Chapter 13 Other Classical Genres Global Perspectives: Musical Form

Key Terms Gagaku Togaku Komagaku Hichiriki Ryuteki Heterophonic texture Sho Kakko Tsuridaiko Biwa Gakuso

Global Perspectives 3 Musical Form Are elaborate musical forms the natural result of an emphasis on instrumental genres? Are statement, repetition, contrast, & variation universal building blocks? What simple processes are used in non- Western musical forms?

Japan Court orchestra tradition established by Japan’s first centralized government From 6th to 8th centuries C.E years older than European orchestra Borrowed from several foreign traditions Togaku borrowed China’s T’ang court music Komagaku derived from Korean styles Together came to be known as gagaku Developed into independent Japanese tradition Used for court ceremony, ritual, & dance

The Japanese Togaku Orchestra Woodwinds dominate, not strings Hichiriki – a wailing double reed instrument Ryuteki – a side-blown flute Sho – a mouth reed-organ Percussion & strings include— Kakko – a two-headed barrel drum Tsuridaiko – a larger, deep barrel drum Biwa – a four-stringed lute Gakuso – a 13-stringed zither

Etenraku (1) The most famous togaku work Title = music of divinity Aura of quiet Buddhist contemplation Form based on three typical features of gagaku music Constructed from a single melody according to a predetermined plan with no improvisation Instruments are introduced gradually in predetermined order Starts very slowly – rhythm & meter gradually become quicker, clearer, & more active

Etenraku (2) Constructed from a single melody Three contrasting phrases, each 32 beats long Each phrase repeats immediately First two phrases return at the end Overall form—a a b b c c a a b b

Etenraku (3) Melody first played by ryuteki Hichirikis join in near the end of the 1st a Gakuso & biwa play more & more fragments of melody starting with 2nd c phrase Biwa & gakuso add brief coda after final b

Etenraku (4) Instruments are introduced gradually Ryuteki, kakko, & tsuridaiko begin Kakko plays single strokes & short rolls Tsuridaiko plays two strokes every 16 beats Sho & hichirikis enter near end of 1st a Sho adds haze of cluster chords in background Biwa enters at repeat of a Strums several strings, punctuating melody Gakuso enters part way through 2nd a Plays short motives from the melody

Etenraku (5) Starts very slowly & gradually quickens Beats very slow & flexible with flute alone Beat more prominent as hichirikis enter Starting at 1st c phrase tsuridaiko plays twice as fast – every 8 beats Tempo gradually quickens – from 2 or 3 seconds per beat to 1 second per beat Heterophonic texture is created Note differences between versions of melody played by ryuteki & hichiriki, and later by gakuso & biwa (starting with 2nd c phrase)