Difference between revisions of "Music"
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==In Confucianism== | ==In Confucianism== | ||
| − | In ancient Chinese tradition, the musical tones are one of the key things said to emanate from the Emperor, as part of his role as the source of civilization, and as maintainer of proper cosmic order. Ritual music (''yǎyuè'') performed as part of Imperial | + | In ancient Chinese tradition, the musical tones are one of the key things said to emanate from the Emperor, as part of his role as the source of civilization, and as maintainer of proper cosmic order. Ritual music (''yǎyuè'') performed as part of Imperial sacrificial offerings to Heaven & to the Imperial ancestors, in particular, had to be performed in the correct tuning; this was essential to performing the ritual correctly, and legitimating the Emperor as the rightful Son of Heaven. |
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| + | Music, especially as played on the ''[[qin]]'', is also considered one of the four arts of the cultivated Confucian gentleman, alongside calligraphy, poetry, and games of strategy. | ||
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| + | ==Nara and Heian Periods== | ||
| + | Chinese ''yǎyuè'' was adopted into Japan as ''[[gagaku]]'', being formally adopted as the chief mode of official court music in [[701]]. The ''gagaku'' repertoire consists of two types of music: ''Tôgaku'' ("Tang music") adopted from the [[Tang Dynasty]] Chinese court, and ''komagaku'', adopted from [[Koryo]] Korea. ''Gagaku'' continues to be practiced today, both within the court, and more widely, and incorporates a number of instruments, including ''[[biwa]]'' (lute), a variety of flutes including the ''[[sho|shô]]'', ''[[ryuteki|ryûteki]]'', ''[[hichiriki]]'', and ''[[komabue]]'', and a variety of drums, including the ''[[kakko]]'' and ''[[tsuridaiko]]'', as well as bells, gongs, and occasionally ''[[koto]]''. Performances are often accompanied by masked & costumed dances, including ''[[bugaku]]''.<ref>Gallery labels, Metropolitan Museum of Art.; Gallery labels, Tokyo Imperial Palace.[https://www.flickr.com/photos/toranosuke/18200814551/sizes/k/]</ref> As Japan adopted its governmental structure from China as well, the ''[[ritsuryo|ritsuryô]]'' court also included a Bureau of Music (''Uta-ryō'' 雅楽寮), and Doctor of Music (''On Hakase'' 音博士). | ||
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| + | ''Koto'' music was also popular among the court aristocracy as early as the [[Heian period]]. | ||
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| + | ==Kamakura and Muromachi Periods== | ||
| + | *''[[Biwa hoshi|Biwa hôshi]]'' | ||
| + | *''[[Noh]]'' | ||
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| + | ==Edo Period== | ||
| + | The Okinawan ''[[sanshin]]'' was introduced into Japan in the mid-16th century, and by the end of the century had developed into the [[shamisen]]. Shamisen music and ''[[nihon buyo|nihon buyô]]'' (Japanese dance), both as performed in [[kabuki]] and ''[[ningyo joruri|ningyô joruri]]'' theatre, and by [[geisha]] and [[courtesans]], developed together over the course of the period. Shamisen music and ''buyô'' also spread widely among the townspeople at this time, both through private lessons and networks of cultural circles. Shamisen music proliferated in the period, with numerous styles and schools emerging over the course of the period. The ''[[tokiwazu]]'', ''[[tomimoto]]'', and ''[[kiyomoto]]'' schools of ''[[nagauta]]'', emerging out of kabuki; ''gidayû-bushi'', as performed in the puppet theatre; and ''[[kouta]]'' forms were among the most prominent. A number of styles which have largely fallen out of the theatre and dance repertoires are today known as ''[[kokyoku]]'' ("old pieces").<ref>McQueen Tokita, Alison. "Music in kabuki: more than meets the eye." ''The Ashgate Research Companion to Japanese Music''. Surrey: Ashgate Publishing, 2008. p247.</ref> | ||
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| + | The shamisen and ''koto'' were often accompanied in this period by the ''[[kokyu (instrument)|kokyû]]'' fiddle, in a three-piece ensemble known as ''sankyoku''; today, however, the ''kokyû'' is most often replaced by the ''[[shakuhachi]]''. | ||
