In the later Heian period feudal warriors, samurai, began to exert influence on the culture and political activities of Japan. The Minamoto, Genji, family established the first feudal government, shogunate, in the Kamakura period (1192-1333) and was followed in the Muromachi period (1338-1573) by the Ashikaga family. The names of the periods are derived from these clans' respective capitals, Kamakura being a city about 50 km south-west of Tokyo and Muromachi being the name of an area in the city of Kyoto. Two important genres; one was heike-biwa, a unique style of vocal narrative music accompanied on the biwa lute. Originating during the Kamakura period, heike-biwa would later give rise to the satsuma-biwa and chikuzen-biwa traditions and to some genres of shamisen music, particularly gidayu, the highly developed narrative music of bunraku, puppet theater. The second major genre that developed in the Muromachi period is a theatrical form called no; representing the highest expression of Japanese aesthetic theory, it is a perfect marriage of drama, theater, music, dance, and costume. The beauty of no music lies in its refined symbolism and its combination of simplicity with sophistication and of stereotypes with flexibility. Support for muisc in the early Middle Ages came primarily from the upper classes, samurai and Buddhist priests, the 3 new major genres of the Momoyama (1573-1603) and Edo (1603-1868) periods arose among the merchants and artisans of the cities. The Tokugawa family shogunate dominated the nation throughout the Edo period and didn't not suppress the new culture that developed from the increasing rise of merchant class. Women from both the samurai and merchant classes enjoyed performing songs accompanied by the koto, style first established by blind musicians. The most popular forms of lyrical and narrative vocal music of the period are found in genres accompanied by the shamisen. The music was derived from Japanese kabuki and puppet theater traditions. The shakuhachi was used first by itinerant priests of the Fuke sect of Zen Buddhism, it became popular among people of every class, and soon a cadre of professional secular players developed, many became associated with koto-based chamber music in the 19th century.
The Kamakura period (1192-1333) marks the end of the Heian court spledour and the start of the new military government located in Kamakura, far away from Kyoto. In such a context it is not surprising to find the development of long narrative of military history and the flourishing of plebian theatricals. The story of the defeat of the Heike clan (the Heike monogatari) was known in mansions, war camps, and temple grounds primarily as sung by biwa-plaing bards. As in the traditions of ancient Greece and Europe, these minstrels were often blind or buildt their style in that of the blind-priest lute tradition (moso biwa) in which mendicant monks used to recited sutras (scriptures) from house to house or at temples. More lucrative forms of entertainmnt grew under the circus acts that developed out of the sangaku (folk theatricals); its companion cmoic acts, sarugaku (literally, monkey or mimic music); and theatricals derived from folk-rice planting dances, dengaku. Street parades (furyu) and Buddhist entertainments (ennen) also were part of the colorful scene. By the subseuent Muromachi period (1338-1573) the terms saragaku-no-No and dengaku-no-No had become the dominant terms for temple and shrine pantomime and dialogue dramas, while the comic interludes of such plays were called kyogen. Through the support of the military rulers and the efforts of individual artists such as Kan-ami (1333-1384) and his son, Zeami (1363-1443), the first major form of Japanese theater was developed. It became known eventually as No. The music of No as it is performed today consists of vocal music (yokyoku) with an instrumental ensemble known collectively as the hayashi. The singing is done by the actors or by a unison chorus (jiutai). The four instruments of the hayahsi are a flute (No-kan), the taiko stick drum, a small hourglass drum (ko-tsuzumi) held of the right shoulder, and a larger one (o-tsuzumi) placed on the left hip.
During the Kamakura Period (1192-1333 A.D), through the Muromachi Period (1338-1573 A.D.), there was a steady growth of folk theatrical arts from shrine ritual plays and peasant rice-planting dances. By the end of the 14th century, there had developed the artistic Noh drama with its own music called Nohgaku, and dancing known as Shimai. Noh is highly stylized and symbolic drama, and is usually performed by a few male actors and musicians. A main character often wears a mask which fits its role.
Nohgaku has two elements in it: vocal and instrumental. The vocal part called Utai is performed by both actors and a chorus of eight male singers and tells the story. This vocal part which is derived from Shomyo (Buddhist chanting) includes singing and speech stylized m a definite pattern of intonation. Singing is not always accompanied with instruments. The instrumental part known as Hayashi consists of a bamboo flute, or nohkan, and three drums, ko-tsuzumi, o-tsuzumi, and taiko. Taiko is not used in all pieces of the Noh. The flute, the only melodic instrument, produces several short melody patterns. The ko-tsuzumi and o-tsuzumi are played mostly by bare hands while the taiko is played by two drumsticks. Short and sharp shouts by drum performers known as kakegoe also play important musical roles enhancing the tension of the music.
Nohgaku had been patronized by the higher military class which was the most powerful social level in Japan. After the Meiji Restoration when the old hierarchy was discarded, it tried to win new patrons and succeeded in attracting the nobility and wealthy people. Nowadays, it is gaining support from among the general public, too.