Note: Robert Garfias talks about his stay in Japan, his low status there as a foreign foundation fellow (graduate student), coldness of his teacher, his Japanese-American ex-wife, and his general bitterness about the experience. He took seven lessons a week and learned (but did not memorize) the entire court music repertoire. Perseverance won him respect. Court musicians reluctant to teach foreigners beyond a certain level because of fear they may find nothing "behind the veil." Most of repertoire never performed in public. Musicians also play western instruments for court banquets. Pay is very low; musicians must take outside "unofficial" jobs. Traditional instrument assignment is hereditary, but musicians can exercise some choice in picking western instrument. Only court musicians can read special music notation. Garfias presented a paper about the repertoire and its notation to the American Musical Society. Court music was in low favor after the war. People today not impressed by the Emperor and the emperor is not interested in music. Japanese fear inferiority of their traditional music to Beethoven and jazz. Most people who follow it do so for reasons of nationalism not interest in music. Eta Harich-Schneider didn't have the access to it she thought she did. Alan Lomax: What is the tradition? Garfias: It was the music of the court nobility recounted in the Tale of Genji. In the twelfth century the military took power and the nobility faded out. Meiji period brought all musicians to court in a chaotic way. It was not an organized revival because the traditions had been preserved in tablature, vocalizations show ornaments. Alan Lomax asks about emotions in court music. Garfias: Emotions - nostalgia, seasons, values of Shintoism. Modes are appropriate to seasons (not time of day as in Indian ragas). Only court music has modes, other Japanese music has tuning systems. Music education is lengthy. Entire repertoire vocalized for two or three years before students are allowed to play. Syllabary is used to teach flute mouthings. Teacher has family-like relationship to pupils, is often severe. Court music tempos are slow - positive mood expressed through clear melodic outline, not tempo. Ornaments supply emotional effects (usually melancholy). When speeded up on tape recorder, court songs sound like contemporary Japanese pop songs. Certain pieces preferred for certain instruments. Korean music more lively. Japanese are aware that much repertoire, especially vocal, has been lost. One type features a soloist beginning, then chorus enters and they sing in unison (resembling Gregorian chant). Pieces are in "free" rhythm, but with time intervals strictly memorized. Radio has replaced folk singing. Little traditional music heard on the radio - maybe a half hour a day. Much American and Japanese pop, also very good classical western repertoire, especially renaissance and baroque. Meiji court imitated western embassies in having brass bands, then, realizing that these were not "high class," developed string orchestras. Japanese tradition of performing western classical music is 100 years old. Twist is popular, also schmaltz. Japanese court music is considered Chinese in origin but this tradition has not survived in China. Korean music is completely different, more boisterous. Koreans more individualistic, will go own way. In Japan this would be social suicide unless in going own way one forms one's own school of followers.