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The Politics of Court Ritual Music in East Asia

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The Politics of Court Ritual Music in East Asia Elegant Music: Court Ceremonial Music in Korea and Japan Yayue in China Aak in Korea Gagaku in Japan East Asia • Written System (Chinese Characters) • Ideology: Confucianism – Influenced on the government system, social hierarchy and relationships, rites and ritual ceremonies, and patriarchal kinship system • Religion: Buddhism and indigenous beliefs • Material Cultures (fabrics, pottery, musical instruments) Confucius and Confucianism • Confucius (551-479 BCE): in Chinese, Kong zi • Heavenly order – Son of heaven • Five relationships – Roles • Propriety – Codification and prescription of ways of doing things • Why? for the society, harmony between H & E Confucianism China vs Korea • Power of emperor (C) • Power of aristocracy (K) • Culmination of courtly cultures (C, K, and J) Music and Confucianism • “To be a complete men, one has to rely on music” (Lunyu [Noneo], chapter 4) • Music: a means of governance and self- cultivation – Music for social harmony • Music for the rites: – Power to balance cosmology, relationships, and world order between heaven and human society State Sacrifices Rites Category Wind, Clouds, Thunder, Rain Heavenly Land and Grain Earthly Royal Ancestors Human Agriculture Human Sericulture Human Elements and Grain Human Confucius Human What is Yayue? • Proper music • Didactic function – Teaches people and affects people’s behavior • Tool for social governance – Manifestation of social values and ideology • Medium for self-enlightenment and purification • Complement for courtly rites Yayue vs. Suyue 雅樂 (Elegant Music) 俗樂 (Secular Music) • Yayue, Aak, Gagaku • Suyue, Minsogak, Mingaku • Proper Music • Popular or Mass/Folk Music • Court Ritual Music (Minjian Music) • Written System; Development • For entertainment of Notations • Native Culture • Hereditary musicians • Oral Transmission Aak, Elegant music in Korea • Broad meaning: – Court ceremonial music – Ancestral shrine music: born in Korea – Confucius shrine music: introduced from China • Narrow meaning: – Confucius shrine music or music for the sacrificial rites to Confucius Court Ritual Music (Aak) in Korea • Emerged gradually during the Koryŏ (918-1392) and continued throughout Chosŏn (1392-1910) • 1114: gift of musical instruments and music books from Emperor Huizong of Northern Song dynasty (reigned 1100-1125) – Music associated with court entertainment in China • 1116: another gift of instruments, dance costumes, ritual paraphernalia – Music associated with court ritual, sacrificial rites to Confucius (yayue) • 1361 and after: instruments from Emperor Huizong were destroyed in war with the Red Turbans • 1370: new instruments from China upon request (smaller in size) • Mid-14th century: Korean court music of Chinese extraction was in terrible state – Original music modified and mixed with hyangak – Ensembles altered and instruments demaged – Performance tradition interrupted • 1392−: Chosŏn dynasty Reformed court ritual music (aak) Composed and codified Royal ancestral shrine music as well as entertainment music for court banquets Culmination of indigenous music (both sacred and secular realms) Indigenization (especially during the Reign of King Sejong) • King Sejong (reigned 1418-1450) – Invention of Korean alphabet – Revised and codified nearly every aspect of music and rites based on research (Chen Yang’s book) – Pak Yon (1378-1458) examined earlier Chinese and Korean sources – New musical instruments – New musical notation to record melodies – Set a pitch standard (different from Chinese ones) – Training musicians Aak: Confucius Ritual Music • Two orchestras: – Terrace Ensemble: on elevated stone terrace – Courtyard Ensemble: in the courtyard in front of the main gate • Only 2 short pieces survived • Each orchestra has a leader who plays the pak (wooden clappers) Korean Aak Confucius Ritual Music • https://www.youtube.com/watch?v=MCGgHL FOMqU • Korea Bayin (p’alŭm ): Instrument classification by the construction material of the primary sound generator • Wood: Wooden clapper, ŏ, ch’uk • Stone: Stone chimes • Leather: Drums • Silk: Strings • Clay: Ocarina • Bamboo: Flutes • Metal: Bells • Gourd: Mouth organ (so) Silk Gayageum [Kayagŭm] Leather Jangu (Changgo) Jingo (Chingo) Bamboo Deageum (T’aegŭm) Piri (P’ri) Stone Deokgyeong (T’ŏkgyŏng) Pyeonggyeong (Pyŏngyŏng) Metal Pyeonjong (Pyŏngjong) Gourd Saenghwang Clay Hun Bu (Pu) Wood Eo (Ŏ) Chuk Confucius Shrine Music in China (Taiwan) • http://www.youtube.com/watch?v=YL5WzWu 1VHg • Taiwan • http://www.youtube.com/watch?v=qUKmUFJ APtM Provine, Robert. 