Английская Википедия:Gagaku

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Шаблон:Short description Шаблон:For Шаблон:Italic title Шаблон:For multi Шаблон:Nihongo3[1] is a type of Japanese classical music that was historically used for imperial court music and dances. Шаблон:Transl was developed as court music of the Kyoto Imperial Palace, and its near-current form was established in the Heian period (794–1185) around the 10th century.[2][3] Today, it is performed by the Board of Ceremonies in the Tokyo Imperial Palace.

Gagaku consists of three primary repertoires:[2]

  1. Native Shinto religious music and imperial songs and dance, called Шаблон:Nihongo
  2. Vocal music based on native folk poetry, called Шаблон:Nihongo
  3. Songs and dance based on foreign-style music
    1. A Chinese, Vietnamese and Indian form (specifically Tang dynasty), called Шаблон:Nihongo
    2. A Korean and Manchurian form, called Шаблон:Nihongo

Шаблон:Transl, like Шаблон:Transl, employ the yo scale, a pentatonic scale with ascending intervals of two, three, two, two, and three semitones between the five scale tones.[4] Artistically it differs from the music of the corresponding Chinese form Шаблон:Transl (Шаблон:Lang) which is a term reserved for ceremonial music.[5]

History

Файл:Bugaku(Naiku) 01.JPG
Jingu-Bugaku at Kotaijingu (Naiku), Ise city, Mie Prefecture

The prototype of Шаблон:Transl was introduced into Japan with Buddhism from China. In 589, Japanese official diplomatic delegations were sent to China (during the Sui dynasty) to learn Chinese culture, including Chinese court music. By the 7th century, the Шаблон:Transl (the 13-stringed zither) and the Шаблон:Transl (a short-necked lute) had been introduced into Japan from China. Various instruments, including these two, were the earliest used to play Шаблон:Transl.

Even though the Japanese use the same term, Шаблон:Lang (Шаблон:Transl in Mandarin Chinese, Шаблон:Transl in Cantonese), the form of music imported from China was primarily banquet music (Шаблон:Transl) rather than the ceremonial music of the Chinese Шаблон:Transl. The importation of music peaked during the Tang dynasty, and these pieces are called Шаблон:Transl (Tang music). Шаблон:Transl pieces that originated at a time earlier than the Tang dynasty are called Шаблон:Transl (ancient music), while those originating after the Tang dynasty are called Шаблон:Transl (new music). The term Шаблон:Transl itself was first recorded in 701, when the first imperial academy of music Шаблон:Transl was established.[5]

Music from the Korean kingdom of Goguryeo had been recorded as early as 453 AD, and Шаблон:Transl was eventually used as a term that covered all Korean pieces, the Goguryeo kingdom being referred to as Koma in Japanese. Шаблон:Transl and Шаблон:Transl became established in southern Japan during the Nara period (710–794). In 736, music from India and Vietnam were also introduced, known as Шаблон:Nihongo and Шаблон:Nihongo respectively.

During the Nara period in the 8th century, Шаблон:Transl was performed at national events, such as the erection of the Great Buddha of Todai-ji Temple, by organizing Шаблон:Transl performance groups at large temples.

From the 9th century to the 10th century, during the Heian period, traditional Шаблон:Transl was developed further, becoming distinctly Japanese in style through its fusion with musical styles indigenous to Japan, changing it greatly. The form of Шаблон:Transl was almost completed by the fusion of Шаблон:Transl, Шаблон:Transl, Шаблон:Transl and Шаблон:Transl which were introduced from Asian countries, with Шаблон:Transl, traditional Japanese music, and Шаблон:Transl, songs born in the Heian period.[2][3] During this period, many pieces of Шаблон:Transl music were created and foreign-style Шаблон:Transl music was rearranged and renewed. Шаблон:Transl was also reorganized, and foreign-style Шаблон:Transl music was classified into categories called Шаблон:Nihongo3 and Шаблон:Nihongo3. Chinese, Vietnamese and Indian style was classified as Шаблон:Transl, and Korean and Manchurian style was classified as Шаблон:Transl. Шаблон:Transl and Шаблон:Transl were also included in the category of Шаблон:Transl.[2][3][6]

The popularity of Шаблон:Transl reached its peak between the 9th and 10th centuries, when court aristocracy began to hold private concerts, but declined in the Kamakura period (1185–1333) when the power of the court aristocracy became diminished while that of the samurai rose.[6] Шаблон:Transl was played by musicians who belonged to hereditary guilds. During the Kamakura period, military rule was imposed and Шаблон:Transl was rarely performed at court. At this time, there were three guilds, based in Osaka, Nara and Kyoto.

Due to the Ōnin War, a civil war from 1467 to 1477 during the Muromachi period, Шаблон:Transl ensembles ceased to perform in Kyoto for about 100 years. In the Edo period, the Tokugawa shogunate revived and reorganized the court-style ensembles, the direct ancestors of the present Шаблон:Transl ensembles.

