Overview of the Children’s Song “Dokoka de Haru ga”

Published in 1923 (Taishou 12), “Dokoka de Haru ga” is a children’s song that gently conveys the breath of spring. Characterized by elements such as the sound of flowing water and the chirping of skylarks (hibari), it subtly evokes the anticipation of spring’s arrival through small, natural changes. Because it was created during the Taishou era—when rigid school songs were gradually being replaced by more accessible children’s songs—“Dokoka de Haru ga” soon found its way into many classrooms and homes, where it has been widely sung ever since.

Taishou Democracy and the Birth of Children’s Songs

The Taishou period, when this song was composed, was marked by an intellectual movement known as **Taishou Democracy**, which emphasized liberalism and respect for individuality throughout society. In the field of education, there was a strong trend toward valuing children’s sensibilities. Magazines like *Akai Tori* (“Red Bird”) became cultural hubs where writers, poets, and composers inspired each other to create new children’s songs and stories. Within this vibrant environment, “Dokoka de Haru ga” emerged as a piece that straightforwardly celebrates the transition of the seasons, ultimately becoming a timeless favorite cherished across generations.

Image from Wikipedia, original image page

Depictions of Nature and the Meaning of “Kochi” (East Wind)

The lyrics are filled with elements that signal the coming of spring—from the trickle of melting snow and the sight of fresh sprouts emerging from the ground, to subtle sounds that stimulate the five senses. Of particular note is the term **“kochi,”** or east wind. Rather than just indicating a wind blowing from the east, the word also draws on the ancient Four Gods (Four Symbols) concept that associates spring with the east. During the postwar period, “kochi” was temporarily replaced with the more understandable term “soyokaze” (gentle breeze), but in recent years, there has been renewed appreciation for the original term’s cultural significance and for the distinctly Japanese sense of the seasons it conveys.

Lyricist MOMOTA Souji and Composer KUSAKAWA Shin

The lyrics of “Dokoka de Haru ga” were written by Momota Souji, a poet and children’s literature author born in Osaka City. Active from the Taishou through the Shouwa eras, he was known for his “people’s poetry” style, leaving behind numerous works that highlight the importance of children’s perspectives. Meanwhile, KUSAKAWA Shin, the composer, hailed from Kamiminochi District in Nagano Prefecture (now around the Nagano City area). Also celebrated for songs like “Yuuyake Koyake” and “Yurikago no Uta,” he excelled at creating simple yet memorable melodies for children. In “Dokoka de Haru ga,” KUSAKAWA distilled the gentle atmosphere of spring into a short, easy-to-sing tune. Their collaboration produced a song in which tender lyrics and melody harmonize beautifully, and it continues to be embraced as a quintessential symbol of spring in Japan.

100 Best Japanese Songs

“Please Recall”

Please recall. A spring day when gentle sunlight spills into a kindergarten classroom, illuminating walls adorned with colorful drawings scratched out by tiny hands holding crayons. The nursery song Omoide no Album (“The Album of Memories”) is a cherished staple of Japanese graduation ceremonies, evoking such warm memories. First introduced in 1961 as a rhythmic play resource for early childhood education, its leisurely waltz tempo perfectly suits little ones singing and dancing in carefree motion. Yet, as its title suggests, it’s imbued with a tender gaze upon children’s growth, and today it’s adored more by adults. For many, merely recalling the melody brings tears to the eyes—I’m one of them. This timeless theme of growth and parting resonates across borders, touching hearts everywhere.

The Teacher’s Gentle Perspective

Please recall. The morning of the graduation ceremony, when children in crisp uniforms, faces flickering with nerves and pride, clasp their teacher’s hand as if to hold the moment tight. Sung from a kindergarten teacher’s viewpoint, this song fondly revisits the events shared with children through the seasons. Lyrics like “We played together so nicely in the warm garden,” “Everyone in straw hats, running around bare,” “Hiking up the acorn hill, la la la,” and “Decorating the fir tree for Merry Christmas” weave seasonal memories with gentle care. To the teacher, these children are not just pupils but companions who laughed and played side by side. That warmth spills from the words, stirring empathy in listeners. The song unfolds with Verse 1 as an introduction, followed by spring in Verse 2, summer in 3, autumn in 4, winter in 5, winter again in 6, and a yearly summary in 7. This structure reflects the Christian faith of lyricist MASHIKO Toshi and the Buddhist beliefs of composer HONDA Tetsumaro, symbolizing the bond through seasons. Feel the teacher’s warm gaze and the deep love beneath it.

A Treasure for Parents and Adults

Please recall. The day your child first stepped through the kindergarten gate, waving tearfully as they looked back. Though it begins with the teacher’s voice, this song nestles deeply into parents’ hearts. At graduation, it prompts a flood of memories—growth, joy, and a pang of sadness—shared by so many. Originally crafted as a playful tune for children, it now echoes through spring graduation seasons, drawing tears from grown-ups. The lyric “Soon you’ll all be first-graders” is the teacher’s words to the child, yet it mirrors a parent’s hope and sentiment, too. The pride of raising a child and the fleeting nature of time are feelings known the world over. Typically, it’s sung up to Verse 5, though Verse 6 or 7 may be chosen to avoid religious tones, hinting at cultural nuance. The Album of Memories holds a mysterious power to comfort adults’ hearts.

