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The Ashgate Research Companion to Japanese Music

Alison Mcqueen Tokita, David W. Hughes

Court and religious music (2): music of and shmy

Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315172354.ch3 Steven G. Nelson Published online on: 22 Oct 2008

How to cite :- Steven G. Nelson. 22 Oct 2008, Court and religious music (2): music of gagaku and shmy from: The Ashgate Research Companion to Japanese Music Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9781315172354.ch3

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Table 3.1 Instruments, song and dance in the sub-genres of gagaku

A. Kuniburi-no-utamai (accompanied vocal music and dance of indigenous origin employed in imperial and ceremony) winds strings percussion song dance kagurabue ryūteki komabue hichiriki wagon shakubyōshi mikagura ● ● ● ● ● ● azuma-asobi ● ● ● ● ● ● yamato-mai ● ● ● ● ● ōuta ● ● ● ● ● ● kume-mai ● ● ● ● ● ● ruika ● ● ●

B. Kangen and bugaku (instrumental music and accompanied dance deriving from the ancient performing arts of the Asian mainland) 50 winds strings percussion dance ryūteki komabue hichiriki shō biwa koto kakko san-no- shōko ōshōko dadaiko tōgaku kangen ● ● ● ● ● ● ● ● bugaku ● ● ● ◊ ◊ ● ● ● ● komagaku bugaku ● ● ● ● ● ●

◊ The strings are used in exceptional performances of bugaku called kangen-bugaku, literally ‘pipe-and-string dance’.

C. Saibara and rōei (accompanied vocal music originating at the early Heian court of the ninth and tenth centuries) winds strings percussion song ryūteki hichiriki shō biwa koto shakubyōshi saibara ● ● ● ● ● ● ● rōei ● ● ● ● Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 Figure 3.1 court and religious music music religious and court Figure 3.2 Wind instruments,left,toptobottom:ryūteki, komabue, kagurabuehichiriki String instruments: 51 ( 2 ) : music of of music : biwa andkoto ; right:shō gagaku gagaku and and shōmyō Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 dadaiko struck The stick. single a with head one only on The heads. two in instrument; tablature signs are given to its left. its to given are signs tablature instrument; struck on one side with two sticks. Large versions of the hichiriki pitches the than For rather sounded. be to used, be to frets or strings fingerings, show they is, that notation viewed asasupplementarytoolforfacilitatingmemorization. with transmission, oral on emphasis more put centuries for has based, palace is practice present-day which upon families, music professional the of tradition the higher-ranking nobles in their performance and transmission of the art. In contrast, of the for sometimebeforetheinstrumentisplayed. music japanese to companion research ashgate the dancers, while the final two movements can also be performed in beperformed Today, however,also itisrareforanybutthelastmovement tobeperformed. can movements two final the while dancers, in performed be can whole the present, At and rhythm; fixed faster, slightly lost; now text, Chinese sung a with rhythm; free in movement slow extensive, an (introduction), a for structure ‘ideal’ the of demonstrativemovements, four of up Goshōraku no Kyū 2.2 Tōgakuinmodernperformancepractice for thekotogives stringnames.(Figure3.4isreadright-to-left.) the models. Substantial collections of notation for transverse , from eti promne ehius ad oe sud idctn pth relations pitch indicating sounds vowel betw and techniques, performance certain and phrasing indicating sounds consonant with way, systematic a in melody the within of Confucianism (benevolence, justice, propriety, knowledge and honesty), one set 49), it was first performed in Japan in 702. The title refers to the five moral principles the Five wood. The wood. signs that now indicate the names of the these names are sung to a melody most resembling that of the the N h nttos o te id n srn isrmns r esnily tablatures, essentially are instruments string and wind the for notations The Figure 3.4 shows the tablatures for wind and string instruments for the opening Percussion: gives the names of the open strings and positions on the frets, while that while frets, the on positions and strings open the of names the givesbiwa een neighbouring notes. ttos for otations the tōgaku piece Japanese with two sticks. ), whenavailable, accompanydance(Figure3.3). the Chinese theory of the Fivethe of theory Chinese the provides a mnemonic version of the melody, known as V eian period, and music notation was clearly of great importance for the wasfor notation importance music great and of period, clearly Heian irtues’. Said to have been composed in in the Zhengguan era (627– kakko The katakana is a small barrel struck with a separate stick on each of its of each on stick separate a with struck drum barrel small a is s sal obehae hugas rm struck drum hourglass double-headed small a is san-no-tsuzumi is one movement of the Goshōraku no Kyū. ntuet aprnl drv fo acet Chinese ancient from derive apparently instruments gagaku is a pair of clappers comprising two flat pieces of pieces flat two comprising clappers of pair a is shakubyōshi and tōgaku The syllabary as the central column in the notation for each for notation the in column central the as syllabary taiko Musicians learn their parts by singing the komagaku is a large shallow barrel-drum with ox-hide heads, (rushing), a shorter, faster final movement. final faster shorter, a (rushing), Kyū T bekn aa) a og oeet n a in movement long a away), (breaking Ha lements. In its full form, full its In Elements. he 52 pieces, the modern notation for flute and flute for notation modern the pieces, aitake shōga for the tōgaku suite is a small, suspended brass gong brass suspended small, a is shōko style as a dance suite for four for suite dance a as style bugaku chords. As Shō notation gives single tablature single gives notation ryūteki and Goshōraku, literally ‘Music of shōko shōga for the instrument, hichiriki biwa and and shōga. (song), originally (song), Ei is made is Goshōraku hichiriki taiko piece: gagaku T . his expresses style. kangen N (ōshōko and koto shōga, often otation for is written survive Jo Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 Figure 3.3 court and religious music music religious and court Percussion instruments, left:kakko below: taiko 53 ( 2 ) : music of of music : ; right:shōko gagaku gagaku and and shōmyō Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 e music japanese to companion research ashgate the Figure 3.4 B rhythmic indications of F E D C B A A and taiko-byōshi biwa koto hichiriki shōga ryūteki shōgaandfingerings shō Tablature forwindsandstringsopening d C of GoshōrakunoKyū

