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A feature article by an Alumbo member, Jan 11, 2008         

The word GAGAKU means elegant, correct, or refined music. In the Heian period ( 7th cent.), over thirty kinds of instuments were used to perform the music of China,Korea, India, and the native music of Japan. Gagaku is the earliest significant forms of Japanese music. It shares with Kabuki music the distinction of having instuments in each of the three basic orchestral units, percussion, strings, and winds. While it does not take full advantage of its orchestral possibilites, as does Kabuki, it is considered by some to be the only "true" orchestral music of Japan. There are four types of Gagaku- · KANGEN instrumental music · BUGAKU dance music · SONGS · RITUAL MUSIC for Shinto Ceremonies The present Bugaku, as well as Kangen, is classified

into two groups. SAHO (left) and UHO (right). Saho music of the left consists mainly of the music of China and several pieces originating in India. Uho music of the right is mostly from Korea and a few pieces from Manchuria. This classifacation seems to represent the combination of the ancient ideas in Japan that the left, sometimes associated with the spiritual and peaceful, is superior to the right, the more physical and earthly. Also, the fact that at the time, Chinese music was more popular than Korean music. Music pieces composed in Japan were also classified in either the right or left style.

The pieces of Gagaku repetoire are classified further into small, medium, and large pieces. The distinction may have originated from the number of players required to accompany the dances. The large and medium pieces usually follow the JO-HA-KYU form, though there is indications that some pieces had a forth section,EI, between the HA and KYU secions. This is a stylistic tradition of many arts in Japan. They mean,(slow) introduction, (faster) development, and (rushing) break or conclusion. The smaller pieces tend to have only a HA and KYU sections. The tempi are generally very slow and the diff-erences between slow and fast do not vary much to the extent of Western music.

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Another notable performance style is a kind of freestyle cannon. In the performance of the Jo movement of (left) Bugaku, the principle SHO ( mouth organ) starts a melody. Then a second Sho player starts several beats later. He is followed by a third. The cheif HICHIRIKI (oboe) joins the Sho group, then a second player behind him and so on. The Flutists join the ensemble in the same fashion. Thus the entire group of three different wind sections form a free-style cannon in a free rhythm creating a chaotic sound with great dynamism. This same performance style is found in six pieces called CHOSHIN. CHOSHIN are used for the entrance of dancers to the stage.

Much of the pleasure of Gagaku is the archaic flavor. To those accustomed to the dynamic drive of Western symphonic music, the static beauty of Gagaku may seem very strange. Listening to Gagaku is a history lesson in sound and a "time-machine" trip back into the soul of the Heian courtier. As it stands, it is a shadow of its former self and yet it is still one of the clearest views left of the granduer and artistic tastes of the court of ancient Japan.

sources : JAPANESE MUSIC AND MUSICAL INSTRUMENTS William P Malm 1959 Tuttle Publ co.

THE TRADITIONAL MUSIC OF JAPAN Kishibe Shigeo 1984 Ongaku no Tomo Sha co.

MUSICAL INSTRUMENTS OF THE WORLD the Diagram Group 1997 Sterling Publ. co.

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