Originally, the word koto was used generically for all kinds of
stringed instruments. The practical use of the word in Japan,
refers to any one of the various horizontal plucked chordophones.
The koto was introduced to Japan from China through the Korean Peninsula
in the 7th century. This was about the same time that Buddhism and many other
cultural influences arrived in Japan from the continent. In Chaina, this type of instrument
came from in two basic forms, those with bridges (called "sou") and those without
(called "kin"). It is this first form that became most popular in Japan.
The instrument has been part of the gagaku court ensemble for over one
thousand years and also became popular among the merchant class of the Edo period
(1600-1868). The modern koto has thirteen strings which made of Dacron or Silk.
(though still some player use silk, Dacron is much more common nowadays).
Body made from paulownia wood. Inside of the instrumentis hollow and carved some
special patterns and there are two sound holes in the ends of this plank which
also make it possible to restring the instrument easily. The average is about
six feet in length, and 20 pound in weight. There is a legend that the shape of
the koto originated from that of a crouching dragon. The parts of the koto have
a name after dragon. It was said that a distinctive feature of the Japanese koto
is it use of moveable bridges (called Ji ) . It is made from plastic, ivory, or wood.
Most common is made of plastic, now. By adjusting these bridges, any thirteen-note
sacle can be produced, even microtonal interval and just intonation. Beside the
notes available through the adjustment of the bridges, there are also pitches
that can be produced by pushing down on the strings with the left hand. Such a
movement stretches the strings so as to produce whole, half steps, or between
them as needed. This techenique is typical of popular koto styling.
The koto developed further in a solo capacity, eventually gaining
its place as one of Japan's most prominent instruments. Today a varied repertoire
of compositions, along with a wide range of playing techniques providing
a wonderful palette of sound textures, make the koto appealing to audiences the
world over. A 17-string bass koto (proportionately larger dimensions) was developed
early in the 20th century by koto master Michio Miyagi, and this instrument now
plays an integra l role in contemporary ensembles. Sound renge of 17-string koto
is one octave lower than koto.