I like Music and Sounds

① Singing

Many children look forward eagerly to music class, hoping to sing with a more beautiful voice and more accurate pitch. Group singing—whether in chorus or rounds—brings joy and unity. Singing has the power to make people forget sadness, troubles, and loneliness.

Singers

In human history, singers and dancers may have been among the oldest professions. Whether in times of joy or of grief, people instinctively raise their voices in song. A song can express the deepest of feelings.

Professional singers perform in many genres—folk ballads, enka, pop, jazz, Latin, or rock. Through their voices, listeners may find courage, healing, or delight. While training at school or conservatory can refine technique, the natural quality of one’s voice is irreplaceable. Not everyone can become a singer; often it is the recognition of talent by others—teachers, family, or community—that sets someone on the path, more so than sheer ambition alone.

Musical literacy and technique are important, but above all, a singer needs an innate voice that can move hearts.

Takarazuka Revue Members

The Takarazuka Revue is one of Japan’s most unique theater institutions, composed entirely of unmarried women. Performers are divided into those who play “male roles” and “female roles.” Performances are held primarily at the Takarazuka Grand Theater in Hyogo and the Tokyo Takarazuka Theater, and they have a devoted national fan base.

Membership is drawn exclusively from graduates of the Takarazuka Music School. Students and troupe members perform only within the Revue—rarely appearing in other plays or films. However, top stars who retire often continue successful careers in stage, film, or television.

The school admits only forty students a year. Entrance exams include interviews, vocal and ballet tests, with an acceptance rate as low as 1 in 20—hence the saying, “In the East there is Tokyo University, in the West there is Takarazuka.” Requirements include a suitable appearance, and candidates must be recent middle or high school graduates.

Upon joining, performers enter as “research students,” with a structured career path: Research Stage 1 (1 year), then Research Stages 2–7, before advancing to full contracts on a yearly salary system. In Japan, only two companies allow performers to make a living solely from musical theater: the all-female Takarazuka Revue and the Shiki Theatre Company.

Shiki Theatre Company Performers

Unlike Takarazuka, the Shiki Theatre Company does not revolve around “star actors.” While some performers gain loyal followings, the company’s model does not rely on celebrity. Its sustainability comes from ensemble professionalism, dedicated theaters, partnerships with corporations, and collaborations with local governments.

Shiki recruits actors, singers, dancers, and stage staff entirely on the strength of auditions and training. Its cast of around 700 members are professionally trained across voice, acting, and dance. Performers may be hired via audition, or—if deemed promising—accepted as trainees with free instruction.

Auditions are divided by division:

• Vocal Division: classical (targeting conservatory graduates and opera singers) and popular (jazz, pop, rock).

• Dance Division: requires strong classical ballet foundations, but also recruits contemporary, jazz, and modern dancers.

• Acting Division: seeks performers with stage experience, from new actors to seasoned professionals.

Even after entering, competition is intense—main roles are constantly challenged from below, and newcomers occasionally break through to leading parts. Shiki stages not only musicals but also spoken plays requiring outstanding acting ability.

Salaries are not fixed monthly wages but determined per role and contract, creating a performance-based annual system. Successful lead actors may earn incomes exceeding ten million yen. International performers, including from China, Korea, Europe, and the U.S., also appear on Shiki’s stage.

Music Artists

“Music artist” is a broad term covering those who pursue music full-time or part-time at some stage of life. Classical musicians and opera singers require high-level performance ability, but music artists in the pop industry may succeed with very different talents.

Sometimes, even those without formal training, good looks, or conventional skills rise to fame if they capture public attention with something unique. On the other hand, singers with excellent voices and training may not achieve commercial success. The standards for success are unpredictable, and entering the industry carries high risk.

Debut paths include auditions, open calls, or live performances. Yet self-recommendation rarely works—most applicants are rejected. Selection criteria often emphasize vocal qualities, repertoire, and appearance more than instrumental skills. Occasionally, outstanding instrumentalists are recruited instead as performers in chamber music or studio sessions.

Even after debut, survival depends on the market. Within two or three years, management companies decide whether to continue supporting an artist, based on album sales and concert attendance. Popularity, profitability, and charisma—what the Japanese industry sometimes calls the “star aura”—determine longevity. Those who enter without genuine dedication to music rarely succeed.

Vocalists

Vocalists focus primarily on classical repertoire and opera. Only a small minority can sustain careers as soloists; most belong to opera companies or choirs.

Becoming a vocalist usually involves years of study at conservatories or music universities, in Japan or abroad. Many begin training from childhood in basic vocalization, piano, or music theory. Some pursue competitions, hoping for recognition; a rare few gain international prizes and launch careers at a young age.