Japan’s Heart and Legacy

Please recall. Children holding hands, singing as they step toward tomorrow. Rooted in Japan’s kindergarten traditions, this song carries the universal theme of growth and farewell to the world. Composer HONDA Tetsumaro spent his later years as the head priest of Jyourakuin, a Tendaishuu temple in Chofu, Tokyo, where a monument to this song stands on the grounds. The Buddhist HONDA and Christian MASHIKO Toshi crafted lyrics and music that transcend faith, with Verse 6’s “A cold snowy day, warm in our room” and Verse 7’s “Peach blossoms bloomed so beautifully, soon you’ll all be first-graders” perhaps symbolizing that harmony. Verse 5 often seals the graduation’s emotion, while 6 and 7 leave a quiet resonance. Listen to this song. The simple piano notes blending with children’s voices are like opening an album, reviving memories and love. A hallmark of Japan’s spring, it whispers to hearts everywhere, recalling the beauty of days spent with children.

100 Best Japanese Songs

March: Graduation Season in Japan

March, heralding the arrival of spring, marks the graduation season in Japan. First presented in the year 1884, as the 19th century drew to a close, the song went through a period of obscurity but later experienced a revival. It became an essential classic for graduation ceremonies during the Showa era.

Photo by Ishikawa Ken

Decline in Popularity

The use of the past tense to describe its significance is because it is no longer commonly sung in recent times. The reasons for this decline vary; some attribute it to the archaic language used in the lyrics, which is difficult for children to understand, while others suggest that the content praising teachers is no longer relevant to the times.

By Yousay07& – Own work, CC BY-SA 4.0, Link

Nevertheless, it is truly regrettable to see this beautiful melody fading into obscurity.

Origins and Creation

Originally created for the graduation ceremony of “Ongaku torishirabe kakari” (now part of the Tokyo University of the Arts Faculty of Music), an organization engaged in editing song textbooks and conducting music education research, the song’s lyrics underwent multiple revisions through a collaborative process involving scholars and poets before reaching completion. The composition process, however, remained shrouded in mystery for a long time. It was only in recent years that the original publication from 1871, finally discovered in the United States, bore the composer’s initials, H.N.D, as the sole identification.

By N509FZ – Own work, CC BY-SA 4.0, Link

Attempts at Modernization

In later years, there was a movement suggesting that if the lyrics were too difficult and the meaning didn’t come across, why not try modernizing them into contemporary language? However, when this idea was actually implemented and presented, voices emerged expressing sentiments like “It doesn’t bring tears if it’s not the original lyrics,” resulting in unfavorable feedback. Upon reflection, it seems that Japanese people, as a whole, may prioritize nuances and emotions over the precise meaning of words. Despite this, Japan actively embraces music from abroad, and many musicians have gained popularity in Japan even before their home countries. This adaptability could be a source of happiness.

Symbolic Meaning

Incidentally, the third verse, featuring “light of fireflies” and “snow that lingers,” draws inspiration from Chinese tales, symbolizing the pursuit of knowledge and success through studying under the illumination of firefly lights and lingering snow.

100 Best Japanese Songs

“Hotaru no Hikari” Echoes in Graduation Season—What Memories Do You Have?

As March draws to a close and cherry blossom buds begin to swell, the melody of “Hotaru no Hikari” can be heard from shops across Japan. This song, which accompanies graduation ceremonies, farewell parties, and year-end closings, evokes feelings that are somehow bittersweet yet warm. What history and meaning lie behind this tune that every Japanese person knows?

The Nairobi Japanese School/ナイロビ日本人学校 – The Nairobi Japanese School/ナイロビ日本人学校, CC 表示-継承 4.0, リンクによる

A Scottish Import—Actually Born Abroad

“Hotaru no Hikari” actually borrowed its melody from the Scottish folk song “Auld Lang Syne,” which means “old good times.” This song was popularized in the late 18th century by poet Robert Burns. In Western countries, it’s still a standard tune sung at New Year’s Eve parties and farewell gatherings.

In Japan, the current lyrics were added in 1881 during the Meiji era. It was truly a time of “Japanese spirit with Western learning.” You might say this song symbolizes the Meiji era, infusing Western music with Japanese sentiment.

What Are “Firefly Light” and “Window Snow”?

The title’s “Hotaru no Hikari” (Firefly Light) and “Mado no Yuki” (Window Snow) are actually symbols of studious students.

“Firefly Light” comes from a Chinese story about a poor student who collected fireflies to study by their faint light. Similarly, “Window Snow” refers to how snow accumulated on windows at night would reflect moonlight and brighten a room.

There might be modern versions like “reading textbooks by smartphone light,” but essentially, the message is “maintain your desire to learn regardless of your circumstances.” It carries a somewhat preachy but passionate message for Meiji-era children.

“keisetsu no kou” is a Japanese idiom that means “the fruits of hard work in study.”

Now a Signal for Closing Time—How Its Use Has Changed

The role of “Hotaru no Hikari” has changed with the times. During the Meiji era, it was a song encouraging young people to strive for success. After World War II, it became purely a song celebrating new journeys, and from the 1960s, it became established as department stores’ and shops’ signal for “we’re closing soon.”

It’s actually quite remarkable that people understand “it’s time to leave” just from background music playing. This might be a unique culture—a distinctly Japanese form of communication that conveys messages through “atmosphere” rather than words.

Graduation Ceremonies, Tears, and “Hotaru no Hikari”—A March Tradition

Have you ever experienced “trying not to cry but almost couldn’t hold back”?

