The compostition of Shinto music plays an important role for the Emperor. Shinto music is called kagura and is specifically used in Imperial shrines. The music and ritual used exclusively in the Imperial palace grounds is called mi-kagura, as well as for Shinto shrines, o-kagura, and Shinto music for local shrines, sato-kagura. The suzu bell tree, the earliest known Japanese instrument, are found with equal importance as the ancient wagon zither can be heard at the palace rituals and larger shrines.
General Shinto chaning, norito, involve unison choruses of men that are accompanied by the hichiriki oboe, kagura-bue flute, and the wagon zither. The music for mi-kagura ceremonies are divided into two types: one to praise the spirits or seek their aid (torimono), and the other to entertain the gods (saibari) in the tradition. Mythological amusements is given before the sun goddess, such a famous dance suit from the Shinto tradition is called Azuma asobi (The Entertainment of Eastern Japan) which is a courtly reflection of the agricultural base of Japan in its annual peformances during the spring equinox and summer solstice. At the Heian court, Mi-kagura is exclusively a male event, though Shinto female dancers (miko) are found to dance and entertain at local shrines.
Buddhist music is found in the form of hymns, saimon, along with semireligious dance songs, such as goeika, nembutsu odori, and the bon odori performed to folk festivals. Buddhist influence on Japanese art music is found in the theory and practice of chanting known as Shomyo. The origin came from foreign Chinese Buddhist missionaries to Japan. There have been many Japanese interpretations, such an example can be seen in 'Shomyo yojinshu' by Tanchi (1163-1237) of the Tendai sect and the Gyosan taikaishu (1496) of the Shingon sect. The theorietical basis is under the topic of gagaku music where Buddhist notation system is added to the traditional -system. The most influencial system was called go-in hakase, attributed to Kakui of the Shingon sect. This method used the five notes of each of three octaves of a pentatonic scales used in modern pieces.
Mitsuzaki Kengyo was a composer that lived between the Tempo and early Meiji periods. He primarily composed pieces for Koto. These includes such works as 'Godan Ginuta' for 2 Kotos, 'Akikaze no Kyoku' for solo Koto, 'Chidori no Kyoku' for solo Koto depicting the sea plovers.
Another composer of that time was Yoshizawa Kengyo who composed Vivaldi's equivalent to the Four Season for Koto; 'Haruno Kyoku' depicting the atmosphere of new youth and growth of the spring, 'Natsu no Kyoku' depicting warmth and happiness of summer weather, 'Aki no Kyoku' depicting the vibrant colors and harvesting of autumn, and 'Tsuyu [Fuyu] no Kyoku' depicting the end to life and stillness that winter brings to the land.
Kikusue Kengyo of Osaka composed new styles for the Koto, he expressed a musical reformist mood that was felt during the early Meiji period. He was well educated and used patriotic texts within his music, these were called improved songs, kairyoshoka. During the period, these pieces were more preferred rather than songs about love and geisha life. His pieces include 'Saga no Aki' and 'Shochikubai' where he wrote in tegoto style, a new uta style that was considered the 'improved' composition. Other pieces of his include 'Kane no Naruki, 'Kikuno Asa, 'Yugao' for 'Kusue no Ki no Tsuyu'.
One of the most famous Koto performer and composer was Miyagi Michio (1894-1956). His legacy can been divided into three periods; chamber music for Japanese instruments, orchestra works, and combined Japanese and Western instruments (concerto for Koto with orchestra). He is known as the "Father of Modern Koto Music" due to his attributes through a far-reaching reform movement within Koto music. He changed Koto music by inventing new instruments, using new forms, stretching traditional forms, creating new playing techniques, and restoring popularity to the genre. Miyagi's reforms were drawn from Western music and successfully succeeded in introducing Western musical ideas into Koto music. Miyagi was very individualistic when he broke the traditions to create a new style. In the two hundred years before Miyagi, only a few dared to make changes to the tradition. Due to Miyagi's permanent blindness since birth, performing koto would be one of the few acceptable professions for blind people. Since the age of 7, Miyagi had been studying Koto. Miyagi was taught in the Koto department at the Tokyo Ongaku Gakko (Tokyo Academy of Muisc), which after the Second World War became Tokyo Geijutsu Daigaku (Tokyo National University of Fine Arts and Music). As an instructor, he influenced many Koto players and taught them his new techniques and compositions. Listening to rhythms of the earth helped him create the sounds and textured he desired to share with the world on his Koto. In 1907, Miyagi composed his first work "Mizu no Hentai" meaning Transformations of Water. Miyagi was the first traditional performer and composer who was conversant in both Japanese and Western traditions. He created new playing techniques for the Koto, including pizzicato, staccato, and harmonics. He expanded compositional forms and techniques with experiementation with Western rando, ABA, strophic, and variation forms along with traditional Japanese forms of kinutamono and tegotomono as well as techniques of kaede and kakeai. He wrote using triple meter and wrote scores for groupings of non-traditional mixed instruments. These include the mixed-instrumental quartet, orchestra of traditoinal insruments, combinations of Western and traditional instruments, and koto concerti with Western orchestral accompaniment. His most famous piece is "Haru no Umi", the Spring Sea, which can be heard everywhere in Japan during the New Year's holiday. Other famous pieces include "Mizu no Hentai," "Ochiba no Odori" (Dance of the Falling Leaves), "Seoto" (Sounds of the Rapids), and "Tegoto" (Interlude).