1992. “Korean Courtyard Ensemble for Ritual Music” • Indigenization of Chinese ritual music in Korea • How does MUSIC manifest political power and resistance—in particular, the power dynamics and relationship between China and Korea? • How does MUSIC reflect a society and social transformation? (political relationship, wars, post-war recovery, and colonization) Key Points • The development of the Courtyard Ensemble in Korea—3 Stages – Arrival (Koryŏ): in 1114 & 1116, the ensemble of the Dasheng Institute of Northern Song as the gift of Emperor Huizong to Korean king • Changes made in Korea (see the next two slides): Layout and Size – the second (Chosŏn): reconstruction based on Chinese written resources such as the book of Chinese scholar Chen Yang (design) and Li Yu’s Dasheng Yuepu (melodies, melodies deriving from the Dasheng Institute) – the third (Japanese colonial period and on): constrained stage with a small ensemble sustaining then gradually attempting to restore aspects of its former existence (see the slide 18). Is “Aak” in Korea traditional, authentic, ancient, or Chinese or Korean? • After reading Provine’s article, can you share and discuss your ideas—pros and cons, in attributing the aak in Korea with some concepts listed above? • Contest some of the concepts. For example, is the Courtyard ritual music in Korea authentic? – If yes, why? – If not, why not? – What does Provine think about that? • Gagaku in Japan https://www.youtube.com/watch?v=rRM_FNo oJHc http://www.youtube.com/watch?v=5OA8HFU NfIk History of Japanese Music – 5-6th century AD (Asuka Period: 538-710) • Buddhism (538) and Chinese culture (Elegant music, Confucianism, and written system) were introduced to Japan via Korea – 8th century (Nara Period: 710-794) • Tang Dynasty culture was celebrated, modeling the lives of upper class culture of Tang China (618-907) • International period in East Asia • Foreign musicians instituted in Japanese Court – Late 8th -12th century (Heian Period: 794-1185) • Culmination of Japanese imperial court, art, poetry and literature, as well as music • Chinese imported arts were indigenized (Japanized) after Tang Dynasty • indigenized through Heian period (794 AD) – Musical assimilation, modification, and indigenization of gagaku – performed by native musicians – Standardization of gagaku repertoire – Medieval (Feudal) Japan (1185 to 1603): • The new national government was established in Kamakura by the warrior family Minamoto. • Power of regional families and military (shogun) government (1185- 1868) • Kamakura (1185-1333) • Muromachi (1336-1573) • Nobunaga (1582), Hideyoshi (1598) – Culmination of “Noh” theatre – Shakuhachi by Zen Buddhist monks – Edo period (1603-1868): • Tokugawa family in the capital Edo (present-day Tokyo) • Rise of bourgeois and their patronage of arts and music • Rise of secular music – Kabuki and Bunraku – Secular instrumental tradition (Koto, Shakuhachi, and Shamisen) – Modern (1868~) • The restoration of the Meiji emperor • Western schools and cultures – Western music – Restoration of Gagaku – Continuation of secular music – Rise of popular music GagakuGagaku Repertoire • Gagaku Repertoires – Bugaku (music with dance: 舞樂) – Kangen (wind and string but no dance: 穹絃) Purely instrumental music • Togaku: Tang Dynasty China and India Kakko (drum) and Ryuteki (flute) • Komagaku: Korea and Manchuria San-no-tsuzumi and Komabue are used Gagaku Instrumentation • Wind: sustaining melody Sho—a bamboo mouth organ consisting of 13-17 bamboo pipes Hichiriki—double reed bamboo pipe Ryuteki—transverse flute (China) Komabue—transverse flute (Korea) String: mark off sections Biwa—pear-shaped, 4-stringed lute hold horizontally Gaku-so—a predecessor of the koto (13-stringed zither) Wagon—6-stringed zither • Percussion: time keeper, phrase marker (colotomy) Dadaiko/taiko—large suspended drum (2 sticks) Kakko—small drum but important instrument ; two heads are struck with thin sticks San-no tsuzumi—hour glass-shaped drum; Korean in origin Shoko—a small suspended metal gong (2 sticks) Structure of Gagaku: based on jo-ha-kyu –3 movements Jo (Introduction)—netori (slow beginning section) Ha (Exposition-regular meter established) Kyu (Conclusion-rushing to the end) –Netori: serves as a warm-up section sets up the mood and scale modes introduced Sho –Hichiriki– Ryuteki, Fue – Kakko –Ha: The Hichiriki and Fue play the basic melody Strings join in Full ensemble Composed music –Kyu: Rushing to the end Tempo increases, then slows down toward the end Instruments drop out one by one and the texture becomes thinner • Musical Features of Gagaku: – smoothness, serenity, and precise execution without virtuoso display – Heterophony – Breath rhythm – major melody is performed on wind instruments – sho supports with chord/harmonic clusters – gaku-so and biwa play an abstraction of the melody (single note or broken chords than melody) – kakko or tsuzumi regulate tempo and control dynamics Lancashire, Terence. 2003. “World Music or Japanese—the Gagaku of Tôgi Hideki” • Gagaku music in Japan? • What did Toki Hideki have done to gagaku music? • Why has his music been controversial? • What do you think about Hideki’s attitude toward gagaku music? • How does the author approach his study of gagaku music in the context of modern Japan and as a contemporary scholar? • Etenraku—Togi created “Etenraku Fantasy.” • https://www.youtube.com/watch?v=iW- SjpIDjmU • NHK featuring Togi • https://www.youtube.com/watch?v=9xcOYFe Ev6c Court, Ritual, and Music.
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