March graduation ceremonies. While many might not remember the principal’s speech from the podium, the melody of “Hotaru no Hikari” that played at the end remains etched in many hearts.

As the ceremony nears its end and the piano prelude begins, tears that had been bravely held back start to fall. Even boys who thought “I won’t cry” somehow feel their eyes welling up. Current students begin singing, and graduating students join in harmony. Casual conversations in classrooms, lunchtime in the schoolyard, the excitement of cultural festivals—all these memories rush back at once.

“Hotaru no Hikari” sees off students in their uniforms, clutching albums as they exit the school gates. It’s a curious song that says “goodbye” while seemingly encouraging you with a “do your best” push from behind.

In fact, this moment when “everyone can cry together” might be a precious “officially sanctioned emotional release time” in Japanese society, which typically restrains emotional expression. Foreigners are often surprised when they witness this scene at Japanese graduation ceremonies.

By Asturio Cantabrio – Own work, CC BY-SA 4.0, Link

Not Understood by Foreign Tourists?—The Changing Role of “Hotaru no Hikari”

I’ve noticed something recently: when “Hotaru no Hikari” plays in department stores, foreign tourists show no sign of leaving…

While 100% of Japanese people understand “Hotaru no Hikari” as a signal for “time to leave,” to foreigners it’s just background music. With the increase in inbound tourism, many stores now use multilingual announcements or introduce more obvious closing signals.

It’s a little sad that more people don’t know this song’s special meaning, but conversely, explaining the cultural background of “Hotaru no Hikari” to foreigners could be an opportunity to deepen their understanding of Japanese culture.

Not Just Goodbye—”Hotaru no Hikari” Will Continue to Resonate

At the end of March, as cherry blossoms begin to bloom, “Hotaru no Hikari” echoes throughout the city. Though it seems to announce an “ending,” it actually contains expectations for a “new beginning” as well.

Even as its meaning changes with the times, this song continues to accompany the season of farewells and new encounters. What memories are connected to the “Hotaru no Hikari” that resonates in your heart? Perhaps this year too, new memories of “Hotaru no Hikari” are being etched into someone’s heart.

100 Best Japanese Songs

Hana: The Melody of Japanese Spring

Many people may remember this song when they think of spring scenery in Japan.

The melody, filled with the joy of the arrival of spring after winter, shines like the surface of the river in the sunlight, and the lyrics, which describe the unique beauty of the cherry blossom scenery, match perfectly, making this song the standard for spring in Japan.

The Historic Sumida River and Its Cherry Blossoms

The Sumida River flows through the east of Tokyo, passing the Tokyo Sky Tree and Asakusa before emptying into Tokyo Bay.
The cherry trees sung as flowers in this song are planted mainly along the riverbanks (botei) of the Sumida River from Azuma Bridge to Sakura Bridge, and are called “Senbonzakura (a thousand cherry trees) on the Sumida River.

sumidatei no hanami / KOBAYASHI,Kiyochika

From Edo-Period Flood Control to Modern Hanami Celebrations

It is said that the cherry trees were originally planted by the 8th Tokugawa shogun, Yoshimune, for flood control, and the purpose was for people to gather and trample on the embankment.

Even today, the area is crowded with people during the cherry blossom season, and instead of boats sung with “oar drops,” pleasure boats designed by Matsumoto Leiji, a manga artist known for “Galaxy Express 999” and “Space Pirate Captain Harlock,” come and go, and people enjoy cherry blossom viewing drinks from morning until late at night.

ヒミコ | 【公式】東京都観光汽船（TOKYO CRUISE）

漫画・アニメ界の巨匠・松本零士氏がデザイン。宇宙船のような「ヒミコ」は、「ティアドロップ（涙滴）」をイメージ・コンセプトに、「子供たちが乗ってみたいと思ってくれる船」として、デザインを手がけられました。船内では「銀河鉄道999」のキャラクタ...

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Cultural Legacy: From Edo to Present Day

It is a spring event that brings the atmosphere of the Edo period to life.

In summer, the Sumida River Fireworks Festival attracts many people. The “Tamaya” and “Kagiya” are the trade name of a popular fireworks masters in Edo (present-day Tokyo). Kagiya still exists today.

Sumida River Fireworks Festival

The composer of this piece, TAKI Rentarou, went to Germany to study as a music student, but returned to Japan with tuberculosis and died at the young age of 25. His aspiration “for the development of high quality Japanese songs” continues to shine through the ages.

The Delicate Season Between Winter and Spring

“Soushunfu” is a song that beautifully expresses the anticipation of spring in Japan, capturing the transitional period from early February (around “Risshun” in the traditional 24 solar terms) through March. Despite being officially spring, this period is characterized by winter’s lingering presence—the wind remains chilly, and even the nightingale, traditionally known as the herald of spring, still refrains from singing. The landscape presents a poetic contradiction: plum blossoms beginning to bloom while snowflakes continue to fall, and fresh reeds sprouting along waterways despite the persistent cold. These elements combine to create a poignant portrayal of the longing for spring’s full arrival.

Though written in classical Japanese style, the lyrics offer a beautiful resonance without overly difficult pronunciation, making it an ideal piece for those studying Japan’s traditional musical heritage.