e F andfingerings (strongtaiko 54 kobyōshi beat) B (heads of bar) A d C F

Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 o ‘X-Y- formula the to according described is This cycles. rhythmic of repetitions male the and part performed the both winds, For texture.) full the of a with opens A first (The the flute and especially especially and flute the mouth-organ and strings The structural. practice, the flute and the same melody with differing degrees of ornamentation. In modern performance of treatment polymodal or bi- by characterized style, ensemble heterophonic a in producing an essentially phrygian version of the melody, while the flute part part flute the while melody, the fl of version phrygian essentially an producing  change. historical mode the in extremely most perhaps A uninflected. ofcandegree similar bemodal complexity seen in all and stable are which – mode the of degrees fifth and fourth first, the – b and a e, form of the piece ( piece the of form second the as structure melodic the of in terms A in labelled be can AABB what is, t can beunderstoodmorefullyifhistoricalfactorsareconsidered. are pieces); movement, whichisa of movements individual as performed historical factorsinthedevelopment ofthispractice. distinctivethe examines 39–44) (2000b: Nelson mode. its of melodic characteristics the displaying version each with differently, very evolved have melodies ryūteki the of transpositions simple the unlike that, shows 856) three all in exists instance, for piece The 1.4). Table and §6.1 1, Chapter (see class modal of boundary the within transposition of result the as modes three or two in pieces of number erms of erms the Western on as modes a species church dorian r more. more. r uctuates between the two. two. the between uctuates A Goshōraku e ercl tutrs of structures metrical The classes: three into size to according classified are pieces Tōgaku E eeal etnie uts n eea movements. several in suites extensive generally xample 3.1 shows the repeat of the opening section of section opening the of repeat the shows 3.1 xample lthough performers) are given. are performers) Masumoto 2000:208–13. on commentary Japanese-language For (middle-sized pieces); and pieces); (middle-sized chūkyoku court and religious music music religious and court T A he he s will be shown below, however, the relationship among instruments among relationship however,the below, shown be will s belongs to the the to belongs cus ny in only occurs Goshōraku ad aey as rarely and bugaku, hichiriki track 1; Audio/1; track V  hichiriki shōkyoku. part largely eliminates the sharp tones and avoids g, g, avoids and tones sharp the eliminates largely part hichiriki are classified as classified are Goshōraku solo and thus does not give an accurate picture accurate an give not does thus and solo ryūteki D hyōjō lose examination shows that the instruments play instruments the that shows examination Close parts are regarded as melodic, and the other parts as issonances are hence common on tones other than than other tones on common hence are issonances pieces with fixed rhythms are built upof built are rhythms fixed with pieces tōgaku modes (hyōjō modes ritsu shō fe lwr h f the lower often mode, which can be described theoretically in in theoretically described be can which mode, largely limit themselves to these tones, but but tones, these to themselves limit largely ideography ichikotsuchō de o hi etee egh The length. extreme their to due kangen, 55 hyōjō ( 2 se auoo 98 248–57, 1968: Masumoto see watashimono, ) : music of of music : (small pieces). (small shōkyoku te oen eetie nlds a includes repertoire modern the , as a result of multiple layers of of layers multiple of result a as , Gagaku: an Important an Gagaku: ōshiki #  g c g, , , except for the final the for except chūkyoku, e ae ny sometimes only are They , part, the part, shō gagaku gagaku ). Marett (2001b: Marett banshiki). # E and d by a semitone semitone a by d and , that Kyū, no Goshōraku (e–f # (as sung by sung (as shōga –g–a–b–c and and taikyoku tōgaku The hichiriki …, disc 5). disc …, shōmyō Etenraku, taikyoku modes, # –d–e). –d–e). (large and

Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 the ashgate research companion to japanese music japanese to companion research ashgate the Example 3.1 A1 B1 C A1 A B1 A1 B1 B c D A B C E D A B C E 1 Ryuteki shoga. Ryuteki Ryuteki shoga. Sho Sho Text underneath shows Text underneath part, showing sounds produced by by produced sounds showing part, part. Text underneath shows fingering given in notation. given fingering shows Text part. underneath Opening section(repeat) ofGoshōrakunoKyū(cont.) Text underneath shows Text underneath aitake names given in notation. given names katakana teutsuri 56 finger movements. finger given in notation, used to sing the to used in notation, given shoga part. Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 A1 C1 D D B1 E E 1C C A1 D A Example 3.1 B1 c C B E D A B C E 1 Biwa Koto shoga. Hichiriki Hichiriki Fingerings in brackets are adjustments made to the instrumental fingering in modem performance practice. performance modem in fingering instrumental the to made adjustments are brackets in Fingerings court and religious music music religious and court part, Numerals indicate fingering (1 = thumb, 2 = forefinger, 3 = middle finger). middle = 3 forefinger, = 2 thumb, = (1 fingering indicate Numerals part, pr.Ntsi rcesaepae ihtelf ad n r ital nuil nesml performance. ensemble in inaudible virtually are and hand, left the with played are brackets in Notes part. part. Text underneath shows fingering given in notation. in given fingering shows underneath Text part. Text underneath shows shows underneath Text (concl.) katakana given in notation, used to sing the the sing to used notation, in given 57 ( 2 ) : music of of music : gagaku gagaku shoga part. and and shōmyō Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 kuwae-byōshi percussion pattern. (still comparatively slow) somewhat before the end, usually close to the shift to the piece proceeds. A piece begins at a very leisurely pace and reaches its fastest is simply the result of the rhythmic cycles being written traditionally with the with traditionally written being cycles strong rhythmic the of result the simply is this but structure, melodic overall the with alignment of out be to appear cycles corresponds to the first beat of the fifth bar in each eight-bar section. The rhythmic fundamentally two-barmelodicphrasing. in thelasttwocycles(sueni-hyōshikuwae). ends withsinglenotesonthestringinstruments. as known cadence free-rhythm standard a perform then leaders the staggered order, two bars apart: lead the of beat strong kuwae-byōshi pattern repeated twice. The strong (uchi-hajime bars  arpeggio whichoftenprecedesthefirstbeatoffollowing bar. and flute the in breaks during carefully the of finger-changes the as out, drawn be to tend bars, even in rhythmic cycle, which is repeated eight (hachi [taiko beats, as described is structure metrical percussion begin from begin percussion as known taiko hyōshi (-byōshi) music japanese to companion research ashgate the  as performed is piece same the when style ensemble stronger rhythmically a to way the strong the the final the biwa at bar 11, and second make up a piece. a up make ‘Y’ to the number of bars in one rhythmic cycle, and ‘Z’ to the number of cycles that bar, a in beats of length and number the to refers ‘X’ ‘rhythm’. and ‘metre’, ‘beat’, 3 2 , that is, as accompaniment to dance. to accompaniment as is, that bugaku, A n go promne of performance good a In The precise rhythmic xample 3.2 shows 3.2 Example that occurs once in each cycle. In the final few cycles, a more complex pattern complex more a cycles, few final the In cycle. each in once occurs that performance of metre, but more quickly, if danced as ‘Left’ ( tadabyōshiin performed are pieces of number small A repertoire. in change the with changes in only some repertoire, No of =29reaches45bytheendpiece. Music Department; The Imperial Housed (sic; mistake for In the performance of taiko taiko t all (added beats) is generally used. For used. generally is beats) (added kuwae-byōshi taiko ] beats eight’. This means that eight ( eight that means This eight’. beats ] beat at their conclusion. Comparing conclusion. their at beat kangen beat. There, all except the lead wind and string playersstring and wind lead the playing; except stop all There, beat. htm in rhythm hyōshi Z’. beats fall on the first beats of odd-numbered bars, reinforcing the reinforcing bars, odd-numbered of beats first the on fall beats ) are followed by an eight-bar pattern repeated five times, and a and times, five repeated pattern eight-bar an by followed are ) The taiko pieces are performed as performed are pieces Goshōraku hyōshi , at the beginning of the fifth bar. The strings then enter in enter then strings The bar. fifth the of beginning the at , the third bar, and all other wind players join in at the first the at in join players wind other all and bar, third the the percussion patterns of patterns percussion the Hyōshi is a term with a broad range of meanings including relationships between the instruments in Goshōraku no Kyū recorded on kangen koto at bar 13. This texture is maintained until just before in the final expression refers to the strong beat of the of beat strong the to refers expression final the in bugaku a rda ices i tmo cus s the as occurs tempo in increase gradual a kangen, wt atraig as f / ad /, n as i this in also and 4/4, and 2/4 of bars alternating with , no Kyū in  In addition, certain beats, especially the final beats haya-ya-hyōshi ad oe n oh lo te er o sm pieces some of metre the Also, both. in some and , biwa at bar seven, lead 58 hichiriki kangen style begins with solo bugaku ) times. tōgaku  The emphasis here is on providing on is here emphasis The taiko : many pieces exist only in the in only exist pieces many : ) make up one (hayaup 4/4 make yaof ) bars ) melodies, and the and melodies, hyōshi-hachi xamples 3.1 Examples Goshōraku no Kyū no Goshōraku ) dances. When they are performed beat at the end of each pattern Gagaku: Kunaichō Gakubu / Gagaku: A Household), kuwae-byōshi koto at bar nine, second , literally ‘quick eight ‘quick literally , Goshōraku no Kyū no Goshōraku and 3.2 shows that shows 3.2 and are articulated are shō kangen style give an pattern is used . The first five first The . plays the plays biwa , which tomede, opening tempo ryūteki. kangen , the , The Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 kangen performanceareplayed inasinglebreath.  scholars and performers and flute the Japanese in movement melodic Many detailed the to ways. point contrasting two in answered The question of what forms the melody in modern 2.3 Thestructuralcoreoftōgaku kangen. in do they than earlier beat a half vitality, great a with once at all them make but move to dancers or dancer the against. for tempo quicker a at beat steady and strong a is still observed. principle ofagradualincrease intempo the although 2/2, a stricter kangen shiftsto a total of five times for the dance to be completed. The relatively free 4/4 rhythm of 4 Kakko Shoko Example 3.2 Taiko Tang China tempo increased from final movement. In a 1999 ( ‘Right’ as exceptionally omitted, to produce the metre known as n the case of case the In The court and religious music music religious and court players do not worry about articulation in the finger movements, finger the in articulation about worry not do players shō  The faster tempo also means that melodic phrases that are split in performance of Rhythm patternsusedin Goshōraku no Goshōraku  = 20 to komagaku  = 56 in the space of the 12-minute performance of the Goshōraku in Kyū ) dances, however, the final beat of the 4/4 bar is bar 4/4 the of beat final the however, dances, ) , the whole piece (AABB) must be repeated be must (AABB) piece whole the , andtheancientmelodiesof 59 yatara-byōshi ( 2 ) : music of of music : bugaku form by the group Jūnion-kai, the tōgaku performance is commonly Goshōraku noKyū (alternating bars of 2/4 and 3/4). gagaku gagaku hichiriki parts, while in while parts, and and shōmyō Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 the theoretical form of the of form theoretical the melody: unwritten notes added in the in added notes unwritten melody: original the to accretions of layers of aggregate an is texture modern complex the line as notated in the twelfth-century source twelfth-century the in notated as biwaline modern modern performance practice). Staff B shows the melody produced by reading the the in added notes the ignoring is, (that sign tablature notated the by indicated pitch the only showing four, of factor a by reduced values time with xample 3.3. Staff 3.3. Example 85). Research undertaken by the late Laurence Picken and his doctoral students Wolpert, Allan Rembrandt (chiefly doctoral his and Picken Laurence late the by undertaken Research 85). (1975: instrument’ one any of characteristics stylistic individual the omits which but composition the of contour overall the follows ‘which melody abstracted an structural corethatderives fromtheancientmelodiesofTanga China. in lies practice performance modern in lines melodic the between relationship in the 1970s and ’80s, however, has made it clear that the key to understanding the h ms wdl ra suy of study read widely most the music japanese to companion research ashgate the  on E. these three lines are largely identical (indeed, B and C perceive the to impossible is it since faster, been have originally must tempo performance the First, if the present-day structural core is indeed the original melody, it follows that indeed melodies’(Marett1986:35;seealsoMarett2001a: 860). weresources wasthe what in haveperceivedif recorded ‘could been only two the and werecentury variantsrelated closely paired their of melodies ancient the of the on notes eight. and shō vocal melodies of melodies vocal that however,demonstrated Markham, performance. modern in pieces paired the between dissimilarities great the of view in unlikely seems this it, of face the On certain as sound’) ‘same perhaps (dōon; melody’ ‘same many §2.2), 2, (Chapter above out pointed As 1983). Markham as published (later work doctoral Markham’s in of thelateragesduringwhichornamentswere transformedintomelody. modal changes in these parts conforming with the modal preferences of musicians form the melodic surface, part notated, part orally transmitted; and corresponding 5 The implications In short, this view holds that the ancient melodies are carried in the modern the in carried are melodies ancient the that holds view this short, In Proponents of the Picken view have asserted that it was proven conclusively proven was it that asserted have view Picken the of Proponents komagaku from theTang Court. series the in published been have research the of results the while 2006, and 859–61, 2001a: 1986, 1985, Marett in found be can argument the of expositions Clear I n the case the n parts like a type of type a like parts biwa biwa part in the same way, ignoring unnotated arpeggios. Staff C shows the shō or ; figures once ornaments in the flute and flute the in ornaments once figures biwa; pieces. According to the Cambridge argument, the close identity of identity close the argument, Cambridge the to According pieces. of that she realized from realized she that saibara biwa lines as melody in modern performance. It also follows that A shows the melody produced by reading the modern the reading by produced melody the shows A of the view forwarded by Picken and his associates are manifold. , for instance, this can be demonstrated as in as demonstrated be can this instance, for Kyū, no Goshōraku mode in original Chinese practice, namely dorian namely practice, Chinese original in mode hyōjō , slowed down by a factor of four or four of factor a by down slowed firmus, cantus in tōgaku og ae rdtoal si t hv the have to said traditionally are songs saibara Marett and Marett chords on the on chords aitake 60 English, lizabeth Markham) at Cambridge at Markham) Elizabeth and biwa Sango Yōroku. Sango Garfias are or tōgaku identical) and conform to parts of the twelfth the of parts koto ; unwritten arpeggio unwritten shō; hichiriki ae hs nlss on analyses his bases t can be can It komagaku parts that now that parts chords in chords aitake  5 seen that seen line shō pieces. tōgaku Music Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 7 6 the broader arguments presented. scholars in terms of scholarly literacy that they fail to appreciate the significance of quite valid, Japanese scholars are often so disturbed by the shortcomings of foreign   centred on philological has and bibliographic side issues. Japanese the from Criticism issues.) these addresses and discusses 2006 noted that both Japanese and be non-Japanese must scholars it have but expressed revolutionary, doubts. been clearly (Maretthas group Cambridge the of work The 2.4 Issuesinresearch tradition. She extracts her early the her extracts of She revival tradition. subsequent and extinction the of mention a barely with made are a moresubstantive nature. Markham’s extensive comparisons of ancient and modern and ancient of comparisons extensive Markham’s Example 3.3 nte rao wy i ies ae e wt ls apeito i Jpn hn they than Japan in appreciation might. less with met have ideas maybe his why speakers, reason native another for even difficult prose, Picken’s of style convoluted The See, forinstance,FukushimaKazuo’s review(1984). A B C court and religious music music religious and court Goshōraku noKyūinreducedtimevalues melodies from melodies saibara 

