| The word GAGAKU means elegant, correct, or | | | | many arts in Japan. They mean,(slow) |
| refined music. In the Heian period ( 7th cent.), | | | | introduction, (faster) development, and (rushing) |
| over thirty kinds of instuments were used to | | | | break or conclusion. The smaller pieces tend to |
| perform the music of China,Korea, India, and the | | | | have only a HA and KYU sections. The tempi are |
| native music of Japan. | | | | generally very slow and the diff-erences between |
| Gagaku is the earliest significant forms of | | | | slow and fast do not vary much tothe extent of |
| Japanesemusic. It shares with Kabuki music the | | | | Western music. |
| distinction of having instuments in each of the | | | | Another notable performance style is a kind of |
| three basic orchestralunits, percussion, strings, and | | | | free-style cannon. In the performance of the Jo |
| winds. While it does nottake full advantage of its | | | | movement of (left) Bugaku, the principle SHO ( |
| orchestral possibilites, asdoes Kabuki, it is | | | | mouth organ) starts amelody. Then a second Sho |
| considered by some to be the only "true" | | | | player starts several beatslater. He is followed by |
| orchestral music of Japan. | | | | a third. The cheif HICHIRIKI |
| There are four types of Gagaku- | | | | (oboe) joins the Sho group, then a second player |
| · KANGEN instrumental music | | | | behindhim and so on. The Flutists join the |
| · BUGAKU dance music | | | | ensemble in the samefashion. Thus the entire |
| · SONGS | | | | group of three different windsections form a |
| · RITUAL MUSIC for Shinto Ceremonies | | | | free-style cannon in a free rhythm creating a |
| The present Bugaku, as well as Kangen, is | | | | chaotic sound with great dynamism. This |
| classifiedinto two groups. SAHO (left) and UHO | | | | sameperformance style is found in six pieces |
| (right). Saho music of the left consists mainly of | | | | called CHOSHIN. |
| the music of China andseveral pieces originating in | | | | CHOSHIN are used for the entrance of dancers |
| India. Uho music of the rightis mostly from Korea | | | | to thestage. |
| and a few pieces from Manchuria. | | | | Much of the pleasure of Gagaku is the archaic |
| This classifacation seems to represent the | | | | flavor. |
| combinationof the ancient ideas in Japan that the | | | | To those accustomed to the dynamic drive of |
| left, sometimesassociated with the spiritual and | | | | Westernsymphonic music, the static beauty of |
| peaceful, is superiorto the right, the more physical | | | | Gagaku mayseem very strange. Listening to |
| and earthly. Also, thefact that at the time, | | | | Gagaku is a historylesson in sound and a |
| Chinese music was more popularthan Korean | | | | "time-machine" trip back into thesoul of the Heian |
| music. Music pieces composed in Japan were also | | | | courtier. As it stands, it is a shadowof its former |
| classified in either the right or left style. | | | | self and yet it is still one of the clearestviews left |
| The pieces of Gagaku repetoire are classified | | | | of the granduer and artistic tastes of thecourt of |
| furtherinto small, medium, and large pieces. The | | | | ancient Japan.sources : JAPANESE MUSIC AND |
| distinction mayhave originated from the number | | | | MUSICAL INSTRUMENTS William P Malm 1959 |
| of players required toaccompany the dances. The | | | | Tuttle Publ co. |
| large and medium piecesusually follow the | | | | THE TRADITIONAL MUSIC OF JAPAN |
| JO-HA-KYU form, though there isindications that | | | | Kishibe Shigeo 1984 Ongaku no Tomo Sha co. |
| some pieces had a forth section,EI,between the | | | | MUSICAL INSTRUMENTS OF THE WORLDthe |
| HA and KYU secions. This is a stylistictradition of | | | | Diagram Group 1997 Sterling Publ. co. |