Traditional Japanese Music: Famous Pieces of Gagaku and Kagura. Recommended Traditional Japanese Music

Hyojo Goshōraku-kyū Ryūteki SoloTaizong

[Ryuteki] Gagaku ‘Hyōjō Gojōraku Kyū’ Susumu Yamashita

Goshōraku is said to have been composed by Emperor Taizong of the Tang dynasty.

The name “Five Constants” refers to the five Confucian virtues—benevolence (ren), righteousness (yi), propriety (li), wisdom (zhi), and trustworthiness (xin)—which were mapped onto the five tones of the pentatonic scale: gong, shang, jiao, zhi, and yu.

In the Tang-music repertoire, it is classified as hyōjō (Heptatonic mode equivalent), a medium-length piece, with sections including Jo (introduction) and various instrumental openings; Ha (development) in extended 8-beat cycles (16 measures), and a short piece; and Kyū (finale) in fast 8-beat cycles (8 measures).

There is also a shin-gaku version with a dance (four dancers, civil dance).

Within gagaku, it is one of the few works that fully embody the jo–ha–kyū structure, and a portion of it is performed here on ryūteki (dragon flute).

It is highly regarded as an ideal piece for beginners in gagaku, and because the fundamental techniques of Tang-style performance are concentrated in Goshōraku Kyū, those who wish to study and perform gagaku are advised to master Goshōraku.

Bugaku (Japanese court dance and music)

Bugaku (court dance and music)

Hassen is a piece in the Koryo-gaku repertoire, in the Ichikotsu mode, classified as a short piece, with the sections Ha and Kyū, and it also has a dance (four dancers, flat dance).

The Ha section is in quadruple time, meter 13; the Kyū section uses Tang meter, meter 14.

It is also known as Konron Hassen.

Another name is “Crane Dance,” and there is a theory that the choreography depicts a flock of cranes flying through the sky, but the detailed origin is unknown.

Gagaku, Hyoujou (Basic Tone): 'Sōboren' (Yearning for One’s Beloved)Lady Kogō (Kogō no Tsubone)

Gagaku Instrumental Music, Hyojo Mode: “Sofu-ren (Yearning for One’s Beloved)”

Sōfuren is a Tang-era piece in the hyōjō mode, classified as a middle-length composition, in the extended eight-beat pattern, tenth meter, and a new piece; it has no accompanying dance.

It is also written as Sōburen/Sōburen (Aifuren), Sōburen (Sōburen), or Sōfuren.

There is a legend that it is the piece played on the koto by Lady Kogō, the favored consort of Emperor Takakura, while she was in Sagano, and it is also mentioned in The Pillow Book.

Heichō: Wang Zhaojun – Ryūteki SoloEmperor Yuan

Hyojo Etenraku (Ryuteki Solo)

Wang Zhaojun (Ō Shōkun) is a piece of Tang music in the heijō mode, in a fast quadruple meter, with a ten-beat measure, and it is an ancient piece without dance.

It is said to have been composed by Emperor Yuan, the 10th emperor of the Former Han.

Wang Zhaojun was a beauty of Emperor Yuan’s harem; her given name was Qiang (also written as Qiang/Wall), and her style name was Zhaojun.

As it died out in Japan, it is said to have been passed down through the shakuhachi playing of Prince Sadayasu, son of Emperor Seiwa.

Kagura Dance “Azuma Asobi” at Ise Grand Shrine

Ise Grand Shrine: Dance Performance 'Azuma-asobi'

Azuma-asobi is a genre of gagaku (Japanese court music), and the songs sung within it are called Azuma-asobi uta.

Among native Japanese song-and-dance forms, it is notably bright and refined; originally a performing art from the eastern provinces, it came to be performed in the Kinki region from the Nara through the Heian periods.

Performances feature the clapped shaku-byōshi at the head of each phrase, along with hichiriki, the Komabue (originally called the Azuma-asobi flute), and the wagon (Japanese zither).

Today, its Heian-period atmosphere can still be savored, for example when it is presented at the January 11th Miké offering at the Inner Shrine of Ise Grand Shrine in Mie Prefecture—an occasion said to gather the deities of all 125 associated shrines for a “New Year’s gathering.”

Taishoku-chō Taheiraku Kyū, Ryūteki Solo

Gagaku [Ryuteki Solo] #47 Taishikichō: Taiheiraku, Fast Section

“Taiheiraku” is a type of Tang-style gagaku with various alternate names, beginning with “Busho Hachinraku,” and is a classic piece in the repertoire.

It is in the Taishikichō mode and consists of a middle piece, a processional (michiyuki), ha (development), kyū (rapid finale), and shinraku sections, and includes choreography (four dancers performing a martial dance).

It is known as a representative left-side martial dance (bumai).

This large-scale bugaku suite is formed by three independent pieces—“Chōgoshi,” “Bushōraku,” and “Gakkaen.” Chōgoshi uses extended four-beat phrasing with twelve measures; Bushōraku uses extended eight-beat phrasing with twelve measures; and Gakkaen uses rapid four-beat phrasing with sixteen measures.

As a representative martial dance, it is often performed together with “Manzaigaku,” making it one of the gagaku works worth knowing in combination.

Taisyoku Onshu 〜 Keihairaku, Allegro

Manyo Gagaku Concert 2012: Tōshikichō Prelude ~ Keihairaku (Fast)

Keibai Suikyōraku is a reconstructed piece in kaku mode.

In the oasis city of Dunhuang in northwestern Gansu Province, China, scriptures were discovered inside a wall, and on the back of one scripture a pipa score titled “Keibai-raku” was written.

Because the tradition of gagaku had died out in China, the piece was reconstructed based on Japanese gagaku.

Since there was already a Japanese gagaku piece with the same title, “Keibai-raku,” this reconstruction was named Keibai Suikyōraku.