The Inspiring Origins in Nagano’s Alpine Landscape

The song originated in the early Taisho era (1912-1926) when YOSHIMARU Kazumasa, a respected professor at the Tokyo Music School and member of the “Jinjo Shogakko Shoka” (Elementary School Songs for Common People) compilation committee, visited Azumino in Nagano Prefecture. The melting snow scenery around Hodaka Town profoundly moved YOSHIMARU, inspiring him to compose the poem for “Soushunfu.” For the musical composition, he turned to his colleague NAKADA Akira, a renowned composer who was the father of NAKADA Yoshinao (known for beloved songs such as “Natsu no Omoide,” “Chiisai Aki Mitsuketa,” and “Yuki no Furu Machi wo”).

Azumino: The Landscape That Inspired a Classic

Nestled at the foot of the Northern Japan Alps, Azumino presents a striking natural environment that was particularly impactful for YOSHIMARU. Having been born and raised in the warm climate of Oita Prefecture in Kyushu, the distinct seasonal transitions and alpine scenery of Azumino offered a fresh perspective that deeply influenced his artistic sensibilities.

The region is characterized by remarkable natural beauty—crystal-clear streams fed by alpine snowmelt, vast fields framed by mountain vistas, and a distinctive climate that remains cool even during summer months. This environmental contrast between his native Kyushu and the alpine landscape of Nagano likely heightened YOSHIMARU’s sensitivity to the subtle signs of early spring depicted in the song.

Azumino’s agricultural fame for premium wasabi and soba noodles further connects to its exceptional water quality and climate—elements that form the backdrop for the song’s portrayal of nature’s awakening. Today, visitors to the area can find a monument commemorating the creation of “Soushunfu,” recognizing the song’s cultural significance and connection to this specific landscape.

User: (WT-shared) NY066 at wts ウィキボヤージュ, CC 表示-継承 3.0, リンクによる

Cultural Recognition and Enduring Legacy

“Soushunfu” has earned significant recognition in Japan’s cultural canon, being selected as one of the “100 Best Japanese Songs” by both the Japanese Agency for Cultural Affairs and the Japan PTA National Council. This official recognition highlights the song’s artistic merit and its importance in preserving traditional Japanese sensibilities about nature and seasonal transitions.

The song continues to be taught in schools and performed in various contexts, serving as both a cultural touchstone and a reminder of Japan’s deep poetic tradition of observing and celebrating the subtle changes in nature throughout the year.

The Medaka: A Tiny Fish with a Gentle Soul

The medaka, known by its scientific name Oryzias, is a tiny fish less than 5 centimeters long, inhabiting mainly freshwater and slightly brackish waters across East and South Asia. It prefers calm, slow-moving streams, ponds, and rice paddies—settings that evoke peaceful rural landscapes. Because of its habitat, it has been dubbed a type of “killifish,” a term derived from the Dutch word kilde, meaning “brook” or “small stream.” Yet, to Japanese ears, the presence of the word “kill” in “killifish” feels oddly jarring when associated with such gentle, charming creatures.

An alternative and more culturally resonant name is “Japanese Rice Fish,” which paints a fitting image of the medaka gracefully darting between stalks of rice in flooded paddies. This term aligns beautifully with the sensibility of Japanese aesthetics, which often celebrate the quiet beauty of nature and small lifeforms that thrive within it.

A Wartime Memory Behind the Lyrics

There’s a touching anecdote tied to the lyrics of the medaka-themed children’s song. During the Second World War, lyricist CHAKI Shigeru evacuated from Tokyo to Odawara, a coastal town in Kanagawa Prefecture, bringing along his young son. One day, while relaxing by the riverbank, CHAKI casually looked into the water and saw a school of medaka swimming peacefully.

Suddenly, a noise startled the fish, and they vanished in an instant. CHAKI voiced his disappointment, only for his son to comfort him by saying, “Don’t worry, they’ll come back soon. This river is like a school for medaka.” This innocent remark, though seemingly offhand, left a strong impression on CHAKI. While later accounts confirmed that this charming episode was a fictional backstory, it still offers a heartwarming glimpse into how the imagination can shape creative work.

The Power of Repetition: A Composer’s Touch

Interestingly, the well-known second line of the song—“Sotto nozoite mite goran” (“Take a peek quietly and see”)—was not originally repeated. It was NAKADA Yoshinao’s fiancée who suggested that the line be sung twice, adding a lyrical softness and childlike echo to the melody. This gentle repetition became a defining feature of the song, typically sung in a subdued, hushed voice that mirrors the quiet act of peeking into a stream without disturbing its delicate life.

A Childhood Mishearing That Lingers

As a child growing up in the Showa era, I distinctly remember mishearing the third verse of the song. The line “Mizu ni nagarete tsuui tsui” (“Drifting in the water, slipping along”) was something I confidently believed to be “suui sui”—a phrase that sounded more fluid and natural to my ears at the time. Even after consulting various lyrics archives, it turns out “tsuui tsui” is indeed the correct version. It’s a small yet delightful reminder of how children’s ears often interpret lyrics through their own imaginative filters.

A Medaka Renaissance in Modern Japan

In recent years, Japan has witnessed an unexpected “medaka boom.” Enthusiasts have selectively bred medaka to create stunning varieties with shimmering colors, unusual fins, and unique patterns. These designer medaka, some of which command high prices, are now beloved among collectors and hobbyists alike.

It’s quite possible that this quiet renaissance in medaka appreciation will extend overseas—much like how BONSAI, once a humble Japanese art form, now enjoys global admiration. The medaka, with its gentle charm and poetic presence in Japanese culture, might one day swim into the hearts of people around the world.

