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From the 6th -10th c., Japan sent envoys to the Tang Court in China to study poetry, politics, architecture, Buddhism, and music
At the Tang Court, Japanese musicians encountered music from India, Korea, SE Asia, and West Asia
Traditional Japanese music, called hogaku, includes instruments and musical principles imported from China and Korea during the 6th 7th centuries. Music imported from the West is called ongaku.
During the Meiji Period (1868-1911), Japanese leaders pursued Western models of government, education, and economics
Western music education adopted Western instruments (piano) and genres (jazz, classical) popular
Has undergone change: sounds different than it did 1500 years ago
Less instruments Slower tempo, sparse texture
Gagaku uses aerophones, chordophones, membranophones, and an idiophone. Heard together, the contrasting timbres of these instruments create a heterogeneous sound ideal.
Netori (prelude)
Aerophones
Hichiriki is a double-reed aerophone with loud volume and a clear timbre. It plays a heterophonic version of the melody. Ryuteki is a side-blown bamboo flute with a high, somewhat breathy timbre. It also plays a version of the melody.
Chordophones
Kakko
Etenraku (CD 1, tr.22) is in the metric structure called haya (4 beats) yo (4 measures) hyoshi
A complete cycle of this hyoshi consists of 4 units (measures) each containing 4 beats As performed, the beats are spaced apart and somewhat flexible (so difficult to hear) The percussion instruments articulate the hyoshi in predictable ways:
Kakko plays a rolling pattern that keeps the rhythm accelerating Shoko plays on the first beat of each unit (measure) Taiko plays low notes in the third and fourth units (measures)
Rhythm
System allows for a flexibility of pulse Metric structure is articulated by a series of coordinated percussion patterns Patterns make use of distinct timbral qualities of each instrument
Aesthetic shape/form
Sparse beginning followed by regular beats, gradual acceleration gathering to a climactic density, then slowing of tempo and thinner texture Jo - Ha - Kyu is the term for this aesthetic shape, which is found in Japanese music, theater and dance
B.
Etenraku (CD 1, tr.22) The melody is in the pentatonic mode called hyojo The metric structure is called haya yo hyoshi Listen to the order in which the instruments enter. In named compositions this sequence is always the same.
C.
Hyoshi repeated
D.