It is a difficult career to establish independently, often more feasible for those with financial support. Success requires not only vocal skill but also resilience, discipline, and cultural capital.

② Listening

It is not because something is famous, or because others say it is good, that one likes it.

True listeners develop their own perspective on composers and pieces.

Sometimes, when listening to a piano work, one may find oneself moved to tears without realizing it.

Such is the power of music—something we long to understand more deeply.

Club DJs

Club DJs select tracks according to the atmosphere of the venue and the mood of the guests, seamlessly connecting one piece of music to another.

Genres include house, hip-hop, trance, reggae, and many others. Some DJs specialize in one style, while others are versatile across all.

Most DJs are freelancers, working on contract. The job requires constant investment in new tracks—far from simply “switching records.”

Many DJs also compose their own music, release tracks, produce videos, or take on related work such as modeling, event promotion, or streaming.

In today’s digital era, DJs must master not only turntables and mixers, but also software such as Ableton, Serato, or Rekordbox, and be able to build their own brand on social media.

Music Publishing Staff

Music publishing staff plan the release of scores, handle copyright procedures for songs, and edit musical notation. Some also work on distribution and sales.

Editors must be able to read and write notation fluently. Classical publishing houses may require strong knowledge of music history and theory, and often prefer conservatory graduates.

For popular and contemporary genres, formal training is less essential, but a genuine love of music and at least some performance ability are highly valued.

In recent years, unauthorized copying of sheet music, illegal downloads, and free sharing online have lowered print circulation. Publishers have responded by digitizing scores, offering interactive notation apps, and bundling educational tools. Staff today need both traditional music literacy and an understanding of digital publishing platforms.

Music Copyright Workers

Whenever music enters commerce, copyright management becomes indispensable. Companies that manage the rights of composers and lyricists are known as music publishers.

Historically, sheet music was the main product, but with the rise of records, film, television, karaoke, and now streaming platforms, the scope of publishing has broadened enormously.

When a song is used, fees flow through a chain: user → copyright society → publisher → songwriter. Copyright workers not only administer royalties but also promote works, ensuring wide use. They may produce CDs, negotiate licensing for film or ads, or manage digital distribution.

The job requires knowledge of copyright law, the ability to negotiate with international agencies, and expertise in both music and business. With every new medium—from cassette to streaming to AI-generated performances—music publishing adapts, and so must its professionals.

Copyists

Copyists transcribe parts from a conductor’s full score or an arranger’s master score into individual parts for each instrument.

Traditionally this was painstakingly done by hand; today most work is handled digitally, often through MIDI data or music notation software like Sibelius, Finale, or Dorico.

Copyists must still be highly literate in music theory and instrumentation. Many music students begin with copywork as a side job; the best may continue as full-time professionals.

Though often unseen, the beauty and accuracy of their scores become the “silent backbone” supporting every performance.

Assistants to Performers

Assistants are responsible for arranging, maintaining, and tuning the instruments used by musicians.

Some are employed directly by performers or their management agencies; others work for instrument rental companies.

Young musicians who dream of professional careers sometimes apprentice as assistants to artists they admire, gaining practical knowledge of instruments and stagecraft.

Such assistants must know their instrument thoroughly, from repair to handling. Depending on effort and circumstance, some assistants later become performers themselves, while others specialize in instrument rental and maintenance. A driver’s license is often required, as transporting instruments is part of the role.

Sound Engineers

Even the same instrument sounds different depending on the hall or location. Sound—the acoustical environment itself—is an essential part of music.

Sound engineers handle every aspect of acoustics: designing concert halls, live stages, and recording studios; addressing noise control, insulation, and vibration reduction in buildings; managing sound systems; and consulting on audio quality.

Traditionally employed by equipment manufacturers, sound engineers today may also work in architecture, broadcasting, studio design, or live events. The role demands training in audio engineering, electronics, and computer-based systems. A refined ear for tone and balance is indispensable.

Recording Engineers (Mixing Engineers)

Recording engineers manage the balance of multiple instruments and voices in multitrack recording. For example, in a 64-track session, the engineer must integrate drums, bass, winds, strings, chorus, and vocals into one coherent sound.

The engineer adjusts levels, timbre, and balance throughout, producing the “master” track as envisioned by producers and artists.

Besides technical knowledge of equipment, engineers need musical balance, a trained ear, and rich listening experience.

Entry is often through music universities, technical schools, or apprenticeships at studios or record companies. Many recording engineers begin as assistants; some are former performers. Today, freelance engineers are common, and many schools now offer recording engineering programs—but classroom study alone rarely guarantees success.