Even so, there seems to be room for criticism of 61 ( 2 ) : music of of music : 

Although much of this criticism is and biwa gagaku gagaku , for instance, for saibara, parts, which parts, koto and and shōmyō Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 worthwhile producing as facsimiles and/or mikagura. In addition, there is an extensive body of historical sources that would be n dne uts f the of suites dance and ready tomakeasubstantialinvestment oftimeandenergy. pursuing in interested scholars and however, Acquiring the linguistic and Japanese. other skills in needed annotated for these adequately tasks even is or not an translated easy been matter, have sources these of name designate quite specifically its content: it is an esoteric rite focusing on the on focusing rite esoteric an is it content: its specifically quite designate name Mieku is a is Mieku differently byeachoftheinstrumentsinensemble. that scholars, and performers ancient to made melodies accretions is gradual far of more persuasive result than a the as opinion, change sometimes still of voiced idea by The Japanese champion. they perspective historical the of structure, musical of analysis in importance, the to fifteenthcenturies,andthereforepre-datetheextinctionofgenre. thirteenth survivethe from that melodies) vocal the of notations is, (that notations the that assumption reasonable the on ensemble style was based heterophonic in nature, they need to are be tested against the vocal accompaniment. part vocal as the view of realizations might persuasion another of scholars music japanese to companion research ashgate the  Shingon the example, For content. and purpose between of rites. seven or even over the interval of several days, usually an odd number. Long ceremonies last for held are ceremonies other hours, several to up time, short a only lasting rite one as celebrated are them. ceremonies within some celebrated Although liturgies) (or and terms, Japanese two between made be to is distinction a First, ritual. Buddhist A comprehensive grasp of 3.1 Shōmyō 3. Shōmyō research: musicological little attracted far practice more plausibly than performance modern in lines instrumental the between relationships the explains Kongōkai-date Nika Kongōkai-date The founder. sect’s the Kūkai, 8 In coming years, research is needed on the sub-genres of sub-genres the on needed is research years, coming In doubt to room no is there view, Cambridge the of criticism Notwithstanding The difference between ceremony and rite can also be understood as a distinction hōyō. The first refers to Buddhist ceremonies, and the second to particular rites for two reasons: 1) An abbreviated version is available on video/laser disc, as disc, video/laser on available is version abbreviated An 1) here reasons: two needed for are examples concrete whenever chosen been has rite particular This ceremony held on a fixed date (21 March) as a memorial for service memorial a as March) (21 date fixed a on held ceremony initsritualcontext multiples of seven days. ōyō-tsuki Chūkyoku Rishu Chūkyoku Hōyō-tsuki uiui o utamai no kuniburi shōmyō must begin with an understanding of its place in Garfias’s a lrey eand nhne, n also and unchanged, remained largely has tōgaku ie fe promd n hs cain s the is occasion this on performed often rite hōyō Each day can accommodate a plural number idea of a hidden melodic abstraction treated 62 typographical reproductions. eetie epcal te ao form major the especially repertoire, komagaku as a field of study should be should study of field a as gagaku Zanmai. , ad h vros song various the and rōei,  hōe

he elements of this of elements The that have so have that gagaku Kōbō tog her Although ih Shō- Daishi V ery few Vol. 4 hōe Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 9 the rites centreonthechantingofmantras. (Nika Sange 10 central to Japanese esoteric ritual practice is focused on: with the Rishu Zanmai), Rishu the with element. central their to according rites characterizes classification third rites. A exoteric in only used is esoteric rites. When all four are used, it has a an have to said is rite a used, is Bai Bai, used ineitheresotericorexotericrites. piece standard The texts. of choice the on bearing great a has also exoteric and esoteric  rite, generallyinvolvingsolosingingatsomepoint. iamond Realm MaṇRealm Diamond ḍ( ala sn msc ntuet kon as known instruments music using assistants. priests, of group a by celebrated are Rites structures. standard several on variations of number a of any of form the take can and ceremony, its of time and scale, character, purpose, of different ways. An important distinction is that between esoteric ( a at different ceremony. purpose different a for structure altered an with performed be can rite This ‘open’. or master, the by altar the at celebrated ritual esoteric an include former The rites. (kengyō-date) exoteric Zanmai) of the open area The image. sculpted or painted a of Maṇ ḍ ala. appended as a rule) has a has rule) a as appended with rite A rites. exoteric and esoteric both in following these signals. these following shōmyō I Another classification is made according to the use of the four standard pieces, standard four the of use the to according made is classification Another Throughout a rite, As can be inferred from this description, Buddhist rites are classified in a number D n general terms, general n Sange, iamond Realm Man Realm iamond , for instance, exists in a number of forms with different texts, which are which texts, different with forms of number a in exists instance, for Bai, The for ‘rite’,whichiswritten Note that this commentary onitinNelson1998. f h cnet epudd n the in expounded concepts the of (Skt. Taizōkaimandara series the in (VTM-104) Vajra-śekhara Sutra( soteric rites are rites Esoteric 10 court and religious music music religious and court eie in recited Maṇ ḍ alas are, respectively, the Kongōkai mandara (Skt. In addition to this difference in ritual practice, the distinction between distinction the practice, ritual in difference this to addition In The and Bonnon Hōyō), dōshi sits in front of the altar. hōyō , led by the master, the by led shikishū,  oa sye Cūyk; al 14 tps ad 3). and 2 types 1.4, Table (Chūkyoku; style modal chūkyoku centred around a reading of the esoteric the of reading a around centred ) of a rite is decided according to the to according decided is rite a of (shidai) programme the the rites centre on the reading of a sutra (as is the case the is (as sutra a of reading the on centre rites Kyō-date

. The latter lack such a ritual and are regarded as more as regarded are and ritual a such lack latter The dōshi. is often written Shakujō Jap. Kongōchō-gyō at the altar, generally on a worship dais, situated at the foot further classified according to which of the two maṇ two the of which to according classified further ḍ alas ̣ ḍwhile ala, kōshiki-date dōshi provides signals in accordance with the programme nika Kongōkai-date arbha-dhātu MaṇGarbha-dhātu ḍrepresentations concrete give They ala). 法要. io Ktn en Taikei Geinō Koten Nihon (two-part ritual); this form is generally used in used generally is form this ritual); (two-part hōyō , in the introductory section of the rite. When only When rite. the of section introductory the in , Other rites are built around a around built are rites Many of the take their places to the left and right and left the to places their take shikishū 法用, to distinguish it from the more general word (one-part ritual); this form is used is form this ritual); (one-part hōyō ikka taizōkai-date or narashimono ( Sutra Mahāvairocana narashimono ). 63 ), with the standard the with ), ( 2 ) : music of of music : shika hōyō (four-part ritual); this form and Bai , and helped by one or more or one by helped and dōshi, rites focus on the Womb Realm Womb the on focus rites shikishū are played by the by played are 2 tee is there 2) ; ad the and hōgu, (with the piece the (with Sange kongōkai-date have particular roles in a gagaku gagaku Jap. V ajra-dhātu Man pieces shōmyō kōshiki Dainichi-kyō ( Rishu Sutra Rishu substantial mikkyō-date , while , and and rites focus on sing shikishū shikishū shōmyō ̣ d ) shu-date ̣ ala) and and Bai and English Taiyō ) and and the

Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 the the of relationship the in symmetry mirror the Note ceremony. different a for used is rite the when replaced are and context ceremonial this to unique are that shikishū Rishu Zanmai,forinstance,areasfollows: the various modal types ( types modal various the with scale chromatic the of tones 12 the combining of possibilities manifold the of M 21 on annually (held Kūkai for ceremony memorial a at performed be well might ttl f i o svn ias te ie ofShingon five the finals, seven or six of total a n ) and A) on there the by unison the the by celebrated ritual Kyōbō Rishu esoteric the elements performed simultaneously: a reading of the practices ofthe These are only six of the more than 20 attendants. The music japanese to companion research ashgate the 12 11 pitch and mode theory, largely shared with By early medieval times, both Shingon and Tendai 3.2 Pitch,modeandvocalrange;melody ornamentation the of case the In context. ritual the within functions specific perform and framework fashion around their central element. Individual pieces of five: Shingon modes. of range smaller much a to structure thatcanbeseenworkinginthebackground. arch). • • • • • Japanese Buddhist rites are generally constructed in a symmetrical or cyclical or symmetrical a in constructed generally are rites Buddhist Japanese -shōrei and structure of the Kongōkai-date Nika and zen-san

esoteric Nika esoteric ichikotsuchō the rite centre oftherite by the five-pronged a with handbell a gokorei: hachi hanshō: amedium-sizedsuspendedbellstrucktocalltheprieststogether Sanskrit andChinesesan(hymns) worship andatcertainpointsduringtherite of place the from and to processions during struck bell resting small a inkin: : a suspended metal plate struck by the by struck plate metal suspended a kei: are pieces (mainly in (mainly pieces are See T 1998 gives detailsofcontentsandmusicthefullversion. Nelson ceremony; the of version abbreviated an is Table3.2 in shown structure The s well as pieces in pieces as well As and able 1.4,fordetailsofthesetypes. banshikichō dōshi during the esoteric Rishu Kyōbō ritual, which he performs at the that are used in this rite irrespective of ceremonial context, ceremonial of irrespective rite this in used are that shikishū Shingon sect. narashimono categories of hymns of laudation, as well as the five-section the as well as laudation, of hymns of categories go-san on D), on (ryo cmas n a og lyd oehr t h cnlso of conclusion the at together played gong a and cymbals nyō: go-shōrei sections (each made up of a group of several pieces) and ōyō-tsuki Chūkyoku Rishu Zanmai rite, there are two central two are there rite, Zanmai Rishu Chūkyoku Hōyō-tsuki n ) Tendai B). on (ritsu ryo, used in the Kongōkai-date Nika apanese) sung solo by either the either by solo sung Japanese) anskrit or Sanskrit hyōjō and chūkyoku (ritsu on narashimono used in the rites and daily ritual 64 Hōyō-tsuki Chūkyoku Rishu Zanmai as it hinese with substantial sections sung in sung sections substantial with Chinese gagaku. E), s oe ope, employing complex, more is shōmyō ritsu (diamond pounder) head, rung head, pounder) vajra(diamond a taiinly sd only used traditionally has shōmyō (ryo sōjō 12 at the altar. Tablealtar. the at dōshi shows 3.2 at important points during points important at dōshi A shōmyō had developed a complex ), both sects limited themselves limited sects both ), n diin to addition in shōmyō lthough there was an awareness Rishu Sutra by the on 11

shōmyō are set out in this G), Hōyō-tsuki Chūkyoku or one of the of one or dōshi ōshikichō shikishū, and (chūkyoku shimomu Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3

Table 3.2 Structure of Kongōkai-date Nika Hōyō-tsuki Chūkyoku Rishu Zanmai as for a memorial ceremony for Kūkai

Section Purpose Type of piece Concrete realization Language of Performers (name of piece or group of pieces) text (see §3.3) Intro- offering -san [‘hymn of offering’] Shichi no Bongo Sanskrit shikishū: solo + group duction address to Kūkai saimon [‘festival text’] Kōbō Daishi Shō-Mieku Saimon ‘hard’ Japanese shikishū solo purification and nika hōyō [‘ritual in two Unga-bai Chinese shikishū solo adornment of parts’; Bai and Sange Dainichi-sange Chinese shikishū: 1 or 2 place of worship with Taiyō] soloists + group + Taiyō Chinese shikishū: 1 or 2 soloists + group Opening explanation of hyōbyaku [‘expression’] Mieku Hyōbyaku ‘hard’ Japanese dōshi solo

65 purpose of ceremony invocation and jinbun [‘gods’ part’] Mieku Jinbun ‘hard’ Japanese dōshi solo intercession homage butsumyō [‘names of Butsumyō Chinese dōshi solo the Buddhas’] homage kyōke [‘song of praise’] Mieku Kyōke ‘soft’ Japanese dōshi solo repentance zen-shōrei [‘opening Kongōkai Shōrei Chinese with dōshi solo + shikishū group invocation’] some Skt. laudation zen-san [‘opening hymn’] Shinryaku no Bongo Sanskrit shikishū: solo + group Body homage kyō [‘sūtra’] Rishu-kyō (in chūkyoku modal style) Chinese shikishū: solo + group homage shuhō [esoteric ritual] Rishu Kyōbō dōshi Closing laudation go-san [‘closing hymn’] Fudō no San Sanskrit shikishū: solo + group prayer go-shōrei [‘closing invocation’] Kongōkai Shōrei (continued) Chinese dōshi solo + shikishū group Conclusion merit-transfer ekō [‘transfer of merit’] Shishin Ekō Chinese shikishū: solo + group Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 o ht the that so ranges, octave conjunct than rather overlapping of up built originally was system ) and (exceptionally) and (F#) music japanese to companion research ashgate the Tendai practice. reconstructed apparently the than notations) medieval in preserved (as form old stipulations traditional do with kōshiki to little has genre narrative the that of performance the in wayConversely, mode. and pitch regarding a in sung are majority pieces great the of where Shingon, of that with contrast vivid a displays shōmyō Tendaipitch, expressing correctly for concern its of terms In practice. and theory between gap enormous an produced have transmission oral largely of centuries during practice performance in changes that fact the by further even complicated sometimes fastandslow. yuri – essentially movement away from a tone and back to it, either upper or lower, the final of a mode, and only is it example, For degrees. certain on only occur figures certain that so that tones the ornamentation, melodic of terms In terms. concrete in it demonstrating repeated in Japanese scholarship on least) (at would reflect theChinese tone-accent of theirtexts.While this assumption is often pieces imported of melodies the that likely seems it were consequence, a that As texts Sanskrit with pieces to transmitted via addition China, and hence passed through in the filter of the China, Chinese language. in originating texts both. with overlapping layer system today. nijū – modulations of three types, with the final shifting a minor third (for example third aminor shifting ichikotsuchō ryo final the with types, three of modulations wasTendai century. thirteenth early the from theoretically explained rite, particular a in structuring of consequence a as pieces between or piece all finals. relative minor. that relationship its and key major a a between modulation a Westernas is, in terms understood be can that these, of first the only of use makes practice Shingon shojū, h central the around less, or octaves two to themselves limit pieces most however, practice, In most in together joined is hyōjō ritsu The pitch, mode and melodic theory of theory melodic and mode pitch, The T h peoeo o mdlto fo oe oe o nte, ihr ihn a within either another, to mode one from modulation of phenomenon The The range of one octave is referred to with the term e rae pr o the of part greater he make up each mode are thought to have distinctive melodic characteristics, melodic distinctive have to thought are mode each up make Sign ua-rnh rcie rsre a eso mc coe t the to closer much version a preserves practice Buzan-branch Shingon , and nijū octave. nijū and shojū o a efc fut (o example (for fourth perfect a or ) – (‘first, second and third layers’ from lowest to highest), are highest), to lowest from layers’ third and second (‘first, sanjū is banshikichō ritsu aes ee n cae pr, ih h intermediate the with apart, octave an were layers sanjū pieces to make a theoretical range of three octaves.three of range theoretical a make to pieces shōmyō chi, the fifth, that are ornamented with the common figure ). Modes of all three types are said to exist on exist to said are types three all of Modes (C#). kamimu te artv genre narrative the In eetie s ae p f ics ih Chinese with pieces of up made is repertoire shōmyō

