Traditional musikal culture of japan of the kodayperiod: aesthetico-philosophical, genre-stylistic and institutional features
DOI:
https://doi.org/10.32461/2226-0285.1.2014.148241Keywords:
musical culture of Japan, the worldview universals, gagaku, Gagakuro, O-uta-dokoro,Abstract
Appeal to the spiritual-philosophical traditions of the East in a topical problem and closely connected with the act of entering to the European culture in the postmodern stage that led to nivelacii its spiritual value kernel and the dominance of the rizomnosimulativ ontology. The aim of article is the examination its aesthetico-philosophical, genre-stylistic and institutional features, vividly reflected in historic music gagaku, its formation was occurred in the Koday period (592 – 1192).
The author pays attention to the originality and the development of musical culture of Japan formed esthetico-philosophical universalii Beaty (Be), Truth (Makoto), Harmony (Va), Void (Mu), Moment, Path (Dao), Heart (Kokoro).These universalii are the syncrezisy, which have become rooted on Japanese soil of Sintoism, Daossism, Konfutsism, Buddhism, Zen Buddhism perception of world. The main role Japanese musical metaphysics plays philosophema Moment, which shows the special position to every sound as an independent element in the musical form and an universalia Great Void (universal "life-giving" bosom – Mu). It was the result that a specific sensitivety to "living pause" as a semantically filling extension of the sound and the meditative type of music perception was formulated.
National specificity musical thinking of the Japanese was vividly reflected in old palace music gagaku, which was a synthesis of borrowed musical forms from China, Central and South-East Asia (India, Mongolia, South Turkestan, countries Bohai and Lillii), the kingdoms of Korea – Koguryeo, Pekche and Silla. Gagaku was represented by two main kinds: instrumental music kangen, which was plaued dusing the ceremonies and the rituals, and the orchestral plays bugaku for a masquerade.
The basic of ladotonalny organization gagaku forms musical five-stage constructions which in the philosophico-ontological dimension is the display "duality" contrast beginnings Yin and Yang, that formulate Harmony (Va).
To study the different types and genre music gagaku, its systematization and mastery of art of its rendering in the Nara period in 710, the first musical chamber Gagakuryeo was formed. Historical source tells, that musical education in Gagakuryeo had three directions Chinese (togacu style), Korea (komagaku, kudaragacu, siragigaku stule) and Japanese (vagaku stile); the classes vocal and dances were the most popular. Besides Indian music (riniyo:gagaku stile), Thai music (toragaku stile), dance and music genre Gigaku and etc. were studied. Educational process of musicians (gakunini) was occurred in an oral secret manner.
For popularization of Japanese music’s segment proper, which isseparated from the notion gagaku in the Heian period, O-uta-dokoro was organized in 816. Emperator Nimmyio madethe music’s reform. Compare the music of China, Korea, India (togaku, kogaku, singaku stiles) and other foreign countries with the role of Japanese vocal-instrumental music (saybara, roey, imayo) and Japanese music for dance and ceremonies (Kagura, Adzuma-asobi, Goseti-no may) was strengthened. During the second musical chamber’s functioning the important attention was accentuated on the aesthetic mono-no avare (magic and changing beauty), peculiar to the views of Bugaku, music for them was borrowed, but both with stage act were popular.
At the same time the instrumental structure of orchestras gagaku, which was formulated and it defined the music style. The most popular were the drums tayko, kakko, gong seko, wind instruments koto, biva, string instruments hitiriki, ryuteki, cimabue, wood palochki samebasi etc.
Scientific fore-shortening of studying music gagaku was fixed in the list of musico-theoretical treatises, its formations were begun in the Koday period. Аmong them: "Dzinti joroku", "Sango joroku" Fudzivaro-no Moronaga, "Kjokunsjo" ("Enlightenment" in X c.) Koma Tikadzane etc.
So, in the aesthetic and stylistic aspects the variety of genres in the system of music gagaku was the display a deep aesthetico-philosophical constant of art thinknig of the Japanese but the organization of the First Second musical chambers were contributed to its popularity and opened the traditions of musico-executive pedagogy in Japan.
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