Music Directors (Sound Directors)

Sound directors oversee the artistic side of recording: selecting repertoire, arrangers, and performers.

They must understand scores and instrumentation, communicate effectively with singers and musicians, and maintain the trust of all parties.

Directors often gain experience through music schools, part-time industry work, and wide professional networks. Many are employed by record companies or studios, while others work as freelancers. Training programs exist, but reputation and interpersonal skills are as critical as technical ability.

Record Producers

Producers manage the entire recording project, from planning and budgeting to cover design, promotion, and sales.

They handle finances, coordinate artists and studios, and adapt to new distribution models such as streaming, downloads, and social media campaigns.

Producers usually belong to record companies or independent production houses. Beyond music knowledge, they require business sense, communication skills, and extensive networks. More than formal education, success in this field depends on relationships, credibility, and the ability to deliver results.

Music Editors

Music editors use digital tools—synthesizers, DAWs (digital audio workstations), and effects processors—to create the sounds that arrangers, performers, or directors want.

Some arrangers or keyboardists double as editors.

Technical skill is important, but musical imagination—how to combine elements into unique textures—is even more crucial. Editors often have training in music production, audio engineering, and composition.

With the rise of digital music, demand for skilled editors has increased. Still, even with formal schooling, becoming a recognized editor requires creativity, persistence, and adaptability.

Mastering Engineers

Mastering engineers finalize recordings into the proper format for CD, streaming, or broadcast.

They determine track order, spacing, volume levels, and metadata, ensuring the finished product meets international standards.

This role requires acute hearing, technical expertise, and strong familiarity with playback systems. Most mastering engineers enter via recording schools or apprenticeships, often starting as assistants before becoming professionals. Many also freelance.

Managers

Managers coordinate schedules, fees, and contracts for performers, liaising with record companies, studios, and event organizers.

Most managers come from within the music world—as performers, producers, or label staff—because industry knowledge and networks are vital.

The number of managers has declined in some regions due to budget cuts and downsizing, but the role remains essential for artists navigating today’s complex industry.

Stage Designers

Stage designers plan sets for concerts, operas, plays, fashion shows, theme parks, and exhibitions. They work with stage directors to design the visual environment, from sets and props to lighting effects.

Designers may be employed by production companies or work freelance. Art and design training is essential, and skill with digital 3D modeling tools is increasingly valuable. Success depends on both artistic vision and technical coordination.

DTM (Desktop Music) Creators

DTM creators use computers to produce MIDI data from CDs or scores. Such data has been used for mobile ringtones, karaoke tracks, and website audio. Today, it extends to gaming, streaming, and independent music production.

The work requires both music literacy and computer skills. Many start as part-timers, but future survival depends on higher-level knowledge of both fields. With the decline of ringtone demand, DTM creators now often shift toward digital audio content creation for broader platforms.

Stage Sound Engineers

Stage sound engineers provide live sound effects for theater, from rain and thunder to ambient recordings, and manage microphones for actors.

They support rehearsals as well as performances.

Most belong to audio companies, though some freelance or run their own firms. While CDs and digital effects are now common, skill in timing and adaptation remains critical.

Lighting Designers

Lighting designers coordinate with stage directors to plan lighting for concerts, plays, operas, fashion shows, and exhibitions.

They set up and operate lighting equipment, adjusting brightness, color, and intensity to match performance content.

The role demands technical knowledge, communication skills, and stamina. Training may be through art/design programs or apprenticeships with lighting companies. Although formal certification exists, in practice, experience and reputation carry more weight.

PA Engineers (Public Address Technicians)

PA engineers adjust live sound on stage, from microphones to amplifiers, ensuring clarity and balance during performances.

They also handle equipment setup and teardown.

The work spans concerts, operas, plays, and large-scale events. It requires musical sensitivity, sharp hearing, physical strength, and knowledge of electronic systems. A driver’s license is often necessary for equipment transport.

Most PA engineers train through vocational schools and apprenticeships at audio companies. While formal certifications exist, practical experience remains the true qualification.

Other Related Professions

• Transcribers (text/audio documentation)

• Lyricists

• Stage Directors

• Backup Dancers

• Flamenco Dancers

• Musical Theater Performers

• Broadcasting Staff

③ Performance

Playing a piece of music accurately on an instrument, creating perfect harmony with friends in ensemble, or discovering infinite freedom between notes and timbre—these are the joys of musical performance.

Owning an instrument with a history of over a century, reading scores penned by great composers of the past, and bringing them back to life—this is one of the profound pleasures of being a performer.

