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Chapter 13 Other Classical Genres

Chapter 13 Other Classical Genres. Global Perspectives : Musical Form. Gagaku Togaku Komagaku Hichiriki Ryuteki Heterophonic texture. Sho Kakko Tsuridaiko Biwa Gakuso. Key Terms. Global Perspectives 3. Musical Form

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Chapter 13 Other Classical Genres

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  1. Chapter 13Other Classical Genres Global Perspectives: Musical Form

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

  3. 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?

  4. Japan • Court orchestra tradition established by Japan’s first centralized government • From 6th to 8th centuries C.E. • 1000 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

  5. 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

  6. 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

  7. 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

  8. 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

  9. 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

  10. 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)

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