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*''Chinese'': 雅楽 ''(yǎyuè)''
''Yǎyuè'' is traditional ritual music of the Chinese imperial court. Said to have been developed under the [[Duke of Zhou]] c. 1058 BCE in the early years of the legendary ancient [[Zhou Dynasty]], ''yǎyuè'' developed by the [[Sui dynasty|Sui]] and [[Tang dynasty|Tang dynasties]] into a standard traditional form, used in formal court ceremonies, and was adopted into Korean tradition as ''[[aak]]'' and into Japan as ''[[gagaku]]''.
==Origins and History==
According to early [[Han dynasty]] historian [[Sima Qian]] (c. 145 – c. 86 BC), ''yǎyuè'' was originally developed as part of a broader construction of a system of ritual or etiquette (礼 C: ''[[Li (ritual propriety)|lǐ]]'') which would control and order the court, the broader society, and the realm as a whole. Characterizing the preceding [[Shang Dynasty]] as having wallowed in sensual pleasures, Sima Qian and other ancient writers suggest that the Zhou explicitly aimed to avoid excessive decadence and to design music, rituals, and patterns of etiquette that would be functional, "maintaining social order and consolidating the divine right of kings."<ref>Yeh, 11.</ref> Different sizes or scales of ''yǎyuè'' ensembles were deemed appropriate depending on the context, with the largest ensembles being restricted to imperial court ceremonies alone, and nobles or officials being obligated to host or employ only smaller ensembles for their own occasions.
As early as the [[Spring and Autumn Period]] (c. 771-450 BCE), ''yǎyuè'' is believed to have already been in decline as a style of music enjoyed by members of the court. While it grew ever more static, systematized, and formal, members of the court turned to new styles of music for entertainment. It came to have even more exclusively a functional purpose, as an integral part of the solemnity and dignity of court ceremonies, enhancing the dignity of the emperor, maintaining social order, and so forth through the creation of a ritual atmosphere. According to some scholars, ''yǎyuè'' had already lost its "musicality" or "musical vitality" by this point in time.<ref>Yeh, 12.</ref>
{{stub}}
==References==
*Chia-Ying Yeh, "The Revival and Restoration of Ryukyuan Court Music, Uzagaku: Classification and Performance Techniques, Language Usage, and Transmission," PhD thesis, University of Sheffield (2018), 11-
<references/>
[[Category:Art and Architecture]]
[[Category:Poetry and Theater]]
''Yǎyuè'' is traditional ritual music of the Chinese imperial court. Said to have been developed under the [[Duke of Zhou]] c. 1058 BCE in the early years of the legendary ancient [[Zhou Dynasty]], ''yǎyuè'' developed by the [[Sui dynasty|Sui]] and [[Tang dynasty|Tang dynasties]] into a standard traditional form, used in formal court ceremonies, and was adopted into Korean tradition as ''[[aak]]'' and into Japan as ''[[gagaku]]''.
==Origins and History==
According to early [[Han dynasty]] historian [[Sima Qian]] (c. 145 – c. 86 BC), ''yǎyuè'' was originally developed as part of a broader construction of a system of ritual or etiquette (礼 C: ''[[Li (ritual propriety)|lǐ]]'') which would control and order the court, the broader society, and the realm as a whole. Characterizing the preceding [[Shang Dynasty]] as having wallowed in sensual pleasures, Sima Qian and other ancient writers suggest that the Zhou explicitly aimed to avoid excessive decadence and to design music, rituals, and patterns of etiquette that would be functional, "maintaining social order and consolidating the divine right of kings."<ref>Yeh, 11.</ref> Different sizes or scales of ''yǎyuè'' ensembles were deemed appropriate depending on the context, with the largest ensembles being restricted to imperial court ceremonies alone, and nobles or officials being obligated to host or employ only smaller ensembles for their own occasions.
As early as the [[Spring and Autumn Period]] (c. 771-450 BCE), ''yǎyuè'' is believed to have already been in decline as a style of music enjoyed by members of the court. While it grew ever more static, systematized, and formal, members of the court turned to new styles of music for entertainment. It came to have even more exclusively a functional purpose, as an integral part of the solemnity and dignity of court ceremonies, enhancing the dignity of the emperor, maintaining social order, and so forth through the creation of a ritual atmosphere. According to some scholars, ''yǎyuè'' had already lost its "musicality" or "musical vitality" by this point in time.<ref>Yeh, 12.</ref>
{{stub}}
==References==
*Chia-Ying Yeh, "The Revival and Restoration of Ryukyuan Court Music, Uzagaku: Classification and Performance Techniques, Language Usage, and Transmission," PhD thesis, University of Sheffield (2018), 11-
<references/>
[[Category:Art and Architecture]]
[[Category:Poetry and Theater]]