Instrumental Performers

Instrumental performers accompany singers or ensembles in recordings or concerts. They may also compose or arrange music. The ability to read music is fundamental, but beyond that, excellent performance technique is required.

Some performers are freelancers, while others are formally registered with agencies that coordinate musical engagements. Performers on keyboards, strings, and winds usually receive professional training at conservatories or music universities. For electric guitar, bass, electronic instruments, or percussion, formal study may not always be required, but success often demands additional elements—such as overseas experience, collaboration with renowned musicians, or extensive knowledge and practice.

Competition is intense across all instruments. Performers need not only mastery of their craft but also communication skills and networks. Relationships often prove as valuable as skill itself.

Classical Instrumental Soloists

Classical soloists perform works for solo instrument at recitals, or record concertos and solo pieces in studios. Typical instruments include piano, violin, cello, flute, clarinet, and oboe.

Because there are fewer concertos and solo works for certain instruments (e.g. percussion or some winds), it is difficult to establish oneself as a soloist in those fields.

Training begins in childhood, with conservatory study and often international apprenticeships or performance experience abroad. Recognition as a soloist usually requires competition victories and collaborations with major symphony orchestras, which build both reputation and career.

Symphony Orchestra Members

Orchestral musicians are the backbone of classical music. Yet openings are scarce. Even among hundreds of conservatory graduates each year, only a few secure places in top orchestras.

For example, among roughly 400 graduates of the Tokyo University of the Arts music department annually, only a handful may join orchestras. Many others teach in schools, support themselves through part-time work, and perform independently. Despite difficulties, orchestral life offers deep fulfillment—the rigor of classical training brings joy and achievement that inspire lifelong musicianship.

Opera Rehearsal Pianists (Opera Coaches)

These specialists accompany singers during opera rehearsals (the orchestra plays in performance) and also serve as coaches, guiding vocal technique and interpretation.

Most opera coaches graduate from piano or accompanying programs at music universities. After joining an opera company, they gain experience and sometimes branch into conducting. Though not widely recognized as a profession in some countries, they are essential to opera production.

Beyond piano skills, coaches need profound knowledge of opera and sensitivity to singers’ emotions. A love of opera and dedication to its creation are indispensable.

Conductors

Conductors lead orchestras and ensembles. Some train in conducting programs at conservatories, others study composition before turning to the baton.

The number of conductors who make a living from the profession is extremely small. In Japan, perhaps fewer than ten are fully established; most concerts invite famous international conductors. It may be harder to become a world-class conductor than to become a prime minister.

Conductors must combine deep understanding of music and instruments, imagination to realize composers’ intentions, the charisma to inspire musicians, and the leadership to direct large organizations. For many music lovers, to stand at the podium is the ultimate lifelong dream.

Piano Tuners

All instruments require maintenance, but pianos are uniquely complex. Thus, piano tuning developed as a distinct profession.

Tuners not only adjust pitches but regulate mechanisms, refine tone, and consult on soundproofing, temperature, and humidity. Training is available through manufacturer programs, vocational schools, or universities with tuning courses. Some begin in sales companies with repair departments.

Tuners need sharp musical sensitivity, patience, and hands capable of spanning an octave. Independence requires years of experience, but nothing is more rewarding than hearing beautiful music produced from a piano one has personally tuned.

Instrument Manufacturer Staff

At major instrument companies, manufacturing is highly specialized. For example, even just the keyboard of a piano may have its own production line. Unlike traditional craftsmanship, this industrial work is team-based.

While music degrees are not required, companies value leadership potential and technical skills. Roles exist in planning, design, and research. Design departments often recruit graduates of art or design schools, while engineering departments prefer those with backgrounds in electronics or software. Global production sometimes reduces domestic hiring, but opportunities remain for those passionate about instruments.

Wind Instrument Repairers

Repairers restore and maintain woodwinds and brass. They may apprentice in workshops, train at vocational schools, or study abroad in places like France. More important than formal credentials are technical skill and a fine ear for tone.

Many aspire to this craft, but highly skilled technicians are few. Those who succeed often run independent shops and build reputations among musicians.

Instrument Craftspeople

Instrument makers craft new instruments and sometimes repair or tune them. Some workshops specialize in violins, violas, guitars, or ukuleles; others cover broader ranges.

Training may be through apprenticeship or specialized schools. Patience, dedication, and often international study (e.g. Cremona in Italy for violins) are invaluable. Independent success often relies on reputation and the guidance of respected masters.

Instruments crafted by artisans are more expensive than factory products. Makers sell through retailers, wholesalers, or directly. Though a demanding path, for those who love instruments deeply—even if not pursuing performance—it is a rewarding career.

