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We humans like everything to be easy, but playing the violin is the antithesis of an easy skill. The violin is a fascinating instrument, but playing one is excruciating; you need to control the pitch, tone, and every other parameter 100% by yourself to create music from the instrument, and the difficulty of doing so is unbelievable. I started playing the violin at age three and managed to make a living from it, so you can trust me when I say this. Anyone who puts in the extraordinary effort required to master the violin is already somewhat of an oddball. 
 
This book describes the earliest stages of the reception of the violin in Japan. It definitely falls under the genres of art and music books, but perhaps other genres apply as well, since it is not really about art, and it does not delve into the nitty-gritty details of the music either. The book reveals the history of how Japanese people took up the violin, focusing on the skills of playing and making the instrument. The setting is Japan after the Meiji Restoration, when the existence of the violin itself was unknown to the population. 
 
The most distinctive feature of the book is that it offers interesting information obtained through tedious historical research. Somehow, people rattle off clichés such as, “music is great!” or “music transcends borders” and everyone accepts them without objection. It is as if everyone had agreed in advance to only say positive things about music. This kind of simplistic outlook is fine as far as it goes, but when I look back on what I have experienced and felt, I believe it is more complicated than that. In my time of working in music professionally, I have had to face many harsh realities and I would never want to go back to my training days again. However, playing the violin has been a wonderful experience for me, enriching my life and allowing me to meet wonderful people from all over the world. Given my life experiences, I thought I could examine the history of the instrument in Japan with a dispassionate eye, capture the real picture, and discover a stronger connection between music and society. The publication of the results of academic research conducted from such a standpoint is an opportunity for the public to see the connection between the real world and academic research. 
 
The book is long at 564 pages, so reading it all the way through is a lot to ask. Feel free to read only the parts that interest you, although if you do read the whole thing, you will enjoy seeing how disparate events organically connect together. In fact, before this book, I published History of the Violin in Japan: From the Birth of the Instrument to the Meiji Restoration (Seikyusha) in 2022. This book is the sequel to that one, so if you have the stamina, I recommend reading both books back-to-back. I hope to publish a third book after this one eventually. 
 

(Written by: KAJINO Ena / July 03, 2024)