The song “Momiji” is a traditional piece that symbolizes the beauty of autumn in Japan. The word “Momiji” (紅葉), written in Kanji, also has another reading, “Kouyou,” which refers to the changing colors of autumn leaves, a phenomenon highly appreciated in Japanese culture. This word reflects the broader cultural significance of the season and the aesthetics of nature in Japan. The appreciation of “Kouyou” is not only a modern pastime but is deeply rooted in Japanese literature and art.

One of the most popular activities during the autumn season is known as “Momiji-gari” (紅葉狩り), which literally means “hunting for autumn leaves.” However, the term does not imply actual hunting, but rather refers to the practice of traveling to scenic spots to view and admire the changing colors of the foliage. Similar to how people gather to enjoy cherry blossoms in the spring (a practice known as “hanami”), “Momiji-gari” is a cultural activity where people go out to appreciate the beauty of nature in its autumnal form. This tradition is deeply embedded in Japanese culture, reflecting a unique way of connecting with the seasonal rhythms of the natural world.

In Japanese poetry, especially in the form of waka and haiku, the transition from summer to autumn is a recurring theme, often symbolizing the impermanence of life, a concept central to Japanese aesthetics. The falling leaves of deciduous trees serve as a poignant metaphor for the fleeting nature of existence, known as mono no aware. This philosophical reflection is central to classical Japanese literature and contributes to the deeper emotional resonance of autumn imagery in the arts.

autumn leaves and Nishikigoi carp

Despite the profound themes underlying the song “Momiji,” the lyrics themselves are remarkably straightforward and accessible, which is why it has been cherished by people of all ages for generations. Even children can grasp its meaning, which adds to its widespread popularity and enduring appeal. This balance between simplicity and depth is a hallmark of much Japanese cultural expression.

The lyricist, TAKANO Yasuyuki, drew inspiration from the spectacular autumn foliage he witnessed near Kumanotaira Station, a location that had already been abandoned at the time. The contrast between the station’s deserted state and the vivid beauty of the surrounding leaves reflects a sense of nostalgia and the passage of time, further enriching the song’s emotional depth.

Kouyou in Arashiyama, Kyoto, like a pastel painting

In Japan, the progression of autumn colors follows what is known as the “autumn foliage front,” which moves gradually from the northern to the southern regions of the archipelago. This is a reverse of the “cherry-blossom front” observed in spring, where the blooming of cherry blossoms travels northward. The arrival of autumn foliage, therefore, serves as a natural prelude to the coming of winter, marking the cyclical rhythm of the seasons that plays a significant role in the Japanese connection to nature.

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“Momiji” has rightfully earned its place as one of the “100 Best Japanese Songs,” a distinction that highlights its importance in the cultural and musical heritage of Japan. The song not only encapsulates the beauty of autumn but also serves as a reminder of the intricate relationship between nature, time, and human emotion that is deeply ingrained in Japanese culture.

Kamakura, near Kyoto and Tokyo, is also famous for its autumn leaves.

“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

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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

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

“Furusato,” a song known to every Japanese person, remains an evergreen classic that continues to resonate with people across generations.

Born in the Meiji era, a time of significant transformation in Japan, this song was created during a period of rapid modernization and shifting values. It’s intriguing to ponder the significance of this song, composed during such a transformative time, and why it continues to be sung today.

The lyricist, TAKANO Tatsuyuki, married at the young age of 22, a rather unconventional choice for a poor student. His wife was the daughter of a prestigious temple, the very same one that served as the model for the temple in SHIMAZAKI Touson’s renowned novel “Hakai.” His future mother-in-law set a condition for their marriage: TAKANO would need to prove his worth by one day entering the temple grounds in a rickshaw. Takano fulfilled this promise when, at the age of 49, he was awarded a doctorate in literature for his research on the history of Japanese songs, allowing him to make a grand entrance into the temple as he had vowed.

The composer, OKANO Teiichi, complemented TAKANO’s poetic world with exquisitely beautiful melodies. The fusion of their talents transformed “Furusato” into a timeless piece that deeply resonates with people’s hearts.

“Furusato” paints a picture of Japan’s beautiful natural landscapes, particularly the satoyama, where people lived in harmony with nature. The lyrics “The mountains are green, the water is clear” symbolize the rich natural beauty of these rural areas. For centuries, people lived in satoyama, relying on the bounties of nature for their sustenance. These areas were complex ecosystems teeming with diverse flora and fauna, including forests, rice paddies, and streams.

Even after leaving their beloved hometowns to seek opportunities in bustling cities, people’s hearts yearn for the familiar faces and the serene landscapes of their hometowns—the green mountains and clear waters.

This timeless Japanese song carries a universal message.

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Interestingly, the lyrics, written in classical Japanese, contain words and phrases that are no longer commonly used in modern Japanese. For instance, “oishi” in the lyrics is often misinterpreted by schoolchildren as meaning “delicious” when in fact it means “to chase.” This has led to many a humorous misunderstanding.

“Furusato” has rightfully earned its place among “100 Best Japanese Songs”.