On the occasion of the Sui and Tang dynasties, Japan sent Tang envoys to introduce the political culture and musical culture of the Sui and Tang Dynasties into Japan, and from the perspective of musical culture, Japanese music, especially Japanese gagaku, has a close relationship with the music of the Tang Dynasty on the mainland.
1. Analysis of the concept of Sino-Japanese Gagaku
Yale originated in China. It first appeared in the ancient Chinese "ritual music system", and the word "Yale", which means "Yazheng music", mainly appeared in the form of singing and playing in archery, Yan rites and village wine ceremonies. Japanese gagaku is also a musical genre with a history of thousands of years, and its main body is the three major genres of Japan, Japanese wagaku, sanhangaku, and karaku.
Chinese "Yagaku" and Japanese "Yagaku" are actually two completely different musical genres, and they have their own unique artistic styles. In fact, in the Tang Dynasty, Yanle and Tang Dynasty Yale were two completely different musical genres, and the Japanese "Yagaku" was introduced into the "Yanle" in mainland court music.
Sui and Tang Dynasties, especially Emperor Taizong of Tang, in the Zhenguan era, whether it was military, political, economic, or cultural, all reached its heyday, with the development of the economy, the rulers began to integrate the music of the Han people, with the music of other ethnic groups, as well as the music of the city, to form a new court music in the Tang Dynasty era, named - Yan Le.
"Yanle" is a dance used for court feasts and entertainment, "Yanle" is a popular dance in the Tang Dynasty, it is more dynamic and popular with rulers than "Yale", "Tang Le" was introduced from Japan, but not the Chinese "Yale", but the Tang Dynasty's "Yanle". Therefore, traditional Chinese music is related to the Japanese Yagaku, which is the Yanle of the Tang Dynasty.
Second, the absorption of Tang Dynasty Yanle by Japanese Gagaku
The Tang Dynasty "Yanle" sent envoys from Japan into Japan, and the Japanese mixed Japanese native music with a small amount of foreign music according to the name of the Chinese "Yale", forming the Japanese "Yagaku", and the Tang Dynasty "Yanle" was an important part of Japanese Yagaku.
(1) The absorption of music, musical instruments, music and dance of Yan music in the Tang Dynasty
1. Absorption of Tang Dynasty music
Japan has absorbed the Yan music of the Tang Dynasty many times, first, it should be drawn from the Tang Dynasty Yan music, which can be traced back to the Japanese Zhu Tianfu Chengping period, according to Yuanshun's "Wanoma Class Cluster":
"Among the 13 books of Yale are 132 songs of Tang music and 30 songs of Koryo music; The repertoire of Tang music includes: Yiyue tuning, Shatuo tuning, double tuning, flat tuning, Dao tuning, begging tune, sex tuning, yellow bell tuning, water tuning, panshi tuning and horn tuning. ”
It can be seen that Tang Dynasty music accounted for a considerable proportion of Japanese Ya music, some were later preserved, and some were adapted to form the characteristics of Japanese music, but the style of Tang Dynasty music in it remained unchanged.
2. Absorption of Tang dynasty musical instruments
The Tang Dynasty was the peak of musical instrument performance on the mainland. When the Japanese absorbed Tang music, of course, they also borrowed from other instruments, and Fujiwara Sadatoshi brought the Tang Dynasty pipa and acting taishu to Japan; The two volumes of the "Lulu Xuan Official Map", the second volume of the Sun and Moon Map, twelve legal pipes and two shan, were brought back from the Tang Dynasty by the Tang envoy Yongzhong, who stayed in China for the longest time. In addition, there are many musical instruments introduced to Japan during the Tang Dynasty, such as; Nowadays, the most famous musical instruments in Japan are shakuhachi, se, koto, and so on.
3. Absorption of Tang Music Dance
With the introduction of music and musical instruments from the Tang dynasty "yanle", the "music and dance" of the Tang dynasty was also introduced to Japan. The music and dance in Japanese Yale are also divided into left, right and left for Tang Dynasty music and dance, and the Tang Dynasty music and dance are transmitted to Japanese Yagaku, including: "Taiping Le", "Long Live Le", "Ling King", "Kunlun Mountain Immortal" and so on.
4. Absorption by musical institutions
In the Tang Dynasty, the Taichang Temple, Jiaofang, and Liyuan were the official Lefu of the mainland. The Japanese envoys not only introduced Tang Dynasty music into Japan, but also established the Nippon Music House with Yarakucha as the main body as the music administrative organ on the basis of the Tang Dynasty Music House.
5. Gagaku Banquet
The "Yagakuden" was the first music organization in Japan, and like the "Great Music Hall" of the Tang Dynasty, it was used to manage the music of the imperial court, and imitated the "Teaching Workshop" of the Tang Dynasty to establish a system of "left and right music".
6. Inner teaching workshop and blowpipe department
In the Nara Dynasty, the Japanese imperial court also had a name similar to the Tang Dynasty's Neijiaofang, which was established by the Japanese imperial court to train and teach women's music, as was the Japanese imperial court. The Drum Music Division was established after the Drum Music Division of the Tang Dynasty.
(2) The absorption of musical ideas
Chinese music thought is mainly dominated by the Confucian theory of "rites" founded by Confucius, and the Chinese theory of "rites" has also been absorbed by Japan. "According to the Japanese classic "Book of Japan", 'In the first year of the Emperor's Heaven, I built an ancestral temple in a palace in Gecheng and held a grand ball.' "In 757 AD, the Japanese emperor Xiaoqiantian said in the imperial edict that 'in peace, Mo is good at etiquette', 'change customs, do not be good at fun', which is the same as our Confucian thought.
