Changes

==In Confucianism==

==In Ancient Traditions==

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.

In ancient Chinese tradition, music is said to have been invented by [[Ling Lun]], a member of the court of the [[Yellow Emperor]].<ref>K.C. Chang, ''Art, Myth, and Ritual'', Harvard University Press (1983), 2, 42.</ref>

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.

 

Music, especially as played on the ''[[qin]]'', is also considered one of the [[Four Accomplishments|four accomplishments]] of the cultivated Confucian gentleman, alongside calligraphy, poetry, and [[go|games of strategy]].

 

Music has sacred significance in ancient Japanese traditions as well. The ''[[Kojiki]]'' relates that various forms of music and dance were first invented by the gods when they performed raucous entertainments in order to lure the Sun Goddess [[Amaterasu]] out of the cave into which she had withdrawn.

==Nara and Heian Periods==

==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).

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).

''Koto'' music was also popular among the court aristocracy as early as the [[Heian period]].

''Koto'' music was also popular among the court aristocracy as early as the [[Nara period]], when the instrument was first introduced from China.

==Kamakura and Muromachi Periods==

==Kamakura and Muromachi Periods==

*''[[Biwa hoshi|Biwa hôshi]]''

The ''biwa'' employed in court music (''gagaku'') came in the [[Kamakura period]] to be adopted as the instrument of choice by traveling storytellers known as the ''[[Biwa hoshi|biwa hôshi]]''. These blind men used the ''biwa'' to accompany themselves as they recited epic narratives, most famously the ''[[Tale of the Heike]]'', which originated as an oral tradition and was only written down later.

*''[[Noh]]''

 

The ''[[Noh]]'' theater, which developed out of ''[[sarugaku]]'' in the early 15th century, employs a chorus (''jiutai'') and musical ensemble (''hayashi'') consisting mainly of flute (''[[nokan|nôkan]]'') and several types of drums (''[[otsuzumi|ôtsuzumi]]'', ''[[kotsuzumi]]'', ''[[shimedaiko]]''), with no string instruments. These instruments form the core (with the addition of [[shamisen]]) of the musical accompaniment for the [[kabuki]] theatre as well, which emerged in the [[Edo period]].

==Edo Period==

==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>

The Okinawan ''[[sanshin]]'' was introduced into Japan in the mid-16th century, and by the end of the century had developed into the three-stringed banjo-like instrument known as 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> Much of these musical forms, though originating in the major cities of [[Edo]], [[Kyoto]], and [[Osaka]], spread quickly throughout the realm as people traveled, whether on pilgrimage or ''[[sankin kotai|sankin kôtai]]''; as traveling artists, scholars, or merchants; or for other reasons.

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]]''.

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]]''.

==Meiji Period==

==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.

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.

==See Also==

==See Also==

*[[Okinawan music]]

*[[Okinawan music]]