, mjr eod fr example (for second major a ), ags n efrac patc osue this obscure practice performance in Changes shōmyō, there is little research that goes towards 66 are complex matters. Things are Things matters. complex are shōmyō y ichikotsuchō ryo kōshiki (layer), jū and (layer), three of these, hwvr te three-layer the however, , – stipulates shōmyō y ichikotsuchō ryo is ōshikichō ritsu kyū, ).

Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 The long history of Buddhist chant is reflected in the variety of language tobe of oflanguage texts the variety in the found in reflected is chant Buddhist of history long The 3.3 Languageofthetextsandmusicalstyles ofshōmyō types canbeidentified. • • • •

srn tnec fr hi vcl eois epcal toe f the of be melismatic. hence those (especially is melodies vocal there their and for tendency important, strong a not vernacular. is Japanese meaning the verbal into of translated Communication if lost be would that Sanskrit in in the form of mantras. of texts include the greater part of the texts of the sutras. The melodic realization J the with is, that filters, several through passed pronunciation, original the Sanskrit: Texts with Sanskrit origins are pronounced in a form approximating from the early years of years early the from vernacular Japanese the in composed Textsapparently Japanese: were ‘Soft’ ‘Hard’ Japanese: This refers to Japanese in one beat. of value the given is syllable) each than (rather character each since sutras, the of reading the in blurred is vowels short and long between distinction tone. single a on chanting syllabic to rhythm free in śloka equivalentChinese The Sanskrit prose. the in of texts and couplets, rhyming both in often verse, from in texts observed: be can texts forms two Again, Japan. and China includes class this numerous, Overwhelmingly Chinese: parts (pādas) two of each lines, two comprising works, Sanskrit classic in used metre epic S esoteric the of Many text. Sanskrit original equivalentssyllablesthe of the of of the of often attheendsofphrases. ornamentation, melodic unobtrusive with settings syllabic in performed are cosmos. The need for these texts to communicate their contents means that they style include: style prose texts sung solo. Major genres of narrative or explanatory of classes to limited generally is it sutras, the even While this technique can be used to read almost anything written in added. Chinese, inflections grammatical necessary the with order word Japanese in performed but characters) Chinese of exclusively up made and order word Chinese in is, (that Chinese in Japan in drafted or Chinese originally either lectures in multiple in lectures and matters; doctrinal with dealing form answer ceremony; a attending celestial multitude be present; be multitude celestial worship; of image principal the to ceremony a of pns poucain of pronunciations apanese anskrit texts in texts court and religious music music religious and court is a pair of couplets; typical examples are the esoteric Chinese with eight syllables each. eian period, often in the alternating seven- and five-syllable lines of five-syllable lines and seven- alternating the in often period, Heian (hymns) make use of the verse form verse the of use make (hymns) san hinese covers the full spectrum from highly melismatic pieces melismatic highly from spectrum full the covers Chinese hyōbyaku , and even within single rites. Four major language major Four rites. single within even and shōmyō, dan In either case, the texts retain a certain symbolic power (also , extensive catechism-like texts in question and question in texts catechism-like extensive rongi, (sections) that praise various Buddhist praise the that in (sections) figures shōmyō ), texts explaining the purpose the explaining hyōhyakutexts /hyōhaku), iee hrces ht ee ne phonetic once were that characters Chinese , texts addressed more clearly to those to clearly more addressed texts saimon, in 67 J apan. ( 2 shōmyō that employ this highly literary Other ) : music of of music : ost are in the classical the in are Most kanbun kundoku Sanskrit texts are in prose, many kōshiki śloka , texts inviting the inviting texts jinbun, gagaku gagaku he usually important usually The , the most important most the , , narrative sermon- narrative , style, that is, texts and and san. shōmyō Japanese to san) P rose Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 wisdoms’ of its title are those represented by the four directional Buddhas who Buddhas manifest directional four the by represented those are title its of wisdoms’ esoteric Buddhism and embodiment of the truth of the universe. The mystic syllable om S basic functions of each of the directional Buddhas. directional the of each of functions basic names of the first and foremost of the four Bodhisattvas who are expressions of the of the piece praises these four wisdoms in a symbolic way by including the Sanskrit the in Mahāvairocana around positions given Sanskrit the of half first the Sanskrit, contrasts in piece free-rhythm melismatic and a from excerpts two styles: and types musical language contrasting two juxtapose examples musical following The music japanese to companion research ashgate the 13 S pronunciation: Tendai it includes modulation to modulation includes it ichikotsuchō a as classed traditionally is version Buzan Shingon The final). the term the to opposed as fifth, the to referring (otsu mode the of an in as piece classed ryo otsuyō is here given version Ōhara Tendai The unison. in singing priests other by point later some at joined is who singer, solo a with begin versions Both T pronunciation: is a is ( branch Buzan Shingon the and branch TendaiŌhara the anskrit original: hingon ranslation: dedicated to Mahāvairocanato dedicated the of san n xep fo a ylbc artv pee n hr’ Japanese. ‘hard’ in piece narrative syllabic a from excerpt an T esotericrites. usedin andmusicalstructuresoffourlines,often fixed textual more extensive songs, often epic in nature; and musical settingsareoftenmelismaticinpartorthroughout. include: language poetry. Japanese the DiamondRealmMaṇ ḍ ala; seeNelson1998. The conceptual background of the piece requires an understanding of the structure of he relatively simple poetic content of most of these texts means that their that means texts these of most of content poetic simple relatively he central aspects of Mahāvairocana of the of Mahāvairocana of aspects central , that is in a in is that , ̣ followed byaśloka ōshikichō basara-daruma kyayanai basara-gerumagyaro haba. om basara-satanbashigyaraka basara-ratanna madotaran vajradharma gāyanair vajrakarma karobhava. oṃ vajrasattva samgrahād vajraratnam anuttaraṃ attain theV By chantingtheV we obtain theultimateV Oṃ . ReceivingtheblessingofwisdomV banzara-tarama kyayatai banzara-kyarama kyaro hanba. om banzara-satobasogyaraka banzara-ratannou madotaran enres employing this (originally readily comprehensible) readily (originally this employing Genres mode on mode ryo , short songs of praise used in exoteric rites; exoteric in used praise of songs short sandan, banshikichō , that is in a in is that , T ext of ajrakarma [diamonddeed]ofenlightenment. beginning from the final of the mode. Since mode. the of final the from beginning D on B), however, its traditional notation traditional however,its B), on (ritsu Shichi noBongo verse. (hymn) san ajradharma [diamondlaw],we may 68 mode on A, beginning from the fifth the from beginning A, on mode ryo iamond Realm, the cosmic Buddha of Buddha cosmic the Realm, Diamond ajraratna [diamondtreasure]. iamond Realm MaṇRealm Diamond ḍtext The ala. as performed in performed as Bongo no Shichi 13 iamond Realm, and who are who and Realm, Diamond

