Gagaku is the music most often associated with the Imperial Court of Japan. Gagakui s
also the music performed for most ceremonies at important Shinto shrines. Quoting Koizumi
and Okada, “...it exists as the imperial court music and dance of Japan". (1) The
germ—Gagaku—literally means elegant (ga) music (gaku).” Gaerfis, calls Gagaku, “...the
oldest institution performing music and dance in the world...It has had until recently, an
almost secret, almost sacred life...” (2)
Within the genre of music attributed as Gagaku, there are several forms. Koizumi and Okada
identify Kagura or “God music” as the music and dance performed within the context of
Shinto ceremony.(3) Elements of Kagura are also performed in the Imperial setting. Kangen,
and Bugaku are the forms of Gagaku which are purely instrumental music, Kangen is often
associated with Japanese aristocracy, while Bugaku is the music Gagaku dance is performed
to. While both and the dance of Gagaku are significant, these are the two forms which will be
examined in depth. It should be noted that most Gagaku musicians will identify “Gagaku” as
both music and dance, whereas in general, Japanese people associate Gagaku as a musical
form. (4)
Most of documented sources agree, the early 8th century can be noted as the
beginning of Gagaku, specifically 703 A.D. Koizumi and Okada identify a preceding form of
music and dance closely related, performed in the late 6th century titled Gigaku. (5) The 8th
century Japanese Imperial Court was greatly influenced by mainland Asia, in particular the
T'ang Dynasty. It is from here, that most attribute the importation of Gagaku. Elements of
Gagaku are attributed as originating from Korea, Indonesia and India also. (6) It can be said
that Gagaku, is a time capsule of a blending of different Asian traditions.
The 8th century Japanese Imperial Court, based in Nara adopted the philosophical,
religious and ethical ideals from the T'ang Court. Gaerfis states that Gagaku, was frozen as
the T'ang Dynasty fell, so that Gagaku ceased to change at about 1150 A.D. (7) While the
development of Gagaku may have been frozen with the absence of the T'ang influence, there
were changes in who listened to and performed Gagaku music. The aristocratic families of the
Imperial Court, known as the Kuge, themselves became adept at the playing of Gagaku
instruments.(8) Most learned the string instruments, variations of the Chinese Zither, as the
string instruments were the easier of the sort to learn.
A particular type of Gagaku emerged where the reed and percussion instruments would
gradually fade, allowing the aristocrat playing a string instrument to display prowess without
having to play with the professional musicians. One aristocratic family in particular became
associated with this type of playing , as is stated “...with the decline of the Fujiwaras and
the rise of the Heike family in the late Heian period, Gagaku became ever more respectable in
court circles”. (9) This adoption of Gagaku by the Kuge had two very important
consequences. The first being that Gagaku became associated with the nobility and high
culture rather than music for religious ceremonies and court events. The other, by
connecting Gagaku with the aristocratic class, meant that, as they moved to and fro as
directed by success and failures at court, Gagaku, at the least, kangen, traveled with them.
At the end of the 8th century, another social factor had an important impact on the
development of Gagaku. The Imperial Court transitioned to Kyoto, taking the Imperial
Orchestra along with the rest of the court of course. However, for unknown reasons, not all
of the musicians from Nara transferred to the new capital . These musicians instead, stayed
in Nara, cultivating a form of Gagaku that has become known as Nara Gagaku. (10) This
branch of Gagaku, became associated with the growing merchant class, as the former
Imperial musicians, turned to the status seeking merchants for patronage.
At the end of the Heian period, Gagaku music had spread to some minor and local
Shinto shrines, and was adopted by many of the merchant class. These merchants wished
to demonstrate a cultured aesthetic equal to or surpassing the traditional aristocracy. (11)
This dispersal of Gagaku was fortunate as the establishment of the Bakufa government of
the Shogunate (est 1185) had little patience for the trappings of Imperial and Kuge artistic
aesthetic. “At times, the Shoguns imposed stringent economic measures upon the court
which made it barely possible for Gagaku to survive.” (12) This disdain was reversed by the
1580's as Toyotomi Hideyoshi became Shogun. Hideyoshi, by 1588, had established a
permanent court located at Osaka. This court was modeled after the Imperial courts in Nara
and Kyoto, thus a Gagaku orchestra was formed on the occasion of an Imperial visit to the
Osaka Shogunate court. (13)
At the beginning of the Meiji era, Gagaku, culturally, was focused at three places. The
Imperial court at Kyoto, Nara, as well as the Shogunate court at Osaka. These three
traditions were brought together in Edo (Tokyo), under the umbrella of what became known
as the Imperial Ceremonial Music Department.(14) As with the Kyoto transition, some
musicians remained in Osaka, supported by the patronage of the wealthy merchant class,
eventually forming a semi professional tradition of Gagaku. This group group of musicians and
dancers came to rely upon the wealthy merchant class also for sponsorship as they became
sought after by merchants anxious to support local Shrines and acquire the Imperial cultural
aesthetic. One again, Gagaku, is seen as not only an art form, but as a symbol of status,
proof of one's cultured countenance.