100 Best Japanese Songs

Thefts of high-end medaka killifish on the rise – Japan News Yomiuri 

“Oboro zukiyo” – A Famous Song Symbolizing Japanese Spring

“Oborozukiyo” (Hazy Moonlit Night)… On a spring evening, when you look up at the sky from a field of rape blossoms at dusk, you can see the moon dimly appearing and disappearing through thin clouds. Such a moon is called “Oborozuki” (hazy moon) and has become an elegant symbol representative of Japan.
The hazy moon is deeply connected to traditional Japanese aesthetic concepts such as “mono no aware” (the pathos of things) and “wabi-sabi.” The beauty of something unclear or incomplete lies at the heart of Japanese aesthetics. Descriptions of hazy moons can be found in literary works dating back to the Heian period, and many poets and haiku masters have celebrated its phantasmal beauty.

TAKANO Tatsuyuki – Creator of “Oborozukiyo” and the Background of Its Creation

TAKANO Tatsuyuki, a renowned lyricist and Japanese literature scholar, was born in Toyoda Village (now Nakano City) in Nagano Prefecture and spent some time as an elementary school teacher in neighboring Iiyama City. The entire Hokushin region of Nagano Prefecture, which includes Iiyama and Nakano cities, has been a thriving rapeseed cultivation area since the Edo period (1603-1867), and fields of rape blossoms spread all over the area in spring. It’s commonly believed that Takano used this scenery as the motif for “Oborozukiyo.”
However, since rapeseed is cultivated throughout Japan, some say that Takano was reminded of his hometown while living in Yoyogi Uehara, Shibuya Ward, Tokyo in his later years, and wrote about the rape fields there. In Nozawa Onsen Village, Nagano Prefecture, there is a memorial museum called “Oborozukiyo no Yakata HANZAN Bunko,” named after Takano’s pen name, HANZAN.
This song was published in elementary school textbooks in 1914 (Taisho 3) and composed by Teiichi Okano. Its simple yet distinctly Japanese melody has become a masterpiece that remains in the hearts of many people. It beautifully expresses the Japanese sensibility for the four seasons and nostalgia for hometown landscapes.

高野辰之記念館（長野県中野市）に屋外展示。以下、土台銘板より。題号 – 『高野辰之博士像』著作者名 – 原田治展長野県下水内郡豊田村（現・中野市）の村政40周年記念事業として1996年（平成8年）9月製作。, 日本著作権法46条／米国フェアユース, リンクによる

The Charm of Nozawa Onsen as a Hot Spring Resort

By the way, the hot springs in Nozawa Onsen are wonderful and definitely worth visiting.
Nozawa Onsen is a historic hot spring town located in northern Nagano Prefecture, with a history spanning approximately 1,300 years. It features 13 public bathhouses (soto-yu) that are carefully maintained by local residents. It is also internationally known as a ski resort in winter and was even a venue for the 2022 Winter Olympics.
The hot spring town has many traditional inns and restaurants where you can enjoy local cuisine, and it’s also famous as the birthplace of “Nozawana” (a pickled leaf vegetable). It’s a place where you can enjoy the natural beauty of the four seasons and traditional Japanese hot spring culture.

“Oboro” – The Japanese Affection for Ambiguity

Incidentally, the word “oboro” means unclear or vague in outline. The Japanese “fondness for ambiguity” may be reflected in products such as “oboro-dofu,” which remains popular today for its soft texture of tofu scooped out before it fully solidifies.
Japanese culture tends to emphasize “ma” (space) and “yohaku” (blank space), with an aesthetic that values leaving room for imagination by not expressing things explicitly. The beauty of the hazy moon is not in the brightness of a clear full moon, but in the soft light veiled by clouds—a special beauty appreciated by Japanese people.
This concept of “oboro” can be seen in many aspects of Japanese art, literature, and daily life, forming a uniquely Japanese aesthetic sensibility that contrasts with Western cultures that tend to value clarity.

It has been selected as one of the “100 Best Japanese Songs.

The Hidden Evolution of “Spring Brook”

This beloved song with its gentle spring melody beautifully portrays flowers blooming on riverbanks and creatures swimming happily in warm sunlight. However, when it was born in 1912 (Taisho 1), the lyrics weren’t written in today’s simple language but in the elegant literary style of the Meiji era. Phrases like “sarasara yuku yo” (flowing gently) were originally “sarasara nagaru,” and “sugata yasashiku” (gentle appearance) was “nioi medetaku” (fragrant and splendid)—expressions that were more formal and richly evocative. In 1941, during wartime, when elementary schools were renamed “National Schools,” the lyrics were transformed into colloquial language that younger children could more easily understand. This song represents a testimony to Japan’s modernization and the evolution of its educational approach.

The Brook That Vanished Underground, A Cityscape Transformed

The brook from the song once flowed through what is now Udagawa-cho in Shibuya, a district that has become one of Tokyo’s busiest entertainment centers. As the name “Shibuya” (meaning “valley”) suggests, this area was naturally situated in a valley where streams flowed freely. However, the relentless tide of urbanization has forced the once-clear stream underground, now flowing as a culvert beneath the streets. Though the name Udagawa-cho still carries the legacy of the river in its name, the vibrant storefronts and crowds have completely obscured any visible trace of the brook that once defined this landscape.

