Walking through the town where snow falls silently. Does the melancholic melody depict the nighttime scenery? Along with that melody, the lyrics portray the wistful feelings within the heart. However, in the end, it concludes with a modulation that seems to deflect the coldness of the falling snow, evoking a sense of hope. The contrast between this scenery and the emotional tone is likely the reason for its enduring popularity.

Originally, it was hastily created to fill the gaps in radio dramas during downtime. Due to such circumstances, initially, there was only the first verse of lyrics. However, after it was aired, inquiries flooded in, leading to the addition of the second and third verses, ultimately resulting in its release as a record. It became a song sung for a long time, possibly resonating with the Japanese mentality.

While the exact setting of the song is unclear, it is said that the composer, NAKATA_Yoshinao, was inspired during a visit to Tsuruoka City in Yamagata Prefecture. The experience of being swayed through the winter night streets on a horse-drawn sled from the station reportedly sparked the idea.

Written as “Moon Mountain,” it is pronounced as Gassan. Located in Tsuruoka City, Yamagata Prefecture, Gassan is counted among the Dewa Sanzan, a trio of sacred mountains revered in the Shugendo tradition. Recognized for its significance in mountain worship by ascetic practitioners, it has also earned a place among Japan’s 100 Famous Mountains.

This song portrays late autumn to early winter with a melody that evokes the crispness of winter. The lyrics depict three scenes: a mist-covered early morning in a fishing village, a peaceful afternoon in a tranquil mountain village, and an evening that conveys the arrival of freezing winter. The language used in the lyrics is characterized by an elevated and archaic style that may be challenging for contemporary Japanese people to immediately understand. However, the popularity of the song lies not so much in the literal meaning of the words but in the vivid landscapes conveyed through the feel of the language.

Nevertheless, douyo-shouka seems to have many outstanding songs in triple meter. “Fuyugeshiki,” released in 1913, can be considered a representative and pioneering work in this regard. However, both the lyricist and composer remain unknown. It is suggested that the collaborative nature of the Ministry of Education’s songwriting process at that time may be a reason for the lack of attribution. Despite some cases being revealed in later years, this song still remains a mystery.

It has been selected as one of “Japan’s Top 100 Songs.”

Beautiful Memories in Ancient Words

“Hamabe no uta” is a song that captures the melancholic mood of walking aimlessly along the shoreline while reminiscing about days gone by. One of the song’s greatest charms lies in the beauty of its lyrics, written in classical Japanese literary style. However, because it’s composed in archaic language, even modern Japanese speakers find it challenging to fully grasp the true meaning of its words. It has the same appeal as deciphering classical literature, and this linguistic barrier paradoxically adds to the song’s profound allure.
The lyrics were penned by HAYASHI Kokei, a Japanese literature scholar born in 1875. Interestingly, he had quite an unconventional background—he entered the Buddhist priesthood at a young age. However, driven by his passion for learning, he left the temple to pursue an academic career, becoming a teacher of Japanese and Chinese literature. Then, after turning 30, he made an unusual career change by enrolling in a music school, which was quite rare for someone of his age in those days.

A Beautiful Score Adorned by TAKEHISA Yumeji

When the musical score was published in 1918, its cover was graced by artwork from Takehisa Yumeji, renowned for his exquisite paintings of beautiful women. Yumeji’s elegant and lyrical artistic style harmonized perfectly with the melancholic atmosphere of “Hamabe no uta,” transforming the sheet music itself into a work of art. Indeed, this cover continues to be beloved by many to this day and is considered one of the iconic works of the Taisho Romantic movement.
The music itself is extraordinarily beautiful and lyrical, with a melodic line that possesses the delicacy to touch the heartstrings of the Japanese people. The melody, reminiscent of ocean waves and sea breezes, evokes nostalgic memories in listeners’ hearts, which explains why it continues to be cherished across generations.