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| + | ==Meiji Period== | ||
| + | Many musical forms considered "traditional" today were formalized in the [[Meiji period]], as the modern Japanese "nation" coalesced. Throughout the arts, the [[Meiji government]] and Japanese people worked to establish the traditional culture of their new nation, both for promoting Japan as a great and ancient culture with worthy traditions, and in order to identify those arts most worthy of protecting and maintaining. These included ''gagaku'' and various schools of shamisen and ''koto'', as well as ''[[Tsugaru jamisen]]'', a tradition involving a heavier, deeper shamisen than the urban theatrical and dance forms. | ||
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| + | ==See Also== | ||
| + | *[[Okinawan music]] | ||
Revision as of 02:44, 13 November 2015
In Confucianism
In ancient Chinese tradition, the musical tones are one of the key things said to emanate from the Emperor, as part of his role as the source of civilization, and as maintainer of proper cosmic order. Ritual music (yǎyuè) performed as part of Imperial sacrificial offerings to Heaven & to the Imperial ancestors, in particular, had to be performed in the correct tuning; this was essential to performing the ritual correctly, and legitimating the Emperor as the rightful Son of Heaven.
Music, especially as played on the qin, is also considered one of the four arts of the cultivated Confucian gentleman, alongside calligraphy, poetry, and games of strategy.
Nara and Heian Periods
Chinese yǎyuè was adopted into Japan as gagaku, being formally adopted as the chief mode of official court music in 701. The gagaku repertoire consists of two types of music: Tôgaku ("Tang music") adopted from the Tang Dynasty Chinese court, and komagaku, adopted from Koryo Korea. Gagaku continues to be practiced today, both within the court, and more widely, and incorporates a number of instruments, including biwa (lute), a variety of flutes including the shô, ryûteki, hichiriki, and komabue, and a variety of drums, including the kakko and tsuridaiko, as well as bells, gongs, and occasionally koto. Performances are often accompanied by masked & costumed dances, including bugaku.[1] As Japan adopted its governmental structure from China as well, the ritsuryô court also included a Bureau of Music (Uta-ryō 雅楽寮), and Doctor of Music (On Hakase 音博士).
Koto music was also popular among the court aristocracy as early as the Heian period.
Kamakura and Muromachi Periods
Edo Period
The Okinawan sanshin was introduced into Japan in the mid-16th century, and by the end of the century had developed into the shamisen. Shamisen music and nihon buyô (Japanese dance), both as performed in kabuki and ningyô joruri theatre, and by geisha and courtesans, developed together over the course of the period. Shamisen music and buyô also spread widely among the townspeople at this time, both through private lessons and networks of cultural circles. Shamisen music proliferated in the period, with numerous styles and schools emerging over the course of the period. The tokiwazu, tomimoto, and kiyomoto schools of nagauta, emerging out of kabuki; gidayû-bushi, as performed in the puppet theatre; and kouta forms were among the most prominent. A number of styles which have largely fallen out of the theatre and dance repertoires are today known as kokyoku ("old pieces").[2]
The shamisen and koto were often accompanied in this period by the kokyû fiddle, in a three-piece ensemble known as sankyoku; today, however, the kokyû is most often replaced by the shakuhachi.
Meiji Period
Many musical forms considered "traditional" today were formalized in the Meiji period, as the modern Japanese "nation" coalesced. Throughout the arts, the Meiji government and Japanese people worked to establish the traditional culture of their new nation, both for promoting Japan as a great and ancient culture with worthy traditions, and in order to identify those arts most worthy of protecting and maintaining. These included gagaku and various schools of shamisen and koto, as well as Tsugaru jamisen, a tradition involving a heavier, deeper shamisen than the urban theatrical and dance forms.