By Unknown author – Japanese book “Visual History of Nostalgic Station” published by Kokusho-kankoukai., Public Domain, Link

Listening for the Whispers of a Century-Old Spring in the Busy Streets

When humming “Spring Brook” in modern Shibuya, amid the crowds and neon lights, one might experience a curious overlapping of time periods. Perhaps beneath our feet, invisible to the eye, that brook still flows with its gentle “sarasara” sound. Though eras have changed from Meiji to Taisho, Showa, Heisei, and now Reiwa, the tender feelings of spring conveyed by this song continue to resonate in our hearts. In the midst of our busy daily lives, remembering this song and contemplating the hidden brook below might bring a moment of poetic reflection—a subtle touch of color enriching our modern urban existence.

昔の渋谷川・古川の写真|昔の渋谷川・古川|東京都建設局

東京都建設局の昔の渋谷川・古川の写真(昔の渋谷川・古川)のページです。

www.kensetsu.metro.tokyo.lg.jp

Modern Japanese History Inscribed in a Children’s Song

The evolution of “Spring Brook” mirrors Japan’s modern history. From Meiji-era literary language to wartime educational reforms and the environmental changes brought by urbanization, this song harbors the breath of various eras. While children’s songs often evoke nostalgia, behind them lie significant shifts in educational philosophies, national identity, and environmental transformation. Each song we casually hum carries rich historical layers. Though many old school songs have disappeared from today’s textbooks, they remain valuable cultural heritage that transmits the sensibilities and values of Japanese people from times past.

100 Best Japanese Songs

May 5th is Children’s Day, also known as Tango-no Sekku, a day to celebrate and pray for the healthy growth of boys.

Looking back, this song may have had an influence, but in the Showa era it was customary for siblings to measure their height against each other and mark it on a pillar on May 5th. Nowadays, with an increasing number of people living in rental housing, marking pillars and causing damage would likely result in anger from the parents. Such changes in the times can be felt in these aspects as well.

The line in the first verse, “Finally as tall as the string of a haori”, is said to represent the younger brother’s perspective, who had grown up to the height of the string that fastens the coat of his older brother, who had dressed up in formal attire to celebrate Tango no Sekku. In the second verse, the view of Mount Fuji from inside the house is depicted, which is likely the scenery from UNNO Atsushi’s hometown in Suruga, Shizuoka Prefecture. The mountains that compete with each other in height may be referring to the Southern Alps mountain range. Houses where one can enjoy such long views are now likely limited to the upper floors of high-rise apartments.

By the way, the “chimaki” that his older brother is measuring his height while eating is often imagined in eastern Japan as a steamed dish made with seasoned meat, bamboo shoots, and glutinous rice wrapped in bamboo leaves or other materials. In western Japan, it is more common to refer to a Japanese confection wrapped in bamboo leaves and filled with sweet dumplings. The lyricist, UNNO Atsushi, is from Shizuoka Prefecture in central Japan, which is located on the border between eastern and western Japan. So, I wonder which one he was referring to.
However, it seems that the “chimaki” eaten on Tango-no Sekku often refers to the sweet Japanese confection pictured.

100 Best Japanese Songs

The Birth of a National Musical Identity

Prior to the “Jinjo Shogaku Tokuhon Shouka,” Japanese musical education typically involved attaching Japanese lyrics to foreign melodies—a practice that felt derivative and disconnected from authentic cultural expression. This songbook represented a radical departure, marking the first systematic attempt by Japanese lyricists and composers to create a truly indigenous musical language.
The Ministry of Education’s initiative was revolutionary: instead of importing musical forms wholesale, they sought to develop a unique national musical identity that could speak directly to children’s hearts. “Haru ga Kita” emerged as a powerful symbol of this cultural renaissance. Its melody, rhythm, and lyrics were crafted not by mimicking Western musical traditions, but by drawing deeply from Japan’s own rich understanding of natural cycles, emotional landscapes, and pedagogical philosophies.
The song’s infectious refrain “Haru ga kita, haru ga kita” (Spring has come, spring has come) became more than a simple lyric—it was an emotional declaration of cultural sovereignty. Each note represented a conscious effort to articulate a distinctly Japanese musical voice, transforming education from a process of imitation to an act of cultural creativity and self-expression.

The Poet of Seasonal Transitions

TAKANO Tatsuyuki was not just a lyricist but an emotional cartographer of Japanese seasonal experience. Born in the snow-laden Okushinano region, he understood intimately the profound psychological transition from winter’s stillness to spring’s vibrant awakening.
In “Haru ga Kita,” Takano crafted lyrics that dance between simplicity and depth. The song’s melodic structure—with its light, bouncy rhythm—perfectly captures the physical and emotional sensation of snow melting, buds emerging, and the first tentative warmth of sunlight. Each musical phrase seems to tremble with the same anticipation children feel when they first sense spring’s approach.

A Musical Embodiment of Cultural Sensitivity

More than a mere song, “Haru ga Kita” represents a cultural philosophy of experiencing nature. Its melody doesn’t just describe spring; it invites listeners to feel the season’s subtle transformations. The way the music rises and falls mimics the gentle undulations of emerging landscape—a musical metaphor for renewal and hope.
The song’s emotional resonance lies in its ability to transform a universal experience—seasonal change—into a deeply personal, yet collectively shared moment of joy. Each note carries the whispers of childhood excitement, the promise of new beginnings, and the gentle optimism that defines Japanese cultural appreciation of natural cycles.

