Japanese Music and Theatre

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Ross Chad Stokes
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1 Japanese Music and Theatre Introduction: The Arts in Japan Japan is a very diverse country, musically and culturally speaking, with a deep rooted sense of tradition, but also a strong commitment to modernization and urbanization. Musical and theatrical genres in Japan have always stressed the importance of maintaining tradition. In traditional performance and pedagogy (how to act in performance), there is a strong emphasis on playing things in a proper way and maintaining tradition. In Japan, tradition is more important than stylistic innovation and change, traits we value highly in the West. Likewise, the importance of oral transmission from teacher to student through family lineage (i.e. families of musicians) focused upon the preservation of tradition with very little horizontal influence from other co-existing genres in Japan. Ironically, despite this commitment to tradition, it is more common to find Japanese people familiar with Western classical and popular music than to find many Japanese with a good familiarity with Japanese music. The traditional performing arts in Japan are only known to a small percentage of Japanese people. Nevertheless, one can learn a great deal about Japanese history, social classes, and changing values in Japan through the study of Japanese musical and theatrical genres. For example, the art of the Samurai and Japanese Noh drama illustrate the importance of simplicity and personal enlightenment through self-understanding and self reliance. Likewise, theatrical traditions like Kabuki and Bunraku (i.e. Puppet theater) reveal a long standing passion for lavish theatrical entertainment in Japan. Gagaku music, despite it=s ancient roots and stylized performance, stands as a symbolic reminder of the power and tradition of the Japanese Imperial Court. Let=s first get a brief sensibility about historical periods in Japan=s long history. Period in Japan Years Commentary Period in Europe pre-nara pre-400 C.E. Roman Empire Nara AD Medieval Heian AD Medieval Kamakura AD Medieval Muromakai AD Medieval/ Renaissance (Momoyama ) AD Renaissance Genroku AD Baroque Tokugawa AD Classic Meiji AD Romantic Tai-Sho Modern

2 Showa Post-Modern Let=s review some of the unique characteristics of Japanese musical aesthetics: Aesthetics in Japanese Performance Use of a minimum of musical material or maximum effect Musical performance is often visual and tactile as well as aural The "after" sound is as important as the "initial" sound In playing, it is not just what you play, but "how" you play that is important. A hidden aspect of time in Japanese music is the notion of "ma", the empty space between events. In Japanese music "ma" provides a rhythmic elasticity in which "silence" is as powerful as "sound". The awareness of "ma" is one of the rewards of enlightened listening. The "becoming" of the sound is as important as the sound itself. Put another way, the act (i.e. gestures, inner feeling, emotion, state of mind) of Aperforming is as important as the sound one produces as an Aart object@. (In Buddhism, this meant the suppression of physical desire in the search for enlightenment.). For example, in drumming. the drumstick and the arm act as one body movement. The function of preliminary gestures is to aid the performer's thoughts toward a state of "being beautiful". It is the gathering and releasing of one's spirit in performance("until the arm and the art-producing instrument become one, the work of art will not emerge.". You might also reflect on how these traits have influenced our music in the West: Asian Influence on Music of the West Different concepts of time organization - cyclical; and flexibility of pulse, breath rhythm Importance of silence in music Dynamics and timbre may be valued more than pitch (melody) Pentatonic scales (5 tones) give music a modal color Musical performance is often visual and tactile as well as aural. The Abecoming@ of the sound is as important as the sound itself. (How you perform is as important as what you perform). Therefore, all movements in any type of artistic performance must have fluidity of motion (gracefulness). Layers of sound and use of rhythmic counterpoint; but transparent sounds -all parts can be heard clearly as in AChamber music@ because each part is played by only one instrument. Minimum of musical materials used for maximum effect. Increased usage of percussion or percussive sounds-gongs, cymbals, bells, clappers, xylophone-like instruments The ability of melodic lines to expand and contract