he text takes the form of the of form the takes text The kyōke, short songs of praise in tracks 2 and 3). This 3). and 2 tracks  , which refers to refers which kō, piece in piece ryo kōyō ajrasattva, shichi or ‘four ape 3.4 Example wasan, Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 Example 3.4a court and religious music music religious and court Tendai Ōhara branch (adapted from Nakayama 1963) First half of Shichi no Bongo 69 ( 2 ) : music of of music : as performed in the gagaku gagaku Senritsukei (5) (4) (3) (2) (1) yurimittsu moro-ori yurifutatsu (6) yuriwake oshidashi (9) (7) and and (10 (8) ) sugu ) shōmyō iri kirn asaori fumiage Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 level is approximately a fifth higher than this. It can be seen from both examples both from seen be can It this. than higher fifth a approximately is level the ashgate research companion to japanese music japanese to companion research ashgate the augmented second, namely second, augmented (actually second the on but final the on not commences piece the of notation the has, since the medieval period, been written throughout in Example 3.4b Kondō ShizunoandUchida Atsushi) the ShingonBuzanbranch(transcribedby First halfofShichinoBongo D) of banshikichō 70 . n performance, how performance, In as performedin ritsu Senritsukei ovfiujiyu) notation as notation (though notated in traditional traditional in notated (though (alternatively (5) (4) (3) (2) (1) banshikichō yurisori katamitsu-yuai katayu-futatsu hikikaeshi tsukikaeshi oshiage ever, the pitch the ever, nanatsuyu

)

, so that Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 S subsidiary the through the branch, Buzan the to link the language. In addition, each Japanese the of accent pitch high-low the reflects this fourth; a or tone a either by each in Narration 3.5. sanjū, theonlypossiblemovement isdownto ŌNJ ‘mumyōhonzai KŌ-NIJŪ that many short melodic fragments and combinations of them ( SHOJŪ simple melodic formulas known as known formulas melodic simple unnecessary, since the musical realization of the text is built up from comparatively Kōben (Myōe Shōnin) in 1215 (see Chapter four 2, §2.3) the ( of first the is This recent comparatively orthe development. a be to melody appear the vocal and notation, of traditional the of movement appearance the either reflecting verbs or nouns are names These practice. performance modern in names specific given are patterns’) ection In vivid contrast is the syllabic narrative piece in ‘hard’ Japanese, court and religious music music religious and court o tokuiwayuru daishū notamenimyōhō inaway thatdifferedfromnormalmen. zenjō yoritachiowatte heenteredthevarious moromoro nozenjōniiru jungyaku chōesshite Ashefinishedthesewords, kono kotobaonashiowatte dainehan’ to jōjaku mekkōmyō we allpossesstheseedofenlightenment. shōhon gedatngakonanjū nehan tokiitareri’ hiiraki itamu ‘ware imahenshin notamawaku no daishūnitsugete nyorai matamoromoro T ext that follows. In the modern performance practice of the of practice performance modern the In follows. that kyokusetsu Text andtranslationofexcerpt fromNehanKōshiki kyokusetsu is carried out using two central tones separated tones central two using out carried is kyokusetsu kyokusetsu kyokusetsu has a falling cadential pattern that facilitates kōshiki move in a circular fashion, from fashion, circular a in move either down to down either chūon ht ae p the up make that with structures shown in shown structures with kyokusetsu, 71 ‘ for theassembledmasses. he pronouncedagreatteaching A states ofmeditation parinirvān of light.Thisiscalled eternal tranquillityandtheextinction Now Iattaingreatpeace, the truenatureofexistence, T ‘Now mybodyisrackedwithpain. to thegatheredmasses, The Buddhaannouncedfurther Translation A he timeofnirvān ( wakening fromthesestates, lthough we maybeunaware of 2 ) : music of of music : kō-nijū. ̣ a, the track 4).  opee by completed Kōshiki Shiza or up to up or shojū Great Extinction.’ gagaku gagaku ̣ a hascome’. A full transcription is senritsukei mahā- to shojū and and Nehan Kōshiki . From sanjū. and kō-nijū , ‘melodic shōmyō Example . Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 providing new classifying traditional notation according to the way in which pitch is represented, for method systematic a outline in propose simply will I here practice, notational with otheraffiliations. C 3.4 Shōmyō shōrennomanakotojite SANJŪ music japanese to companion research ashgate the 14 Kōjun, Arai priest Shingon-sect and scholar the by years recent in undertaken been have studies Trans-sectarian groups. sectarian different with affiliated scholars by used when things different quite imply can name same the that and terms, sectarian in only valid be to tend names traditional the that is comprehensively systems these to survey wishing by anyone faced difficulty enormous principles. An different of number a to according pitch indicate to used are them, of combinations and lines, as known generally notation, neumatic of of melodies vocal The HŪON • Rather than attempting to deal with the complexities of historical and current and historical of complexities the with deal to attempting than Rather the up-and-down movement of the vocal melody in a simple visual manner. movementvisual up-and-down simple the a in melody vocal the of represent to appear lines The tone-accent. indicate to text the of characters the around points at added dots from emanate that lines short are century, earliest The pitch. of way indicating systematic any lacks that notation is This notation: ‘Approximate’ development ofhakasenotation. for 1999 and 1996 1995, Arai See 14 but it must be noted that his ideas have not yet been accepted by scholars by accepted yethavebeen not ideas his that noted be must it but aisei otachiki tsui nidaibonno modashite tanka nokuchibiru andlostforever his smileofcompassion. nagō jihinomishōoyame andfinallythestateof dainehan nikishitamainu ushiro tōbōosomukeri omote osaihōnimukae miashi wa nanbōosasu hisheadtothenorth, kōbe hoppōomakuratoshi heleanedover, ukyō nishitefusu henjin yōyaku katabuki Finishinghiswordstothe daishū nishimeshiowatte itte sunawachi daishizenjōni notation English labelsbutalsomentioningthetraditionalnomenclature. have long been written down using using down systems written various been havelong shōmyō nglish translations of his historical studies on the on studies historical his of translations English wih ae rm h ery eleventh early the from date which hakase,