A Living Musical Legacy

Among 27 songs promoted by the Ministry of Education, only “Haru ga Kita” and “Ware wa uminoko” have transcended their original context to become timeless cultural symbols. Their survival is not merely about musical quality, but about their capacity to connect generations through shared emotional landscapes.
The song continues to evoke the same sense of wonder today as it did over a century ago—a testament to its profound ability to capture the universal, childlike excitement of witnessing nature’s perpetual renewal.

100 Best Japanese Songs

The Tea-Picking Season Heralding Early Summer

“Cha-tsumi” is a famous Japanese song that depicts the season from late spring to early summer. The “tea” mentioned in the song refers to Japanese tea. Japan’s representative “green tea” is an unfermented tea that doesn’t undergo fermentation, which has the benefit of preserving the natural freshness and nutrients of the tea leaves while retaining abundant antioxidants. In contrast, “Oolong tea” is semi-fermented, and “black tea” is fully fermented, all made from leaves of the same “tea plant.” These young leaves plucked from tea plants transform into our familiar beverages through various processing methods.

Qwert1234 – Qwert1234’s file, パブリック・ドメイン, リンクによる

The Significance of “Hachijyu Hachiya” and Agricultural Culture

The “Hachijyu hachiya (Eighty-Eighth Night)” sung in this song refers to the 88th day after “Risshun” (Beginning of Spring), one of the twenty-four solar terms, when the weather stabilizes, making it easier for tea picking. This important agricultural milestone, usually falling around May 2nd each year, signals the full-fledged beginning of farming activities. During this period, there is a risk of late frost called “Osojimo” occurring from chilly nights to dawn, potentially damaging crops. Despite this frost risk, tea picking is conducted during this time because the new buds contain the richest umami components and nutrients like catechins, producing aromatic high-quality tea leaves. Moreover, this “first flush” tea harvested during this period is particularly valuable and serves as a crucial source of income for tea farmers. A few days after Hachijyu hachiya comes “Rikka” (around May 6th), the beginning of summer according to the calendar. The song gently conveys the arrival of an extremely busy season for farmers.

painted by 長谷川等伯, calligraphy by 春屋宗園 – 1. Brill.com [1], 2. Omotesenke.com [2] , Omotesenke Fushin’an Foundation, パブリック・ドメイン, リンクによる

Tea Culture and Its Historical Development

The culture of enjoying tea has a long history, dating back to the reign of Emperor Shoumu in 729 AD, as recorded in ancient texts. Initially, it spread widely among the warrior class and became material for feasts. However, the concept of “Wabi-cha,” which sought simplicity and the spirit of Zen, emerged, leading to the spread of “Cha-no-yu” by figures like Sen no Rikyu. This tradition has been passed down to modern times as “Sa-do” (the Way of Tea).
In Sa-do, Matcha—now popularly used in chocolates and ice cream—is served as ground tea leaves. On the other hand, Sencha, which uses whole leaves without grinding, is commonly sold even in PET bottles. Naturally, the price varies greatly depending on the quality of the leaves and processing methods. Japanese tea culture has thus evolved with the times while maintaining its essential values.

不明 – “Letters from Japan” by Mrs. Hugh Fraser, New York, The Macmillan company; London, Macmillan & co., ltd.. 1904, パブリック・ドメイン, リンクによる

Origins and Spread of the Tea-Picking Song

According to one theory, this song is said to have roots in Uji City, Kyoto Prefecture, and the parts enclosed in quotation marks are considered citations from tea-picking songs sung there since ancient times. However, even after research by local historians, there is still no evidence to support this claim. Since tea harvesting requires intensive labor, there have always been migrant workers known as “Chatsumi musume” (tea-picking girls). As the timing of harvesting varies from region to region, it’s also speculated that the song spread gradually as workers moved from early harvesting areas to later ones.
This song is also known for its rhythmic nature, often accompanied by hand movements, and enjoyed in places like kindergartens and elderly care facilities. Its simple yet pleasant rhythm has become an important cultural asset that remains in the hearts of Japanese people across generations.

Tea-Producing Regions Throughout Japan

While Shizuoka Prefecture is famous as a tea-producing region, places like Yame in Fukuoka Prefecture, Chiran in Kagoshima Prefecture, and Sayama near Tokyo in Saitama Prefecture are also well-known. The soil and climate conditions of each region produce teas with distinctive flavors. In modern times, these traditional tea-producing areas have also gained attention as tourist destinations, with increasing numbers of visitors enjoying tea-picking experiences and the scenic beauty of tea fields. Japanese tea has transcended being merely a beverage to become a symbol embodying Japan’s natural features and culture.

100 Best Japanese Songs.

This is the third most famous tea plantation in Japan, closest to Tokyo.

“Koujyou no tsuki”: TAKI Rentarou’s Minor-Key Masterpiece

It is too famous. The composer, TAKI Rentarou, also composed a masterpiece “Hana” in a major key with an uplifting spring theme, but I would like you to compare the difference in tone. The setting of this beautiful piece with its minor-key melody is a castle in the Warring States period. In spring, a banquet is held, likening the blooming of cherry blossoms to the prosperity of their country that will last for a thousand years, and the samurai pass around sake cups to boost their morale.