The Mystery of the Lost Third Verse and Its Cinematic Legacy

“Hamabe no uta” originally consisted of three verses, according to historical accounts. However, the third verse that we might know today differs from what Kokei originally wrote. Remarkably, someone had altered the latter half of the lyrics without permission. When Kokei discovered this unauthorized change, he was reportedly furious, exclaiming, “This makes no sense!” Unfortunately, he couldn’t recall his original lyrics, and as a result, only the first and second verses are sung today. This episode about the phantom third verse remains one of the enduring mysteries surrounding the song.

Twenty-Four Eyes (1954) poster. By The poster art can or could be obtained from the distributor. Fair use, via Wikimedia Commons

Later, “Hamabe no uta” was effectively featured in the acclaimed film “Twenty-Four Eyes” (1954). This movie portrayed the tragedy of war through the bond between a new female teacher assigned to an impoverished village in the Setonaikai region and her students, depicting both the tragedy of conflict and the resilience of human spirit. When the song plays in the film, it resonates with the characters’ emotions and leaves a profound impact on audiences. In this way, the song transcended its individual appeal to gain greater cultural significance by connecting with other artistic works.

The children’s song “Yuuhi” (The Sunset) was written in 1921 by KUZUHARA Shigeru (from Hiroshima Prefcture), with music composed by MUROZAKI Kingetsu(from Toyama Prefcture). It continues to be cherished for its depiction of nature’s beauty, with the phrase “Ging-Ging-Gira-Gira” standing out as a symbol of the song. This onomatopoeia vividly captures the intense light of the setting sun, conveying the power of the moment through the sound of the words. The sharpness of “Ging-Ging” mirrors the brilliance of the light, and the rhythm gives a sense of presence, as if one is witnessing the sunset firsthand.

Interestingly, this phrase was originally “Kin-Kin-Kira-Kira” (bright and shining like the morning sun). However, Kusakawa’s second-grade daughter suggested, “The morning sun may be ‘Kin-Kin-Kira-Kira,’ but shouldn’t the sunset be ‘Ging-Ging-Gira-Gira’ instead?” This suggestion led to the change in the lyrics, better capturing the strength and distinctiveness of the setting sun. This anecdote highlights how a child’s fresh perspective can influence even a refined work and underscores the importance of such genuine sensibilities in children’s songs.

The repeated phrase “makka-kakka” (deep red) further enhances the song’s simplicity and effectiveness. Its rhythmic repetition helps children easily memorize the song, while simultaneously conveying the image of the sky turning completely red. The rhythm and sound of these words create a sense of unity with the expanding colors of the sunset, making it easy for children to feel connected to the changing beauty of nature.

By A.Davey from Portland, Oregon, EE UU – Man with a Crowd, CC BY 2.0,

In 1921, despite the rapid urbanization, watching the sunset was still a part of everyday life for many children. The sight of the sky turning red at the end of the day was a shared experience, whether in the city or countryside. “Yuuhi” captures this universal moment, transforming a simple daily occurrence into a song that helps children feel the beauty of nature and the emotional resonance of a day’s end.

By A.Davey from Portland, Oregon, EE UU – A Group of Girls, CC BY 2.0,

Expressions like “Ging-Ging-Gira-Gira” and “makka-kakka” go beyond mere description, appealing directly to a child’s senses. KUSAKAWA Shigeru skillfully used such childlike expressions to convey the wonder of nature through song. In addition, the melody is highly rhythmic, evoking the image of children’s light, playful steps. The rhythm naturally invites movement, allowing children to physically experience the joy of nature as they sing. “Yuuhi” was not just a song to enjoy but also a way for children to experience the grandeur and fleeting beauty of nature.

The Taisho period, when this song was created, reminds me of Kimetsu no Yaiba (Damon Slayer). This picture shows AI’s idea of “Kimetsu no Yaiba.

