TOKYO

Composer: Isao Koizumi

Koizumi was born in Osaka. According to the Dictionary of Contemporary Japanese Music, he studied composition and organ privately while also working toward a degree in economics from Osaka University of Commerce (1952). He served as minister of music at the United States Far East Air Force Chapel Center in Tokyo. In addition to composing and arranging many hymn tunes, he edited several hymnals. --www.gbod.org/lead-your-church/history-of-hymns/  Go to person page >

Tune Information

Composer: Isao Koizumi (1958)
Meter: 7.5.7.5 D
Incipit: 1D757 U131( D7)U1 D757
Key: g minor
Copyright: Used by permission of JASRAC

Notes

The tune TOKYO is based on the ancient Japanese Gagaku mode of musical composition. Gagaku is the name for all traditional Japanese court music, much of it dating back to the eighth century, with previous roots in Chinese music. Composed by Isao Koizumi (b. 1907; d. Tokyo, Japan, 1992) for Yamaguchi's text, TOKYO was first published in the English-language Japanese hymnal Hymns of the Church (1963).

Koizumi graduated from the Osaka University of Commerce in 1932. For the next ten years he taught at that school, was an organist in Tokyo, and then went on to work in the import-export business. He has served as the conductor of the Tokyo Choral Society and edited various hymnals, including The Hymnal 1954 for the United Church of Christ in Japan, The Sunday School Hymnal (1954), and Hymns of Praise (1967 edition). A writer and translator of books and articles on church music, Koizumi has also composed and arranged hymn tunes. He is considered a leading figure in modern Japanese hymnody.

Like much Asian music, TOKYO consists of only five pitches and is meant for unison singing. I-to-Loh, editor of Hymns from the Four Winds (1983), a collection of Asian American hymns, suggests that "ethnic instruments may be employed to double the melody or to accompany the piece." For this hymn he suggests an oboe, plucked lute, or zither, commenting that "an experienced accompanist may be able to simplify or improvise the accompaniment within the appropriate style after the congregation feels comfortable in singing the hymn." In any case, a keyboard accompaniment should be light, with no filling in of (Western) thirds in this open-fifth style.

--Psalter Hymnal Handbook, 1988

Instances

Instances (1 - 20 of 20)Text InfoTune InfoTextScoreFlexScoreAudioPage Scan
Baptist Hymnal 1991 #179
Chalice Hymnal #278
Common Praise (1998) #534
Evangelical Lutheran Worship #530
Glory to God: the Presbyterian Hymnal #311Text InfoAudio
Glory to God: the Presbyterian Hymnal #813Text InfoAudio
Hymnal: A Worship Book #7
Hymns from the Four Winds: A Collection of Asian American Hymns #37
Lift Up Your Hearts: psalms, hymns, and spiritual songs #319Audio
Presbyterian Hymnal: hymns, psalms, and spiritual songs #465
Psalms for All Seasons: a complete Psalter for worship #71B
Psalter Hymnal (Gray) #251Text InfoTune InfoScoreAudio
The New Century Hymnal #72
The United Methodist Hymnal #552Audio
The United Methodist Hymnal Music Supplement #333
The United Methodist Hymnal Music Supplement II #178
Voices United: The Hymn and Worship Book of The United Church of Canada #362
Wonder, Love, and Praise: a supplement to the Hymnal 1982 #793
Worship and Rejoice #597
찬송과 예배 = Chansong gwa yebae = Come, Let Us Worship: the Korean-English Presbyterian hymnal and service book #251
Include 2 pre-1979 instances



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