Haru kourou no hana no ei

From Spring’s Promise to Autumn’s Desolation: A Tale of Impermanence

But as autumn came, the enthusiasm in their camp vanished like dew. The soldiers left one after another like geese crossing the sea. All that remained was the moon, unchanged from those days, and the deserted castle. This contrast is called “rise and fall” in Japan. The original of this story is probably derived from the Chinese classic “Chunwang.

Spring View

Mountains and rivers remain though the nation is broken,
In the city, spring has deepened the grass and trees.
Moved by the times, tears fall like blossoms,
Regretting separation, birds startle the heart.

For three months, beacons have flared,
A letter from home is worth ten thousand in gold.
My white hair grows shorter as I scratch my head,
Seemingly endless, the desire to not wear this hairpin.

Mono no Aware: The Japanese Aesthetic of Transience in Melody

Although “Koujyou no tsuki” depicts scenes in spring and autumn, most people probably have an image of spring. It seems to express the national character that feels “mono no aware” with the dancing cherry blossoms.

This concept of “mono no aware” – the pathos of things – runs deep in Japanese aesthetics, representing an awareness of impermanence and a gentle sadness at the transience of beauty. The minor key of this composition captures this sentiment perfectly, evoking not just the visual beauty of cherry blossoms, but the melancholy understanding that their magnificence is fleeting. The melody seems to dance between hope and resignation, much like cherry petals floating momentarily before descending to the ground.

Falling cherry blossoms

Unlike Western romantic traditions that might rebel against the inevitability of decay, the Japanese aesthetic tradition embraces this impermanence as part of life’s beauty. The piece invites listeners to appreciate both the vibrant banquet scene and the subsequent desolation as equally meaningful parts of existence, each enhancing the significance of the other.

A Cultural Bridge: Traditional Japanese Melody in Global Rock Music

Intriguingly, this melodic track has also been covered by numerous overseas rock bands. Scorpions, in particular, have performed it live for many years, and other notable renditions include those by Yngwie Malmsteen during his Alcatrazz era and Steve Vai. These interpretations demonstrate how the emotional resonance of “Moon over the Desolate Castle” transcends cultural boundaries, speaking to universal human experiences of beauty, loss, and the passage of time through its hauntingly evocative melody.

100 Best Japanese Songs

Baby with koinobori

In Japan, on Children’s Day, May 5, it is customary to decorate the eaves of houses with boys with carp streamers.

Although the name is “Children’s Day,” March 3, when peach blossoms bloom, celebrates “Momo-no Sekku” for girls, so it is said that May of the lunar calendar, which is the noon month of the twelve Chinese zodiac signs, became “Tango-no Sekku,” an event to celebrate boys’ growth.

Originally, “banners,” a type of flag, were erected, but in the Edo period (1603-1867), merchants began to display carp-shaped banners based on a Chinese legend that “a carp that climbs a waterfall becomes a dragon,” and this event is said to have become popular.

By from Portland, Oregon, EE UU – Boy’s Festival – Fish Kites, CC BY 2.0, Link

Initially, only black carp were used, but red scarlet carp were added to represent children. Later, the red carp came to represent the mother carp, the blue carp was added to represent the children’s carp, and for the first Tokyo Olympic Game in 1964, the green and yellow and other sibling carp were also created.

Today, however, with the increase in the number of high-rise houses, the sight of carp dancing in the blue sky has become less common in large cities such as Tokyo, but in the countryside, the custom of decorating carp streamers of various kinds remains, delighting the eyes of tourists.

koinobori at Tsuruudagawa (Gunma Pref.)

100 Best Japanese Songs

▼Another ‘Koinobori’ song.

Koinobori / irakanonamito (1913) - 鯉のぼり

"Iraka no nami to kumo no nami" Discover good old-fashioned Japan through lyrics and images: Roman readings, English translations, and reflections. Take a cultural journey through the melodies of "Doyo Shoka" (Children's Songs).

douyo-shouka.com

2025.05.02

Around late spring to early summer, May 5th is “Children’s Day” in Japan.

In contrast to “Momo-no Sekku” held on March 3rd for girls, a ceremony celebrating the growth of boys is conducted nationwide as “Tango-no Sekku.”

A carp climbs a waterfall and becomes a dragon

Inspired by the Chinese tale of “Carp Climbing the Dragon’s Gate,” where a carp that successfully ascends 100 waterfalls transforms into a dragon, carp streamers are erected on the eaves of houses with boys, symbolizing the wish for boys to grow into admirable men by overcoming hardships. Inside the house, decorations such as helmets and armor are displayed, and it’s customary for boys to bathe in water adorned with iris leaves resembling swords, called “shoubu,” a homonym for “victory.”

Tango no sekku

These lyrics were written over a century ago during the early Taisho period as a Ministry of Education song (meaning they were anonymous). Therefore, the authorship of both lyrics and music remained unknown for a long time. It wasn’t until later when HIROTA Ryuutarou reportedly told SATOU Hachirou, “I composed this song,” that it became attributed to HIROTA Ryuutarou.

While the language may be somewhat archaic for children, as adults celebrating their own children, one truly comes to appreciate the dignified, brave, and wonderful nature of this song.

▼Another ‘Koinobori’ song.

Koinobori / Yaneyoritakai (1931) - こいのぼり

"yaneyori takai koinobori" Discover good old-fashioned Japan through lyrics and images: Roman readings, English translations, and reflections. Take a cultural journey through the melodies of "Doyo Shoka" (Children's Songs).

douyo-shouka.com

2025.05.02