72 never tobeheardagain. and hisbeautifulvoicewas the bimbā H H stage ofmeditation, with hisbacktotheeast. facing thewest, his feettothesouth, and layonhisrightside, assembled masses H is lips,redlikethefruitof e closedhiseyes oflotusblue, e enteredthefourth . tagt n curved and Straight (-bakase). hakase tree,were shut, Great Extinction. Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 CHUON SANJU basic pattern pattern basic SHOJU KO-NIJU narration in each each in narration Example 3.5 basic patterns basic patterns basic basic patterns basic cadential pattern cadential cadential pattern cadential cadential pattern cadential court and religious music music religious and court (single tone) (single = central tones for tones central = kyokusetsu practice. according toShingonBuzan branch and melodicmovement Kyokusetsu pitchstructure cadential pattern cadential Pitches shownarerelativ 73 ( 2 ) : music of of music : gagaku gagaku shoju sanju onj chuon ko-niju e. and and shōmyō Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 the ashgate research companion to japanese music japanese to companion research ashgate the of versions two the for notation traditional of opening the show 3.6 and 3.5 Figures notation ( kari-bakase ‘approximate’ newer and lines thicker in Kakui by developed notation ‘five-tone’ The Shingon Buzan-branch notation is made up of two columns of characters depart from different positions,that the despite the fact that the pitch Note is the same. pronunciation. and patterns, pitch indicating signs (shorthand signs for the names of the supplementary five tones), the abbreviated names of melodic with (meyasu-bakase), type ‘approximate’ • • hci o Bongo no Shichi

oain hv otn sd upeetr sgs o niae ic, uh as such pitch, the namesoffive tones,orthetablaturesignsofgagakuflutekoto. indicate to signs supplementary used often have notations ‘approximate’ way. It comes as no the surprise in indicated that be only can both phrases melismatic ‘approximate’ in movement melodic way,and ‘graph’ this logically indicated be can character each for pitch initial the Although and notation forthevocalgenresofgagakubelongstothis‘approximate’type. late twelfth century, and has traditionally been called Tendaiboth in styleappeared Shingon This and wereused. pieces, of group or piece particular a of movement melodic the for suitable as the key to reading the notation, and in some schools multiple graphs, each model applies. A it which to character the leaves the of line notational character the which from angle the and position the by specified is text each for pitch opening the style, this In notation: ‘Graph’ The most successful notation in this style, called automatically. read be could passages evenmelismatic of long pitch the that so line, notational the of angle and direction the to directly tones) five the of Shingon and ‘Five-tone’ notation: ‘Graph’ notation was eventually improved in both Tendai other model character, the with the around directions pitch of the high lines of to adjacent tones low differing fromfrom each order clockwise in arranged are in the late thirteenth century. In this system, the lines indicating the five tones Shingon of branch Nanzan-shin the of Kakui by developed that was a similar vein is reflected in such names as names such in reflected is vein similar a in developments modern more of nature supplementary The schools. some called being it in results style this of antiquity the is notation of type ‘approximate’ be this for to came the that name common A orally. ornamentation down passed were traditions various represent the of as added degree that increasing the with notation necessary of became These style. styles visual similar a in patterns melodic short of movement include Relatively ages. developments subsequent all almost modern in found be can notations Similar that betterindicatesthemelodicornamentationof latertradition. notation ‘approximate’ of sort some with supplemented usually is it There branch). Buzan the (including lineage Nanzan-shin the of branches shōmyō (tentative meyasu-bakase by 45-degree angles (see Malm and Malm (see angles 45-degree by , by means of linking pitch (as expressed by the names the by expressed (as pitch linking of means by shōmyō, ) in thinner lines. The latter is annotated generously with notes ie in given ape .. h Tna Ōaa oain s f the of is notation Ōhara Tendai The 3.4. Example ). It should also be noted that most vocal most that noted be also should It hakase). 74 ie fr h fut ad fifth and fourth the for lines hakase ughes 2001b). It is used today in today used is It 2001b). Hughes tada-bakase kari-bakase goin-bakase (five-tone graph is often given often is graph hakase (old ko-hakase zu-hakase (graph (simple (provisional from the from shōmyō hakase, the older ), while hakase), ) in hakase) hakase). hakase), shōmyō hakase)

Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 slowing of tempo, and changes in modal form with the flattening of tones other than thefinal,fourthand fifth. tones of flattening the with form modal in changes and tempo, of slowing the patterns, melodic short developmentof concurrent the with centuries overthe on research as direction same the in of lead should change analysis historical its of the Consideration musical practice. in the still research is of stage facet rudimentary Another unexplored. largely remain others while exhaustively, studied been have Tōdaiji, of Shunie the as such ceremonies, Some traditions. forms. ritual and ceremonies own on research unevennessin great a is Moreover,there their on performer-scholars by published research most plague can be written until something is done about the contradictions in terminology that on subject the comprehensiveof truly study a that unlikely is It boundaries. sectarian research of future the facing issue greatest The 3.5 Issuesin the abbreviatednamesofmelodicpatterns. on interpretation. Supplementary signs provide some details of pronunciation and Figure 3.5 court and religious music music religious and court has in recent years: an increasing degree of ornamentation of degree increasing an years: recent in has gagaku shōmyō research Traditional notationforopeningofTendai Nakayama 1963) Ōhara branchShichinoBongo 75 ( 2 ) : music of of music : n urn performance current in shōmyō s o t overcome to how is shōmyō (from gagaku gagaku and and shōmyō Downloaded By: 10.3.98.104 At: 07:01 28 Sep 2021; For: 9781315172354, chapter3, 10.4324/9781315172354.ch3 hav sources theoretical of reprints typographical of Collections studied. be to waiting the ashgate research companion to japanese music japanese to companion research ashgate the segment ofmodernJapanesesociety. and it is not a simple task to open priority, new doors a in what as is viewed undoubtedly not a conservativeis access scholarly cases, many In question. in school or examination, especially to ‘outsiders’ who are not affiliated with the particular sect little has been attempted, perhaps because so few examples are readily available for of examples old notation would of facilitate historical and abundance comparative studies of the musical content, but that imagines One detail. any in examine notation to the attempts frustrate to as much so that photographs the those reduce and often have published, been have notation music of reproductions facsimile As is the case with e been published in recent years, but there is still much to be done. be to much still is there but years, recent in published been e Figure 3.6 Traditional notationforopeningofShingon Shingon-shū 1998) Buzan branchShichinoBongo gagaku, there is a great abundance of primary source material 76 (from V ery few ery