The study of the problems of sexuality in Japanese music implies double meaning. On one hand it indicates the study of the music exclusively performed by women, which has been a slighted part of the study of Japanese music history ; while on the other hand it is a matter of the study of the characteristics of Japanese music. In the former sense, the present treatises has little except some brief references to fourteen genres, such as the music of miko, shirabyoshi, etc. Its chief intention is to point out from the standpoint of the latter sense several facts and problems which require further studies herefrom. (1) In the ancient period most of the musicians, especially players of instruments were men. It is confirmed from mythological and archeological researches. (In such cases women took part as dancers or singers.) (2) Later, distinction was produced between the music to be played by men and that to be played by women. But, in spite of that, almost all of the professional musicians were male. The origin of these facts. (3) Among the musics composed and played by male musicians, some were of musculine character and others were of feminine character. The origin of such musical characters. (4) The instruments became devided into those to be played by men and those to be played by women. The origin of this division. (5) The custom of loving comely boys a kind of sodomy) which was prevalent in the middle age ; its influence to music and its significance. (6) The significance of sexual or vulgar elements in the text of the religious music in the ancient period and the aesthetic meaning of the eroticism in kabuki music. (7) Regardlessness of the performers' sexes. It is not rare that feminine music are played quite femininely by male musicians or masculine ones are played quite masculinely by female musicians. Hence negligence of the register, i.e. in such occasions male singers are obliged to sing in a very high voice and female singers in a very low voice. (8) The reason why mixed performances are generally rare and the cause of exceptional mixed performances. (9) In cause of narrative music, such as noh, gidayu, etc., the sexes of dramatis personae are kept distinct by some kinds of expression, though it should formally played by men. The technique of such expression and its artistic meaning. At the bottom of these facts and problems above mentioned lie such traditional thoughts as Confucianism, Buddhism, and feudalism. In this respect, circumstances are quite different from those in the West. Nevertheless, we should not consider carelessly that, because these thoughts brought great disadvantage to the social and political progress of Japan, it follows that they brought as much disadvantage to artistic activities.