After the Meiji Restoration of 1868, musicians from all three guilds came to the capital and their descendants make up most of the current Tokyo Imperial Palace Music Department. By that time, the present ensemble composition had been established, consisting of three wind instruments – Шаблон:Transl, Шаблон:Transl, and Шаблон:Transl (bamboo mouth organ used to provide harmony) – and three percussion instruments – Шаблон:Transl (small drum), Шаблон:Transl (metal percussion), and Шаблон:Transl (drum) or Шаблон:Transl (large drum), supplemented by two string instruments – Шаблон:Transl and Шаблон:Transl.

Шаблон:Transl also accompanies classical dance performances called Шаблон:Nihongo. It may be used in religious ceremonies in some Buddhist temples.[7]

In 1955, the Japanese government recognized Шаблон:Transl and Шаблон:Transl as important National Treasures.

Today, Шаблон:Transl is performed in three ways:[8]

Шаблон:Transl survives only as Шаблон:Transl.[9]

Contemporary Шаблон:Transl ensembles, such as Шаблон:Nihongo, perform contemporary compositions for Шаблон:Transl instruments. This subgenre of contemporary works for Шаблон:Transl instruments, which began in the 1960s, is called Шаблон:Nihongo. 20th-century composers such as Tōru Takemitsu have composed works for Шаблон:Transl ensembles, as well as individual Шаблон:Transl instruments. In January 2015 the Reigakusha Шаблон:Transl Ensemble and Ensemble Modern performed together Music with silent aitake's by Belgian composer Frederic D'Haene, making Шаблон:Transl and Western music co-exist.[10]

Instruments used

Wind, string and percussion instruments are essential elements of gagaku music. Some instruments, such as Haishō, Gogen biwa, Kugo had been removed from the ensemble during Heian period and reconstructed based on the old documents and some remains of the instruments in the Shōsō-in during Showa Era.

Wind

String

Percussion

Influence on Western music

Beginning in the 20th century, several western classical composers became interested in gagaku, and composed works based on gagaku. Most notable among these are Henry Cowell (Ongaku, 1957), La Monte Young (numerous works of drone music,[11] but especially Trio for Strings, 1958), Alan Hovhaness (numerous works), Olivier Messiaen (Sept haïkaï, 1962), Lou Harrison (Pacifika Rondo, 1963), Benjamin Britten (Curlew River, 1964), Bengt Hambraeus (Shogaku, from Tre Pezzi per Organo, 1967), Ákos Nagy (Veiled wince flute quartet 2010), Jarosław Kapuściński (numerous works), Sarah Peebles (numerous works), Michiko Toyama (Waka, 1960), and Tim Hecker (Konoyo, 2018).

One of the most important gagaku musicians of the 20th century, Masataro Togi (who served for many years as chief court musician), instructed American composers such as Alan Hovhaness and Richard Teitelbaum in the playing of gagaku instruments.

Other cultural influence

The American poet Steve Richmond developed a unique style based on the rhythms of gagaku. Richmond heard gagaku music on records at U.C.L.A.'s Department of Ethnomusicology in the early 1960s. In a 2009 interview with writer Ben Pleasants, Richmond claimed he had written an estimated 8,000–9,000 gagaku poems.[12]

See also

References

  1. ↑ Kenkyusha's New Japanese-English Dictionary, Kenkyusha Limited, Tokyo 1991, Шаблон:ISBN
  2. ↑ 2,0 2,1 2,2 2,3 History of gagaku Nihon gagakukai
  3. ↑ 3,0 3,1 3,2 The Indigenization and Accomplishment of Gagaku Japan Arts Council
  4. ↑ Japanese Music, Cross-Cultural Communication: World Music, University of Wisconsin – Green Bay
  5. ↑ 5,0 5,1 Шаблон:Cite book
  6. ↑ 6,0 6,1 Шаблон:Cite book
  7. ↑ Шаблон:Cite web
  8. ↑ "Enjoy gagaku. What kind of music is Gagaku?" Doyusha Video
  9. ↑ Шаблон:Cite web
  10. ↑ [1] Ravello Records released the CD in 2018.
  11. ↑ Zuckerman, Gabrielle (ed.), "An Interview with La Monte Young and Marian Zazeela" (Archive.org copy of 2006), American Public Media, July 2002, musicmavericks.publicradio.org: "So, this contribution of Indian Classical music is one of the biggest influences on me, but there are other influences on me too. [...] We have the effect of Japanese gagaku, which has sustained tones in it in the instruments such as the Sho."
  12. ↑ Шаблон:Cite web
  • Alves, William. Music of the Peoples of the World. Thomson Schirmer, 2006.
  • Garfias, Robert. "Gradual Modifications of the Gagaku Tradition." Ethnomusicology, Vol. 4, No. 1. (Jan., 1960), pp. 16–19.
  • Matsumiya, Suiho. "Traditional Music in Japan To-Day: Its Stability and Evolution." Journal of the International Folk Music Council, Vol. 11 (1959), pp. 65–66.
  • Malm, William P. Japanese Music and Musical Instruments. Charles E. Japan: TuttleCo., Inc., 1959.

External links

Шаблон:Music of Japan Шаблон:UNESCO Oral and Intangible music

Шаблон:Authority control

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