Traditional Japanese Music: Famous Pieces of Gagaku and Kagura. Recommended Traditional Japanese Music
How much have you experienced the beauty of Japan’s traditional music passed down since ancient times? In gagaku and kagura dwell a solemn atmosphere and profound spirituality that modern music cannot offer.
Japan’s traditional music, handed down for over a thousand years, holds a universal appeal that resonates in our hearts.
In this article, we introduce a selection of exquisitely pure melodies from Japan’s classical music.
Their timbres may be unfamiliar to modern ears, but they will surely sink deep into your heart.
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[Japanese Traditional Music] Masterpieces of Gagaku and Kagura. Recommended Japanese Traditional Music (31–40)
Gagaku, Hyōjō mode: Etenraku Zanraku (three reprises)
Etenraku no Korigaku Sanben (“The Remaining Music of Etenraku, three repeats”) is performed with three iterations.
Korigaku is a type of performance practice in gagaku ensemble playing, devised to showcase special techniques on the koto, which otherwise rarely stands out in ensemble settings.
As the piece progresses, the percussion, shō, and fue gradually cease playing; with further repetitions, the hichiriki and biwa also pare back their roles to brief melodic fragments, all to highlight the koto’s delicate playing.
This is a recommended performance for those who wish to learn about the characteristics and timbres of gagaku instruments, allowing listeners to savor the techniques and atmosphere of each traditional Japanese instrument.
Bugaku, Left Dance: Haruniwa no Hana
Shundeiraku is a piece in the Tang music repertoire, in the sōjō mode, classified as a medium-length piece, in the extended eight-beat meter, with ten beat cycles, and it is a newer composition that also has a dance (performed by four dancers).
Its paired dance is Shirahama.
It was performed at investiture ceremonies for the Crown Prince and at spring court banquets.
When only one suite of the instrumental or dance version is performed, it is called Shundeiraku; when repeated and performed as two suites, it is called Shundeika.
It is said to depict, in dance, the playful enjoyment of spring blossoms.
Bugaku Kiyotoku
Kitoku is a piece in the Komagaku repertoire, in the Ichikotsu mode, consisting of the middle piece (Chūkyoku), the breaking section (Ha), and the quick section (Kyū); as a new piece (shingaku), it also includes a dance (one dancer, hashirimai).
It is also written as Kitoku with the character for “return” (Kitōku).
Other names include Kitokukō and Kitokuseki.
The accompanying dance pattern (banmai) is Sante.
The performer wears ryōtō attire and uses two types of masks—jinmen (human face) and koiguchi—along with ryūkō (dragon armor), and dances holding a tachi (sword) and a hoko (halberd).
Bugaku 'Rakuson' at Asama Taisha
Rakuson is a piece in the Korean-style repertoire (Komagaku), in the Ichikotsu mode, classified as a short composition, with movements Ha and Kyū, and it is a shin-gaku (new composition).
It also has a dance (one dancer, sōbu/“running dance”).
Ha uses Yō-byōshi with 12 beats, and Kyū uses Tō-byōshi with 12 beats.
Its paired dance (banmai) is Ranryōō.
Rakuson is the name used when performing the bugaku dance Nasori—originally for two dancers—solo.
It is said to depict two playful dragons in dance; the performer holds silver drumsticks and wears ryōtō shōzoku (a type of court costume).
Heijo Mode Keiun Music Ryuteki SoloZhang Wenshou
Keiunraku is a piece of Tang music in the hyōjō mode, classified as a medium-length piece in extended eight-beat time, with ten-beat measures, considered a new composition, and has no dance.
It is also written as Kei’unraku.
The original title was Ryōkiraku, but it is said to have been renamed Keiunraku because it was transmitted to Japan during the Keiun era.
According to the laws of the great nation, this piece was to be performed during meals.
[Traditional Japanese Music] Masterpieces of Gagaku and Kagura. Recommended Traditional Japanese Music (41–50)
Hyōjō Urahitogaku Ryūteki SoloTeiyu Lee
Katōraku is a piece of Tang-style court music (tōgaku) in the hyōjō mode, a medium-length piece in the extended eight-beat meter, with twelve measures of rhythm; it is a “new piece” and also has an associated dance performed by four dancers.
It is also written as Hadakarakuraku.
According to tradition, once every hundred years a massive swarm of bees would fly in from the land of Kinsha and wreak havoc on the people; when performers wrapped their heads in cotton gauze or silk twill and played this piece, the bees were said to have been completely wiped out.
In ancient Japan it was performed at the coronation rites of the Emperor and Crown Prince, but today it is rarely performed.
Butterfly Raku Express, thrice repeatedFujiwara no Tadafusa
Kochōraku is a piece in the Komagaku repertoire, in the Komagaku Ichikotsu mode, classified as a short piece, and it also has an associated dance (performed by four dancers, including child dancers).
Its companion dance is Karyōbin.
It is said that Fujiwara no Tadafusa, a government official and gagaku musician from the early to mid-Heian period, composed the music, and that Prince Atsuzane, the eighth son of Emperor Uda, who was versed in waka poetry and music, created the choreography.