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Vocal music has been divided into two categories in Japan, dating back to ancient times, namely ''Utai'' (<font size=3>謡</font> "chanting or singing") and ''katari'' (<font size=3>語り</font> "reciting"). The biggest difference between the two is that ''utai'' contained definite melodies, rhythms, and a tempo, whereas the main emphasis of ''katari'' was on explaining the plot. ''Katari'' itself  originated from the tale-chanting style of ''heikyoku'' (<font size=3>京華曲</font>), which was used to relate historical dramas from the ''Heika'' , to the accompaniment of a ''biwa'' (<font size=3>琵琶</font> "a lute-like instrument").  

Vocal music has been divided into two categories in Japan, dating back to ancient times, namely ''Utai'' (<font size=3>謡</font> "chanting or singing") and ''katari'' (<font size=3>語り</font> "reciting"). The biggest difference between the two is that ''utai'' contained definite melodies, rhythms, and a tempo, whereas the main emphasis of ''katari'' was on explaining the plot. ''Katari'' itself  originated from the tale-chanting style of ''heikyoku'' (<font size=3>京華曲</font>), which was used to relate historical dramas from the ''Heika'' , to the accompaniment of a ''biwa'' (<font size=3>琵琶</font> "a lute-like instrument").  

Although ''heikyoku'' was a popular form of entertainment, performers began looking for additional sources of material and it was around the mid-Muromachi Period, during the late 15^th century, that ''jōruri'' performers began to attract attention. With the addition of the ''shamisen'' (<font size=3>三味線</font> "three-stringed guitar") in the mid-sixteenth century, ''jōruri'' made rapid musical advances.   

Although ''heikyoku'' was a popular form of entertainment, performers began looking for additional sources of material and it was around the mid-Muromachi Period, during the late 15th century, that ''jōruri'' performers began to attract attention. With the addition of the ''shamisen'' (<font size=3>三味線</font> "three-stringed guitar") in the mid-sixteenth century, ''jōruri'' made rapid musical advances.   

Allied to the development of the musical form, was that of the puppets. The history of "moving dolls" In Japan dates back to at least the in the Heian period (784 - 1185), where there are records of groups of traveling artists who performed as "puppet operators." These performers were known as ''kairaishi'' (<font size=3>傀儡師</font> "puppet players" or "wire-pullers"). By the thirteenth century, these traveling puppeteers had fallen under the patronage of various shrines and temples, and once the connection with jōruri was made at the end of the sixteenth century, the artform moved from the streets to indoors.

Allied to the development of the musical form, was that of the puppets. The history of "moving dolls" In Japan dates back to at least the in the Heian period (784 - 1185), where there are records of groups of traveling artists who performed as "puppet operators." These performers were known as ''kairaishi'' (<font size=3>傀儡師</font> "puppet players" or "wire-pullers"). By the thirteenth century, these traveling puppeteers had fallen under the patronage of various shrines and temples, and once the connection with jōruri was made at the end of the sixteenth century, the artform moved from the streets to indoors.

There are a number of fundamental styles of bunraku wigs, depending upon the type of character being portrayed. It is the job of the "wig masters" (<font size=3>床山</font> ''tokoyama''), to sew and create an appropriate hairstyle (<font size=3>結髪</font> ''keppatsu'') for every role, based around the fundamental styles. The ''tokoyama'' does not just style the wigs, but also makes them by threading hair through copper plates. Human hair is used most of the time, but occasionally, in order to create the illusion of volume, the hair of a yak's tail is also used. The finished wig is then carefully attached to the head. When creating a special hairstyle, no oil can be used, in order to prevent it running and soiling the face, so the styling is done using only water and beeswax (<font size=3>鬢付け</font> ''bintsuke'').

There are a number of fundamental styles of bunraku wigs, depending upon the type of character being portrayed. It is the job of the "wig masters" (<font size=3>床山</font> ''tokoyama''), to sew and create an appropriate hairstyle (<font size=3>結髪</font> ''keppatsu'') for every role, based around the fundamental styles. The ''tokoyama'' does not just style the wigs, but also makes them by threading hair through copper plates. Human hair is used most of the time, but occasionally, in order to create the illusion of volume, the hair of a yak's tail is also used. The finished wig is then carefully attached to the head. When creating a special hairstyle, no oil can be used, in order to prevent it running and soiling the face, so the styling is done using only water and beeswax (<font size=3>鬢付け</font> ''bintsuke'').

==Also see==

==See also==

* [[Kabuki]]

* [[Kabuki]]

* Ronald Cavaye, Paul Griffith, ''Senda Akihiko, A guide to the Japanese Stage'', Kōdansha, 2004  

* Ronald Cavaye, Paul Griffith, ''Senda Akihiko, A guide to the Japanese Stage'', Kōdansha, 2004  

* Keene, D, ''No and Bunraku'', Columbia University Press, 1999.

* Keene, D, ''No and Bunraku'', Columbia University Press, 1999.

* Brazell, K (ed), ''Traditional Japanese Theater'', Columbia University Press, 1999, ISBN-13: 978-0231108737

* Brazell, K (ed), ''Traditional Japanese Theater'', Columbia University Press, 1999, ISBN 978-0231108737

* Ortolani, B, ''The Japanese Theatre'', Princeton University Press, 1995, ISBN-13: 978-0691043333

* Ortolani, B, ''The Japanese Theatre'', Princeton University Press, 1995, ISBN 978-0691043333

* Mikiko Utiyama, ''Theater Research Bulletin'', 2002 (『十世豊竹若大夫』、2002年)

* Mikiko Utiyama, ''Theater Research Bulletin'', 2002 (『十世豊竹若大夫』、2002年)

* Kiyoshi Mizuochi, ''Bunraku'', 1989 (『文楽』、1989年)

* Kiyoshi Mizuochi, ''Bunraku'', 1989 (『文楽』、1989年)