Gagaku

Template:Short description Template:For Template:Italic title Template:For-multi Template:Nihongo3<ref>Kenkyusha's New Japanese-English Dictionary, Kenkyusha Limited, Tokyo 1991, Template:ISBN</ref> is a type of Japanese classical music that was historically used for imperial court music and dances. Template:Transliteration was developed as court music of the Kyoto Imperial Palace, and its near-current form was established in the Heian period (794–1185) around the 10th century.<ref name = "gagakukai">History of gagaku Nihon gagakukai</ref><ref name = "council"/> Today, it is performed by the Board of Ceremonies in the Tokyo Imperial Palace.

Gagaku consists of three primary repertoires:<ref name = "gagakukai"/>

Native Shinto religious music and imperial songs and dance, called Template:Nihongo
Vocal music based on native folk poetry, called Template:Nihongo
Songs and dance based on foreign-style music
1. A Chinese, Vietnamese and Indian form (specifically Tang dynasty), called Template:Nihongo
2. A Korean and Manchurian form, called Template:Nihongo

Template:Transliteration, like Template:Transliteration, employs the yo scale, a pentatonic scale with ascending intervals of two, three, two, two, and three semitones between the five scale tones.<ref>Japanese Music, Cross-Cultural Communication: World Music, University of Wisconsin – Green Bay</ref> Artistically it differs from the music of the corresponding Chinese form Template:Transliteration ({{#invoke:Lang|lang}}) which is a term reserved for ceremonial music.<ref name=ortolani>Template:Cite book</ref>

HistoryEdit

File:Bugaku(Naiku) 01.JPG

Jingu-Bugaku at Kotaijingu (Naiku), Ise city, Mie Prefecture

The prototype of Template:Transliteration was introduced into Japan with Buddhism from China. In 589, Japanese official diplomatic delegations were sent to China (during the Sui dynasty) to learn Chinese culture, including Chinese court music. By the 7th century, the Template:Transliteration (the 13-stringed zither) and the Template:Transliteration (a short-necked lute) had been introduced into Japan from China. Various instruments, including these two, were the earliest used to play Template:Transliteration.

Even though the Japanese use the same term, {{#invoke:Lang|lang}} (Template:Transliteration in Mandarin Chinese), the form of music imported from China was primarily banquet music (Template:Transliteration) rather than the ceremonial music of the Chinese Template:Transliteration. The importation of music peaked during the Tang dynasty, and these pieces are called Template:Transliteration (Tang music). Template:Transliteration pieces that originated at a time earlier than the Tang dynasty are called Template:Transliteration (ancient music), while those originating after the Tang dynasty are called Template:Transliteration (new music). The term Template:Transliteration itself was first recorded in 701, when the first imperial academy of music Template:Transliteration was established.<ref name=ortolani />

Music from the Korean kingdom of Goguryeo had been recorded as early as 453 AD, and Template:Transliteration was eventually used as a term that covered all Korean pieces, the Goguryeo kingdom being referred to as Koma in Japanese. Template:Transliteration and Template:Transliteration became established in southern Japan during the Nara period (710–794). In 736, music from India and Vietnam were also introduced, known as Template:Nihongo and Template:Nihongo respectively.

During the Nara period in the 8th century, Template:Transliteration was performed at national events, such as the erection of the Great Buddha of Todai-ji Temple, by organizing Template:Transliteration performance groups at large temples.

From the 9th century to the 10th century, during the Heian period, traditional Template:Transliteration was developed further, becoming distinctly Japanese in style through its fusion with musical styles indigenous to Japan, changing it greatly. The form of Template:Transliteration was almost completed by the fusion of Template:Transliteration, Template:Transliteration, Template:Transliteration and Template:Transliteration which were introduced from Asian countries, with Template:Transliteration, traditional Japanese music, and Template:Transliteration, songs born in the Heian period.<ref name = "gagakukai"/><ref name = "council">The Indigenization and Accomplishment of Gagaku Japan Arts Council</ref> During this period, many pieces of Template:Transliteration music were created and foreign-style Template:Transliteration music was rearranged and renewed. Template:Transliteration was also reorganized, and foreign-style Template:Transliteration music was classified into categories called Template:Nihongo3 and Template:Nihongo3. Chinese, Vietnamese and Indian style was classified as Template:Transliteration, and Korean and Manchurian style was classified as Template:Transliteration. Template:Transliteration and Template:Transliteration were also included in the category of Template:Transliteration.<ref name = "gagakukai"/><ref name = "council"/><ref name="ortolani2">Ortolani 1995, pp. 42–43.</ref>

The popularity of Template:Transliteration reached its peak between the 9th and 10th centuries, when court aristocracy began to hold private concerts, but declined in the Kamakura period (1185–1333) when the power of the court aristocracy became diminished while that of the samurai rose.<ref name="ortolani2"/> Template:Transliteration was played by musicians who belonged to hereditary guilds. During the Kamakura period, military rule was imposed and Template:Transliteration was rarely performed at court. At this time, there were three guilds, based in Osaka, Nara and Kyoto.

Due to the Ōnin War, a civil war from 1467 to 1477 during the Muromachi period, Template:Transliteration ensembles ceased to perform in Kyoto for about 100 years. In the Edo period, the Tokugawa shogunate revived and reorganized the court-style ensembles, the direct ancestors of the present Template:Transliteration ensembles.

After the Meiji Restoration of 1868, musicians from all three guilds came to the capital and their descendants make up most of the current Tokyo Imperial Palace Music Department. By that time, the present ensemble composition had been established, consisting of three wind instruments – Template:Transliteration, Template:Transliteration, and Template:Transliteration (bamboo mouth organ used to provide harmony) – and three percussion instruments – Template:Transliteration (small drum), Template:Transliteration (metal percussion), and Template:Transliteration (drum) or Template:Transliteration (large drum), supplemented by two string instruments – Template:Transliteration and Template:Transliteration.

