Странствующие музыканты средневековой Японии: Бива-хоси и сказания о войне Гэнпей

Traveling performers in medieval Japan

(琵琶法師), also known as "lute priests", were travelling performers in the era of Japanese history preceding the Meiji period. They earned their income by reciting vocal literature to the accompaniment of [[biwa (musical instrument) music. Biwa hōshi were mostly blind, and adopted the shaved heads and robes common to Buddhist monks. The occupation likely had its origin in China and India, where blind Buddhist lay priest performers were once common. The musical style of the biwa hōshi is referred to as (平曲), which literally means "heike music". Although these performers existed well before the events of the Genpei War, they eventually became famous for narrating tales about this war. Before biwa hōshi sang heikyoku, they were entertainers and ritual performers. They took on a broad range of roles, including poetry and song, plague prevention, and spiritual purification; actually, it was probably because of their ritualistic duties that they became the caretakers of The Tale of the Heike (平家物語). The biwa hōshi are considered the first performers of the Tale of the Heike, which is one of Japan's most famous epics. It details battles between two powerful clans, the Minamoto and the Taira around the 12th century. The Taira (or Heike) were eventually annihilated by the Minamoto (sometimes called the Genji), who systematically killed every male descendant of the Taira. Religion in Japan at the time incorporated many native animistic (Shinto) beliefs into its Buddhist theological framework, leading many court nobles and religious leaders to worry about angry Taira spirits disrupting the peace. The great earthquake around 1185 CE contributed to this sentiment. Since their rituals included placating spirits and preventing plagues, heike music became a vehicle for placating lingering, resentful Heike spirits. Heikyoku and biwa hōshi became immensely popular for the next several hundred years.

(琵琶法師) literally means "lute priest". (法師) is derived from (仏法の教師), which translates as a teacher who explains Buddhist precepts. The two characters (法) and (師) mean "Buddhist doctrine" and "teacher" respectively. Hōshi referred to blind priests who played the [[biwa to accompany their songs about legends, wars, histories, and mythologies. Eventually, hōshi referred to non blind and blind performers and was also used as a suffix to a series of other types of people, such as dancing musicians (田楽法師), Chinese style entertainers (散楽法師), outcast artists (絵取り法師), and men from Sanjō or men from temporary quarters (三条法師). Biwa hōshi are referred to in Japanese iconography that dates back to the late Heian period (794–1185 CE). They are also referred to in the Shinsarugakuki, written by Fujiwara no Akihira (989–1066).

Shōbutsu, a Buddhist monk of the Tendai school, was, according to tradition, the first biwa hōshi to sing the [[The Tale of the Heike, around the year 1220. Subsequently, two different factions of biwa hōshi were formed. These were the Ichikata school, founded by Akashi Kyoichi, and the Yasaka School, founded by Yasaka Kigen. Ranks were assigned to biwa hōshi on the basis of skill, the highest being (検校), followed by (勾当), (別当) and (座頭). The proliferation of the Yasaka and Ichikata factions heightened with the contributions of Akashi Kakuichi (1300–1371). A noted biwa hōshi, Kakuichi's heikyoku narration is currently accepted as the definitive version of the heike. A documented reason for this is that Kakuichi was largely responsible for forming the Ichikata guild. This preceded the formation of the Tōdō (当道), a self governing guild of biwa hōshi. The Tōdō received income in two ways: patronage from the Kyoto aristocracy and military, and its monopoly over the teaching and transmission of heikyoku. To be accepted as a disciple, an aspiring student would have to pay a fee, after which the study of each new piece of music required payment. By the 13th and 14th centuries, biwa hōshi performed for the military elite and the aristocracy, including the regional daimyō feudal lords. Public performances were also given during Buddhist temple services. The general population had the further option of attending Kanjin performances, which they were required to pay a fee to see.

The Ōnin War (1467–1477) proved a trying occurrence for the proliferation of the biwa hōshi. The war instigated the Sengoku period (15th–17th centuries), an era of civil war and political–military conflict that lasted for nearly two centuries. In this time, many heike musicians turned their attention to the [[jōruri (music) or the shamisen three stringed lute. Therefore, not only did the conflict cause a loss of performers, but also a decline in the number of listeners of the heikyoku. However, the complete demise of the biwa hōshi was prevented by the daimyō Tokugawa Ieyasu who favored the art of heike performance. Ieyasu ultimately reunified the country by establishing the Tokugawa shogunate, and became a fervent patron of the heike. During the Edo period (1600–1868), the Tokugawa shogunate provided the Tōdō with special privileges and substantial financing, which the Tōdō then distributed to members according to rank. The Edo period also marks the era in which the shogunate designated heike as one of its official ceremonial forms of music. Accordingly, new schools of heike appeared, many of which were influenced by the newly introduced shamisen and its accompanying styles of music. The two predominant schools that came about during the Edo period were the Maeda ryū founded by Maeda Kyūichi, and the Hatano ryū founded by Hatano Kōichi. Both figures were members of the Shidō ha, which was the most active branch of the older Ichikata school. Collaborations were formed between amateur aficionados of the heike who, over the course of the Edo period, made small revisions to the musical notation of the heike score. The ceremonial form of the heike performed for the shogunate became increasingly solemn and refined to meet the standards of the intellectual class. Moreover, to ensure the development of the heike score, improvisation notably declined.