3 The Influence of Buddhism Most of the countries of East Asia, apart from the Philippines, have been deeply affected by Buddhist culture and spiritual teachings. Buddhism continues to thrive in area where Marxist thought could have moved in ages ago. Countries like Nepal, along the Himalayas in Sri Lanka, Burma, Thailand, South Korea and Japan; Buddhism still has a continuing presence among the Chinese peoples of Singapore, Hong Kong and Taiwan. Liekwise, Buddhism maintains a strong grip in the southern part of India, as well as among overseas Indians from the Caribbean to South Africa and the South Pacific. Within traditional Japanese culture, it is through religion and the arts (i.e. calligraphy, painting, poetry, literature, music, dance, etc.) that the individual finds a way of "coming to experience". In Buddhist art, for example, the very act or process of drawing or painting is sacred in itself.- a technique of contemplation. Worship and mysticism blend into one act. An art form such as painting does not theorize about things, but does give the beholder new ideas to see things in new ways, as well as the immediacy of 'as they are'. The depth of Buddhist influence on Japanese music is, perhaps, best explained through an example. The bamboo flute known as the Shakuhachi was first played by displaced Samurai warriors who gave up their status to become Buddhist priests. Many took to wandering through the cities and highways of Japan, begging for food, and playing the shakuhachi. Some of these ARonin@ Samurai were called AKomuso@ meaning literally Aemptiness monks@. The standard Komuso costume included a large basket shaped hat made of cane, through which the wearer could see out, but could not be seen. Many became part of the Fuki= sect of Zen Buddhism. The Fuki= sect had several ways of reaching sartori or nirvana. One could contemplate paradoxical riddles such as AWhat is the sound of one hand clapping?@, or the practice of Zazen - sitting in silent meditation, or play the Shakuhachi. To them, the shakuhachi is a Aspiritual tool (hoki) for performing Asuizen@, meaning literally Ablowing Zen@. Let=s consider these ideas further in a musical example. Musical Example - ATsuru No Sugomon@ (ANesting Cranes@) ATsuru No Sugomon@ is a programmatic piece describing a winter secene in which cranes make their nests. It is easy to associate the fast trills on the shakuhachi with the fluttering wings of the cranes. This piece is part of the honkyoku (solo) repertoire of the Kinko style of shakuhachi playing. The performer, Kawase Junsake, is one of the best known shakuhachi players in Japan, also is the chief teacher of the longstanding Kinko style. He is accompanied in this performance by his sister, Kawase Hakuse, a prominent shamisen player in one of the Kabuki Theater orchestras of Tokyo.. After listening to this piece a few times, you may sense that certain phrases are repeated, in fact there are many melodic repetitions. One of the more recognizable characteristics are the frequent changes in dynamic (soft to loud, loud to soft), even within a single musical phrase. This piece demonstrates at least two ro three of the main characteristics of Japanese playing: a variety of timbres within one piece, flexibility of pulse, and the concept of Ama@ literally space or interval

4 between notes to emphasize the importance of emptiness and space. While playing the shakuhachi, the exhaling of breath is heard in the dynamic level and tone quality of the pitch; at the same time, it carries with it the possibility of instant spiritual enlightenment. Thus, each moment of performance, whether the intake of breath or its slow release, whether the subtle, delicate shading of a tone or the explosion of air through the instrument can be interpreted in the context of one=s larger spiritual life. Breathing is very important, for each musical phrase requires one full breath. Sometimes there is a constant change of dynamics within a single phrase Music Frozen In Time: Gagaku Music of the Imperial Court The music of Japan is very diverse, with longstanding traditions in classical, folk, and popular music genres. Of the classical genres, we in the West are most familiar with Kabuki Theater, the Noh Drama, Bunraku (Puppet Theater), or Shomyo chanting (Buddhist singing) as well as solo instrumental music of the Koto, the Shakuhachi, or the Shamisen. This is your introduction to Gagaku, the oldest court music tradition in the world still being performed today. Gagaku (meaning Aelegant music@). The music of Gagaku has continental roots in the ancient ensembles of China and Korea, but tradition has been more intermittent in both countries in the past century. Thus, Gagaku is the oldest Acontinuous@ music ensemble in the world, dating back to 453 C.E., when a Korean court ensemble (Shiragi-gaku) of eighty musicians and dancers came to Japan to participate in an imperial funeral. The Korean ensemble stayed, forming the basis for a Japanese court ensemble tradition that would emerge as Gagaku. Prior to the dynasties of the Nara period (400 CE), only traditional music (Hogaku) comprised of both folk and classical music existed in Japan. By 500 CE masked dancers were added to the Gagku repertoire (Bugaku). The major expansion of Buddhism spread to Japan from China came between 553 and 794 CE.. Gigaku, the original Chinese court music tradition was formally introduced into Japan in 612 CE. Over the next two hundred years traditional music from China, Korea and India was embraced by the Japanese. The Japanese Music Bureau, established in 701 C.E. was filled with musicians from Korea and musicians of the T=ang Dynasty in China. 749 A.D. Image of the Buddha is finally completed at the Todajii Temple in the ancient Capitol City of Nara. And finally, between CE, retired Emperor Sogo and a group of Japanese noblemen codified and standardized the Gagaku ensemble in terms of repertoire and instrumentation.

