Send message to Author

Paper short abstract

This paper discusses reconstruction of lost repertory and creation of new compositions in Gagaku in different periods and contexts. It interrogates the ideological aspects of the present’s relationship to the past and identifies ways to connect the past to visions of the future.

Paper long abstract

This paper discusses instances of reconstruction of lost repertory and creation of new compositions with focus on Gagaku, the ceremonial performing arts (music, dance, and songs) of the imperial court, Buddhist temples, and Shinto shrines of Japan. The repertory of Gagaku is usually described as having been fixed around the twelfth century, with a few subsequent adjustments (mainly, losses of compositions). This image of longue-durée stability belies important changes that took place throughout the history of Gagaku: some compositions were abandoned and new ones were added. Additionally, the loss of repertory was compensated by the creation of “transposed pieces” (watarimono) which, due to the modal system of Gagaku music and the nature of its instruments, sound quite different from the originals; and by the “reconstruction” of some of the lost pieces, in a process that begins in the early Edo period and continues in different forms until today. Reconstruction is never an unequivocal, straightforward activity, but involves a number of decisions that change the final result in crucial ways. Interestingly, new music for Gagaku ensembles and specific instruments has been created from the 1970s; some of these new compositions are essentially explorations of new sound worlds within the framework of contemporary art music, others are much in line with the traditional repertory and even include purported ritual or even religious elements; others yet are situated in between. This creative activity has been accompanied by the reconstruction of abandoned music instruments from Shōsōin imperial repository; most notably, the u (a bass shō) and to an extent, the ō-hichiriki, have now entered the music mainstream.

This paper presents specific case studies showing the dynamic circuit connecting the loss of repertory and instruments with reconstruction processes and new creative activity in different historical periods and contexts. It interrogates the ideological aspects in this circuit about the present’s relationship to the past (Why are compositions and instruments abandoned? Why are they reconstructed? And what is the role of entirely new compositions?), and identifies attempts to re-enchant music performances as ways to connect the past to visions of the future.