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明治时期的音乐出现了西方化的现象，这从军乐就可以看出，日本军乐队开始演奏西方音乐。本文将研究明治时期开始的日本音乐的真实性。1853年佩里舰队抵达日本之后，日本结束了它的孤立状态。在与西方列强签署不平等条约之后，日本意识到自己需要强大起来，并尝试通过西方化来达成目的。这可以从威廉芬顿之后的音乐内容看出来，他负责教授西方军乐曲，在1871年被任命为日本军乐队的指导者。从那之后，日本音乐家被日本政府送到国外学习西方音乐。这些人在重构日本音乐风格中起到了重要作用。这也导致对日本真正音乐研究意见的分歧。有些人认为，随着传统音乐被废弃，日本音乐失去了自己的独特性。另一些人则认为西方音乐有优越性，借鉴西方音乐风格的做法不可避免。然而，日本音乐西方化是否导致日本音乐失去了真实性？我们坚持认为，尽管存在着西方化，日本音乐依然是真实的。尽管现在的日本音乐中西化形式占据了主导地位，使用大量的和音，它还是和西方文化大有区别，学术上将其称作“日本性”。

During the Meiji period, Music took on a direction towards Westernisation (Kishimoto 2012, 9) which can be seen in military music, where the Japanese military band started performing western music (Galliano 2002, 27). This paper examines the authenticity of Japanese music from the Meiji Period onwards. Japan ended its isolation and started westernising after the arrival of Commodore Perry in 1853 (Davison 2009, 7). Following the signing of unequal treaties with the western powers, Japan was convinced of the need to strengthen, and sought to achieve that through westernization. This can be seen even the in context of music after William Fenton, who was in charge of teaching the Western military songs, was appointed as the instructor of the Japanese military band in 1871 (Galliano 2002, 28). Following that, musicians were sent abroad by the Japanese government to study western music. These people played important roles in reshaping the styles of music in Japan. This led to differing interpretations of authentic Japanese music. Some felt that Japanese music lost its uniqueness as traditional music became obsolete. Others saw the superiority in Western music style and realised the inevitable need to adopt western music style. However, did westernisation of Japanese music cause a loss in authenticity? We argue that there is still authenticity in Japanese music despite Westernisation. Even though Japanese music now has a predominant Western form in terms of its use of harmony tonality, it is still relatively distinct from Western music itself, which some termed “Japaneseness” (Atkins 1998, 348).

To explain how Japaneseness or authenticity still exists in Westernised Japanese Music, we argue that the process follows a three-stage mechanism: learning, imitation and transformation. Learning involves musicians going abroad to Western countries to study Western technique in composing and performing music (Davison 2009, 18). In Japan, the promotion of Western music is also evident in the Japanese music Education curriculum, where young children learned to appreciate both traditional and western music (Iida 2009, 11-12).

Imitation stage came after the Learning stage where Japanese musicians applied music knowledge that they learned from the West to compose music. This constituted to a period of assimilating Western music into Japanese musical culture (Iida 2009, 67).

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