5 Let=s look at a few musical features of performance that have been around for more than a thousand years. While there are multiple layers of sound, you might notice some symbolic significance to the number three. Musical Example - AEtenraku@ (AMusic of Divinity@) Gagaku Ensemble of the Imperial Palace The large ensemble of Gagaku consists of three types of instrumental groupings : Percussion (Da-Daiko, Tsuri-Daiko, Shoko Sanno-Tsumi, and Kakko drums) Strings (Gaku-so and Biwa) Winds: (Hichiricki, Kagura-bue, Ryuteki, Sho and Koma-bue) The formal structure of many Gagaku pieces uses a three form: Jo - a slow introductory section Ha- an expository second section played by the entire ensemble in regular rhythm Kyu - you might notice that the tempo picks up as the piece works up toward the end, however, there is no big crash/boom ending. The music fades away. You might also look for the following sectional parts: AABBCCAB. Take a moment, relax, and try to reach outside of yourself and your experience. Stretch out your mind and your ears to Ahear@ this music. Notice that I didn=t say Alisten@, I said Ahear@. (Relax, this is not easy to do!). Nevertheless, AEtenraku@ does have a certain smoothness, serenity, precise execution, and the marked absence of virtuosic play by the musicians. AEtenraku@ means literally Amusic of divinity@, and it emanates a deep, powerful calm associated with an aura of quiet, inward looking Buddhist contemplation. Every instrument has it=s own place and function in the scheme of things. The piece as a whole is elaborated from a single melody, according to a predetermined plan and without improvisation; typical of traditional Japanese music. But, the melody is elaborated in a way that results in a complex texture composed of many distinct musical gestures. As you listen, try to identify the various layers of activity: wind instruments playing the melody, while the strings, drums and gongs function to mark sections of time. The entire ensemble learns to breath together as a form of a group pacing. This performance has elements of stillness and motion, action and inaction, contemplation and application in the same gesture of performance. There is a marked emphasis on inner feeling rather than the outer formality of performance we might expect. The repertoire of Gagaku is divided into two repertoires, each representing a musical repertoire from other regions of Asia. Togaku (Music of the Left) came from India or China. When Togaku pieces are performed, all the decor (including clothing) uses red as the basic color. Musical pieces in the Komagaku repertoire (Music of the Right) came originally from Korea, Viet Nam, or Manchuria, and is symbolically represented by the color green. The Togaku and Komagaku traditions can be broken down further into three different types of music: Kangen (vocal and instrumental music), Bugaku (dance music), and Western classical and popular pieces used for state occasions. Depending on the occasion, Gagaku musicians play this repertoire in a standing, seated, or marching stance. Westerners trained in the classical tradition tend to hear Gagaku music as Achamber music@

6 because of it=s transparent sound: each instrument can be heard individually. Nevertheless, this music is sometimes hard on the ears of Western listeners because it is aharmonic (without harmony) or heterophonic (variations on a single melody), and sometimes very dissonant. Within the performance practice of Gagaku, dynamics and timbre (quality of sound) are valued over the accuracy of tuned pitch. During the course of performing a long phrase, two instruments will typically start together (Ain tune@), then move away (Aout of tune to the Western ear), then come back into Atune@. This is true heterophony, and it only exists in a few places in the world. There is one very interesting feature to the notion of rhythm and pacing in Gagaku music, Gagaku musicians play in ensemble without a conductor. The musicians reach a corporate state of meditation, achieving breath rhythm (breathing and pacing the music together as an ensemble). Glossary of Japanese Terms Related to Music Hana Katachi Koshi Ma Nenraikeiko Nirvana The flower" - the achievement of artistic skill or the beauty of artistic achievement in performance of one=s artistic skills. shaping one's body into a specific form - the act of beautiful artistic performance The lower back or pelvic region of the body. In the performing arts it refers to the centering of Apower@ in this area before performing(brush strokes, singing, playing an instrument, dancing) literally Aspace@ or Ainterval@ between musical events (notes), making silence as powerful as sound in music. Sound enhances silence, and silence enhances sound. the mental training or readiness to learn an artistic discipline; this readiness changes with age. the blissful emptiness that all Buddhist's seek as a form of cultivating human perfection Shikado Shomyo Tainin Shikado "The true path of the flower" - ancient Buddhist writing, actually a manual on artistic training. the art of composing and singing Buddhist chants based on sacred Vedic texts known as "Sutras" (from India) called "Bonsan" - Indian dialect; "Kansan" - Chinese dialect ; AWasan@ - Japanese cultivation that includes bodily recognition or realization

Music Appreciation Final Exam Study Guide

Music Appreciation Final Exam Study Guide Music = Sounds that are organized in time. Four Main Properties of Musical Sounds 1.) Pitch (the highness or lowness) 2.) Dynamics (loudness or softness) 3.) Timbre