100 Best Japanese Songs

“Shizuka na Kohan” – Origins and Mysterious Background

“Shizuka na Kohan no Mori no Kage Kara” (From the Forest Shadows of the Quiet Lakeside) is a children’s song believed to have been created in 1936 at the YMCA Nojiri Lake Camp. Lake Nojiri is a beautiful lake straddling Shinano-machi in Kamiminochi District and Nagano City in northern Nagano Prefecture. Located at an elevation of 654 meters in the highlands about an hour’s drive from Karuizawa, this lake remains cool even in summer—truly the perfect camping environment.

Lake Nojiri ( Nojiri-ko )

The song’s title can be written as either “Shizuka na kohan” or “Shizuka na kohan no mori no kage kara,” and this casual flexibility is part of its charm. The lyricist is credited as YAMAKITA Takihiko, but various versions of the lyrics exist, and the true author is often considered unknown.

Interestingly, the original melody is said to be either a Swiss or French folk song, but the actual country of origin remains unclear. Perhaps it’s precisely because this melody has been beloved and sung across so many European countries that it has become so cherished in Japan as well.

Incidentally, there’s also Lake Nozori in Gunma Prefecture, known as the “Lake in the Sky” at 1,500 meters elevation, but this lake has no connection to our children’s song.

Lyrical Structure and Why It’s So Beloved

The most famous part of this song is the first verse: “Shizuka na kohan no mori no kage kara, mou okicha ikaga to kakkou ga naku, kakkou, kakkou” (From the forest shadows of the quiet lakeside, the cuckoo calls ‘won’t you wake up now?’ Cuckoo, cuckoo). Most Japanese people could probably hum along to this part.

The cuckoo(Cuculus canorus) is a migratory bird known for its distinctive “cuckoo” call, and in Japan it’s cherished as a herald of early summer. The lyrical expression of the cuckoo calling out “won’t you wake up now?” demonstrates the beautiful Japanese use of personification.

Actually, there are subsequent verses featuring owl sounds like “hoo-hoo, hoo-hoo,” but unfortunately these are rarely sung. The first verse alone became overwhelmingly popular because of the rhythmic simplicity of the “cuckoo, cuckoo” refrain and the way it conveys the refreshing feeling of a highland morning. It really gets you excited for the camping adventure ahead!

Cultural Spread Through Singing in Transit

When people think of “Shizuka na Kohan,” many probably remember singing it in buses on the way to school camps or nature retreats. While it’s sometimes sung around campfires, it’s actually more commonly heard during travel—in buses and trains.

Gazing out at the flowing green scenery while everyone sings “cuckoo, cuckoo” together—many people have experienced this. This song has a mysterious power: as you sing it, spirits naturally lift and the distance between participants seems to shrink.

When outdoor activities became popular in postwar Japan, this song was actively sung in Boy Scouts, Girl Scouts, and school nature programs. It’s also beloved in kindergartens and nursery schools as a seasonal song, playing an important role as children’s first introduction to nature.

Contemporary Significance and International Value

In our digital age, the value of “Shizuka na Kohan” shines even brighter. Rather than staring at smartphone screens, this song invites us to look at the blue sky reflected on lake surfaces and the green of forests. It continues to serve as an important gateway to such experiences.

For foreign visitors, this song offers a fascinating glimpse into Japanese attitudes toward nature. With about 70% of Japan’s land consisting of mountains and forests, this geographical feature has nurtured the Japanese people’s delicate sensitivity to nature. The ability to find beauty in “quietness” and to listen carefully to birdsong represents a uniquely Japanese forest culture.

By Bourrichon (atelier graphique), CC BY-SA 2.0 fr, Link

The unknown authorship is also intriguing. While created by an individual, it has been passed down and sung by many people, gradually changing while continuing to be loved. This perhaps represents the very life force of folk songs and traditional culture.

Even today, somewhere in Japan, children are probably humming this song while riding in a bus. The little song born at Lake Nojiri continues to color new generations’ summer memories nearly 90 years later.

Japan’s first travel agency, founded in 1905