757-1817) created new music in which the koto became the performance focus. This was a transformation from traditional music in which the koto had accompanied the shamisen. In that he possessed a very fine voice, Yamada Kengyo was greatly acclaimed in Edo as an exponent of the Yamada Style of koto music. Concurrently, he also worked to improve both the finger plectrums used when playing the koto and the instrument itself, such developments becoming the basis of the modern “Yamada Koto.”
A koto craftsman called Shigemoto Fusakichi also transformed the instrument. He made certain improvements to the existing design in accordance with the music of the Yamada Style.
Fusakichi's koto measured some six shaku (it being approximately 180cm long). This was some three sun (approximately 9cm) shorter than previous instruments. He also thickened the koto by working to add to the sound volume produced by the instrument. This was done by strengthening the camber (the longitudinal curvature of the instrument). Fusakichi also increased the size of plectrums so that the sound quality of the koto was better articulated.
The features described above came to represent those of the Tokyo Koto, this instrument being widely used by both the Yamada and Ikuta Styles of koto music.
Materials used in the manufacture of koto are Paulownia, Red Sandalwood and Sandalwood, etc. Furthermore, silk thread is used to make the strings.

[@user-yd4rr4jg2d]

この技術が永遠に受け継がれることを願ってます🙏

[@danyelnicholas]

All that fantastic craft and patience and then plastic strings and goose feet (bridges)!

[@fatimasipen8191]

Japanese art! I love this musical instrument.

[@olook7646]

Hello from Kazakhstan

[@letshuman8985]

I never seen what it looks like to make a koto. It is so beautiful!

[@heitorinhaquites7570]

What is the name of the music that is playing in the background?

[@olook7646]

ハンマーとは何の金属ですか