Arrangers

Arrangers decide how to orchestrate a piece: assigning parts to instruments, adding harmonies and rhythms, and shaping overall texture.

Their work spans recordings, commercials, film, television, documentaries, stage productions, and published scores for ensembles.

Music theory and score-writing ability are indispensable, and professional training is usually gained at conservatories. Increasingly, arrangers also master computer-based tools, blending traditional skills with digital composition.

Instrument Teachers

Instrument teachers instruct students from beginners to aspiring professionals, teaching both technique and theory.

They may work in piano studios, violin schools, conservatories, music colleges, instrument shops, or corporate training programs. Many are freelancers.

Teachers of strings, winds, and keyboards typically have conservatory education, and their alma mater can strongly influence local reputation and enrollment. Some originally sought performance careers but turned to teaching.

Concert Producers

Concert producers oversee entire productions—singers, performers, orchestras, and logistics.

They handle budgets, schedules, venues, and personnel; select stage directors; and coordinate sound, lighting, and staff.

Many begin as part-time assistants in production companies, building experience. Vocational schools offer training, but producers also need communication, coordination, and sometimes foreign language skills to work with international artists.

Stage Directors

Stage directors coordinate all aspects of live performance, from rehearsals to the final concert. They manage schedules, direct sound and lighting crews, support performers, and prepare for emergencies.

Most belong to production companies, though some freelance. Their work extends beyond concerts to operas, plays, fashion shows, theme parks, and events. Stage directors need leadership, communication, crisis management, and technical knowledge of sound, lighting, and effects.

Noh Performers (Sankaku Roles)

Noh performers train in traditional Japanese arts such as waki (supporting roles), shite (main roles), flute, small drum, large drum, and comedic kyogen interludes. Recruitment and training resemble that for Kabuki and Bunraku: open to those from junior high through age 24.

What matters most is attitude and talent. Traditional arts, distinct from globalized culture, are increasingly recognized as unique national treasures. Younger performers may find rising opportunities, as traditional arts gain renewed appreciation worldwide.

Bunraku Puppeteers

Bunraku is Japan’s traditional puppet theater. Since 1972, official training programs have produced new tayu (narrators), shamisen players, and puppet operators. Trainees study narration, shamisen, puppetry, dance, etiquette, and related arts.

Admission is open to boys from junior high through age 23. Training begins with screening and a probationary period, after which specialization is determined. The program ensures the preservation and renewal of Bunraku as a living art.

Composers

Composers write music for television dramas, documentaries, film scores, commercials, video games, and singers.

They require music theory, creativity, and usually conservatory training. For games, they must deliver music in MIDI or digital formats; increasingly, computer composition is common.

But technical skill is not enough—creativity distinguishes true composers. Many record producers and directors also compose, yet demand remains for professionals able to craft distinctive works, especially in new media.

Traditional Japanese Musicians (Hōgaku Performers)

Hōgaku encompasses traditional Japanese music—distinct from Western genres. Performers play koto, shamisen, drums, shakuhachi, and other instruments.

Becoming a professional requires dedication, talent, and a master’s guidance. University training or cultural foundations also provide support.

In reality, few survive on performances alone, except shamisen players for dance accompaniment. Many sustain themselves by teaching apprentices.

Nevertheless, traditional music retains devoted audiences, and successful performers often live refined cultural lives, immersed in Japanese aesthetics.

Game Sound Designers

Game sound designers create background music (BGM) and effects for video games. Some focus on composition, others on programming.

With advances in game hardware, sound design has become richer and more complex. Designers must master computers, audio programming, and musical sensibility.

The profession attracts both music graduates and tech enthusiasts. Those with love for electronic soundscapes—ambient, electronic, post-rock, experimental—may thrive in pushing the boundaries of game audio.

Essay: The Happiness of a Musician (Ryū Murakami on Ryūichi Sakamoto)

Writer Ryū Murakami recalls collaborating with composer Ryūichi Sakamoto on the soundtrack for Tokyo Decadence. He describes visiting Sakamoto’s studio one summer afternoon, watching him build a tango piece layer by layer—rhythm, melody, bass, bandoneon—smiling as he worked.

Sakamoto joked, “If Piazzolla were here, he might write it this way,” before turning the phrase into something uniquely his own. His joy was palpable, and Murakami felt deep envy—composers could “play” even while working.

Unlike novelists, Sakamoto seemed to find fulfillment in playful creation. Though Sakamoto rarely discussed music in daily life, Murakami realized that true musicians are not constantly listening. For them, music is not background but a world requiring complete concentration.