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The concept originated in ''[[gagaku]]'' court music, specifically in the ways in which elements of the music could be distinguished and described. Though eventually incorporated into a myriad of disciplines, it was most famously adapted, and perhaps most thoroughly analysed and discussed by the great [[Noh]] playwright [[Zeami]]<ref>Zeami. "Teachings on Style and the Flower (''Fūshikaden'')." from Rimer & Yamazaki. ''On the Art of the Nō Drama''. p20.</ref>, who viewed it as a universal concept applying to the patterns of movement of all things.
The concept originated in ''[[gagaku]]'' court music, specifically in the ways in which elements of the music could be distinguished and described. Though eventually incorporated into a myriad of disciplines, it was most famously adapted, and perhaps most thoroughly analysed and discussed by the great [[Noh]] playwright [[Zeami]]<ref>Zeami. "Teachings on Style and the Flower (''Fūshikaden'')." from Rimer & Yamazaki. ''On the Art of the Nō Drama''. p20.</ref>, who viewed it as a universal concept applying to the patterns of movement of all things.
==Music==
In ''gagaku'', where the term originates, ''jo-ha-kyû'' was not generally cited as a single term, but as three separate terms, referring to possible portions of musical pieces which might be combined in different ways to form a complete piece; it was not necessary to include all three, ''jo'', ''ha'', and ''kyû'' sections, for a piece to be a complete one.<ref>Shelley Fenno Quinn, ''Developing Zeami'', University of Hawaii Press (2005), 129.</ref>
==Theatre==
==Theatre==