Template:Transliteration also accompanies classical dance performances called Template:Nihongo. It may be used in religious ceremonies in some Buddhist temples.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 1955, the Japanese government recognized Template:Transliteration and Template:Transliteration as important National Treasures.

Today, Template:Transliteration is performed in three ways:<ref>"Enjoy gagaku. What kind of music is Gagaku?" Doyusha Video</ref>

as Template:Transliteration, concert music for winds, strings and percussion,
as Template:Transliteration, or dance music, for which the stringed instruments are omitted.
as Template:Transliteration, singing to the accompaniment of a musical instrument, classified into 10 categories.

Template:Transliteration survives only as Template:Transliteration.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Contemporary Template:Transliteration ensembles, such as Template:Nihongo, perform contemporary compositions for Template:Transliteration instruments. This subgenre of contemporary works for Template:Transliteration instruments, which began in the 1960s, is called Template:Nihongo. 20th-century composers such as Tōru Takemitsu have composed works for Template:Transliteration ensembles, as well as individual Template:Transliteration instruments. In January 2015 the Reigakusha Template:Transliteration Ensemble and Ensemble Modern performed together Music with silent aitake's by Belgian composer Frederic D'Haene, making Template:Transliteration and Western music co-exist.<ref>[1] Ravello Records released the CD in 2018.</ref>

Instruments usedEdit

Wind, string and percussion instruments are essential elements of gagaku music. Some instruments, such as Haishō, Gogen biwa, Kugo had been removed from the ensemble during Heian period and reconstructed based on the old documents and some remains of the instruments in the Shōsō-in during Showa Era.

WindEdit

Template:Nihongo, also called chukan
Template:Nihongo, panpipes
Template:Nihongo, oboe
Template:Nihongo, transverse flute larger than ryūteki, used in kuniburi no utamai
Template:Nihongo, transverse flute smaller than ryūteki, used in komagaku
Template:Nihongo
Template:Nihongo, transverse flute used in tōgaku
Template:Nihongo
Template:Nihongo, mouth organ
Template:Nihongo, large mouth organ

StringEdit

Template:Nihongo, 4-stringed lute
Template:Nihongo, 13-string zither of Chinese origin
Template:Nihongo
Template:Nihongo, 5-stringed lute
Template:Nihongo, angled harp used in ancient times and recently revived
Template:Nihongo, zither of Japanese origin, with 6 or 7 strings

PercussionEdit

Template:Nihongo, large drums used at festivals
Template:Nihongo
Template:Nihongo, small, ornately decorated hourglass-shaped drum
Template:Nihongo, small hourglass-shaped drum struck with two wooden sticks
Template:Nihongo, hourglass-shaped drum
Template:Nihongo, clapper made from a pair of flat wooden sticks
Template:Nihongo, small gong, struck with two horn beaters
Template:Nihongo, a bell tree clapper, specific to Mikomai dance performed as Mi-kagura
Template:Nihongo, drum on a stand with ornately painted head, played with two padded sticks
Template:Nihongo, hourglass drum, specific to Shirabyōshi dance performed as Mi-kagura

Influence on Western musicEdit

Beginning in the 20th century, several western classical composers became interested in gagaku, and composed works based on gagaku. Most notable among these are Henry Cowell (Ongaku, 1957), La Monte Young (numerous works of drone music,<ref>Zuckerman, Gabrielle (ed.), "An Interview with La Monte Young and Marian Zazeela" (Archive.org copy of 2006), American Public Media, July 2002, musicmavericks.publicradio.org: "So, this contribution of Indian Classical music is one of the biggest influences on me, but there are other influences on me too. [...] We have the effect of Japanese gagaku, which has sustained tones in it in the instruments such as the Sho."</ref> but especially Trio for Strings, 1958), Alan Hovhaness (numerous works), Olivier Messiaen (Sept haïkaï, 1962), Lou Harrison (Pacifika Rondo, 1963), Benjamin Britten (Curlew River, 1964), Bengt Hambraeus (Shogaku, from Tre Pezzi per Organo, 1967), Ákos Nagy (Veiled wince flute quartet 2010), Jarosław Kapuściński (numerous works), Sarah Peebles (numerous works), Michiko Toyama (Waka, 1960), and Tim Hecker (Konoyo and Anoyo, 2018 and 2019 respectively).

One of the most important gagaku musicians of the 20th century, Masataro Togi (who served for many years as chief court musician), instructed American composers such as Alan Hovhaness and Richard Teitelbaum in the playing of gagaku instruments.

Other cultural influenceEdit

The American poet Steve Richmond developed a unique style based on the rhythms of gagaku. Richmond heard gagaku music on records at U.C.L.A.'s Department of Ethnomusicology in the early 1960s. In a 2009 interview with writer Ben Pleasants, Richmond claimed he had written an estimated 8,000–9,000 gagaku poems.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

ReferencesEdit

Alves, William (2006). Music of the Peoples of the World. Thomson Schirmer.
Garfias, Robert (January 1960). "Gradual Modifications of the Gagaku Tradition". Ethnomusicology, Vol. 4, No. 1. pp. 16–19.
Malm, William P. (1959). Japanese Music and Musical Instruments. Japan: Charles E. Tuttle Co.
Matsumiya, Suiho (1959). "Traditional Music in Japan To-Day: Its Stability and Evolution." Journal of the International Folk Music Council. Vol. 11. pp. 65–66. {{#invoke:doi|main}}. Template:JSTOR.

External linksEdit

Template:Music of Japan Template:UNESCO Oral and Intangible music

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