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.”

This song for elementary school students was published in the early Taisho period.

As with all shouka of this era, neither the lyricist nor the composer has been made public and remains unknown to this day.

The place where the lyrics were set has also not been identified.
And surprisingly, it has not been selected for inclusion in the “100 Best Japanese Songs,” making it difficult to understand the literary lyrics,
The lyrics are no longer included in textbooks, perhaps because of the difficulty of understanding the literary lyrics.
However, the original scenery of the summer sea in Japan, which is being forgotten, can be found here.

Passing through a forest of pine trees, perhaps a windbreak, one comes to a stretch of beach.
At a nearby fishing port, nets are drying and the smell of the sea is in the air.
All that can be heard is the charming voices of children and the sound of the waves lapping against the shore.
As dusk approaches, more and more boats with fishing lights (fish-collecting lights) are seen offshore.

Nowadays, the summer sea is a beach resort with elaborate performances for young people,
However, until around the 1970s and 1980s, the sea was known as “Kaisui Yokujyou (bathing beach).
And there were only a few huts selling yakisoba (fried noodles), uninspired ramen, curry and rice, and shaved ice.
That was the scenery of the summer sea.

Just like the song, beautiful time passed slowly and unobtrusively.

Even now, you might be able to enjoy such a scene at a beach near a not-so-famous local fishing port.

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.

“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

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.

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

“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.

https://maps.app.goo.gl/cmiPD5RMtX8jsRJa9

maps.app.goo.gl

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”.

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.