3. The development and evolution of Japanese Gagaku
During the Sui and Tang dynasties, Yanle entered Japan as one of the Japanese gagaku, which had a great impact on the development of Yagaku in Japan. With the end of the Tang Dynasty, there were fewer and fewer exchanges between China and Japan, and Japan no longer sent envoys to China, but carried out internal integration.
It was at this time that the Japanese made a revolution in Japanese gagaku, successfully transforming it into Japanese dance music and wind music, transforming the originally mainly foreign music into Japanese gagaku with Japanese characteristics, and after several twists and turns, it was completely Japaneseized.
(1) Localization of Japanese gagaku
1. Changes in the form of music
Himegaku, which came to Japan, is a comprehensive dance music that combines song and dance. After the reform of the Heian Dynasty, the singing music in the Tang Dynasty Yan music was abolished and divided into two categories: dance music is mainly dance music, supplemented by string music, that is, only musical instruments are played music, and Japanese Yagaku absorbs and retains Tang Dynasty Yan music dance and string music.
2. Changes in the style of the composition
The Yanle big song of the Sui and Tang Dynasties, according to the different tunes, can be divided into scattered songs, medium songs, and broken books, while the tunes of Japanese Yale can also be divided into different orders, and the tunes of broken Yale are roughly the same as the Yanle big songs of my Tang period, but they are all modeled after the tunes of the Sui and Tang periods.
For example, the famous Japanese guzheng group songs "Fugui" and "Caibo", both added decorative notes to Tang Le's "Yue Tianle", coupled with Japanese lyrics, and over time, the Japanese folk song "Kuroda Festival" - Chikuzen folk song.
3. Changes in playing instruments
Yanle in the Tang Dynasty is a combination of traditional Han music and ethnic minority music, so it uses a wide variety of musical instruments, in the sitting trick alone, there are more than 26 kinds of musical instruments, and in the sitting trick, there are more than ten kinds of musical instruments from ethnic minorities; In the performance, there are more harps than hengqins.
In Japanese Yagaku, there are only eight musical instruments that can be played, that is to say, in Japanese Yagaku, the instruments played by Japanese Yagaku are basically played by Yanle in the Sui and Tang Dynasties, so the instruments played by Japanese Yagaku are much more than those played by Yanle in the Sui and Tang Dynasties, but they are the instruments played by Yanle in the Sui and Tang Dynasties.
4. Changes in the number and scale of performances
The "Yan Le" of the Sui and Tang Dynasties was magnificent and numerous, such as "Taiping Le", which was composed of an ensemble of 1200 people. Under Japan's reforms, the number of Japanese gagaku gradually decreased, and eventually three different types of music were formed: six, four, or two. The scale of this performance has also undergone earth-shaking changes.
5. Changes in music theory
Until the Heian period in Japan, songs and names imported from China were used in Japan. After Anshi History, the Japanese began to Japaneseize Chinese doctrine and create a name unique to Japan.
(2) The inevitability of the localization of Japanese gagaku
Japanese Gagaku is based on Sui and Tang Yanle, and gradually Japaneseized through the innovation of the Heian period, so the Japaneseization of Japanese Gagaku has its rationality and necessity.
First of all, the music of the Sui and Tang dynasties was written with handwritten scores, which were very incomplete, and the learning of Tang music mainly relied on oral teaching between master and apprentice. Therefore, in the process of studying Tang music, sometimes the original music will be messed up, and the Japanese envoy to Tang will also face such a problem. Therefore, the Japanese envoy sent Yanle of the Tang Dynasty to Japan, which became a perversion.
Secondly, the Tang music works introduced into Japan are likely to only be introduced into the dance sections of the Tang Dynasty music and dance, or only some music sections, and these incomplete Tang Dynasty music and dance that were introduced left a lot of space for the creation and integration of later Japanese musicians.
Third, Tang Le disappeared soon after entering Japan, and Japanese musicians modified and restored it, and some Japanese musicians got the name Tang Le from the Japanese Gagaku, they just brought Tang Le here, and did not bring Tang Le's name here, that is, they created it themselves, so the names of these songs are taken from the dances of the Tang Dynasty, in fact, they were all created by the Japanese themselves.
In view of the above, Yanle, which was introduced to Japan from the Sui and Tang Dynasties, had many unstable factors in music and dance, so the Japaneseization of Japanese gagaku became an inevitable conform to the law of musical development.
Epilogue:
Japan absorbed Yanle from the Tang Dynasty, and after improvement, it was formed into Japanese Gagaku, which is unique to Japan. The Yanle of the Tang Dynasty in China greatly influenced the development of Japanese gagaku in terms of musical instruments, music theory, musical concepts, and music systems.
In the Sui and Tang Dynasties, the Japanese brought Tang Dynasty music to China by sending Tang envoys, but in Japan, after several generations of Japanese efforts, Japan-specific music was formed, and many musical scores were preserved in Japan's main warehouse, which is considered a national treasure of Japan, and these cultural heritage belonging to the mainland, but in other countries, they have been preserved.
Bibliography:
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[3] Lin Nengjie's Tang Music, Stepping Song and Scattered Music in Japan[J].
[4] WU Zhao, LIU Dongsheng. History of Chinese music[M].