In 1877, the official recognition and standard of Gagaku music was established by the
Imperial Ceremonial Music Department. This became known as the “Meiji standard” form of
Gagaku music. This standard became the only official form of Gagaku, as determined by the
Japanese Imperial Ceremonial Music Department. Any other form, was not accepted as
“Gagaku”, thus alienating, the Nara, and Osaka traditions.
In the modern era, those musicians descendent from the Nara and Osaka Imperial
Orchestras are for the most part semi-professional musicians. The argument as to the
authority of the Imperial Ceremonial Music Department and the “Meiji Standard” has been
headquartered from the Osaka musicians, who find themselves without the legitimacy of the
Imperial Ceremonial Music Department musicians, as they are considered outside
acknowledged Gagaku musicians. (15)
This debate between the Imperial Ceremonial Music Department and the non aligned Gagaku
musicians, has at times been acrimonious, however, very recently, the Imperial Ceremonial
Music Department has begun to “recognize” the tradition of Osaka musicians, as Gagaku.
(16) The forms originating from the Heike clan disbursement have yet to be acknowledged, as
they are usually of one form, (Kangen) and without various instruments and dance elements.
Also, as the position of Imperial Ceremonial Music Department musician is an hereditary
position, it is by tradition been a exclusive to those descendent from the musicians of the
Imperial Court. However, recently, those outside of Gagaku families can train to become
Court musicians.
As previously mentioned, the pure instrumental forms of Gagaku are Kangen and Bugaku.
Kangen is closely associated with the Kuge, or aristocratic body, most notably the Heike
clan, who are credited with spreading the form. In fact, the most prominent compositions of
Gagaku, are not those associated with Shrines, but those of Kangen form. (17) I attribute
this to the dispersal of the Heike clan as they fled the Kyoto court thus spreading Kangen
more widely. BuGaku is the music that is played for Gagaku dance performances.
There are three forms of Bugaku, Left, Right, and Utamono. Bugaku music known as
Left is derived from elements of the T'ang Imperial Court. Music known as Right, typically
denotes Korean origin, especially the accompanying dance. Utamono is Bugaku using the
instrument of the human voice, typically monks chanting. (18) Within these three groups are
numerous sub groups, largely depending upon the composition of musicians playing. Each
form also has specific instruments that are unique to that specific group. It should be noted,
that several instruments were deemed obsolete and eliminated during the formation of “Meiji
standard”. (19)
Gagaku is typically performed by eight instrument groups using a combination of three
instrument types, Reed, Strings (Zither), and Percussion. “The number of different parts, ie.,
different instruments, is eight, to which substitutions are made for different types of Gagaku
composition. The instruments used to perform Gagaku music are indeed numerous, however,
many have become obsolete. In any case, there are essentially three types of instruments
used, reeds, strings, and percussion. (20)
The composition elements of Gagaku music, of course vary upon the circumstances of the
performance. However, a few generalizations can be determined concerning the playing of
Gagaku music. Below Gaerfis, describes a typical Gagaku composition played for ceremonial
function.
...These eight instrument groups are: three wind instruments; two string instruments and three percussion.
This number, to which can be added the human voice, constitutes the maximum of different parts. When two
or more of one instrument are used, all play exactly the same part, resulting in the sound of a greatly
amplified single part. The three wind instruments play the main melody and are most important in the
ensemble. Of the Reed instruments, the most important of several are the hichiriki, fue, and the sho. (21)
As previously stated, the position of musician within Imperial Ceremonial Music Department
has been, traditionally, a hereditary one. This means that many of the Musicians of the
Imperial Court (as well as Osaka musicians) can trace their lineage all the way to their
Chinese and Korean ancestors. Very recently the Imperial Ceremonial Music Department has
allowed non hereditary members to train with Imperial Court musicians, however, these
recruits must be relatives of the Imperial Court staff. (22)
In addition to the efforts of the ICMD to preserve Gagaku music through increased exposure,
many artists outside of the ICMD have taken Gagaku music and performance outside its
tradition as well. This is strongest in those communities with a strong tie to a Kangen musical
tradition. However, some imperially-trained musicians have become increasingly aware that
preservation alone is not enough to keep Gagaku alive, such as former Imperial Household
Music Department member Sukeyasu Shiba, who started the Reigakusha gagaku ensemble
outside of the court. This has recently had impact as Imperial Court affiliated artists
participate in training new artists outside of the Imperial Ceremonial Music Department.. Mr.
Shiba's as well as similar ensembles are impacting the present-day international musical
scene with their performances of gagaku compositions, both classic and contemporary. (23)

Gagaku, today is the oldest recorded continuous artistic expression known. It is almost
almost a literal time capsule to the 7-12th centuries of Japanese music and dance. Gagaku
also preserves elements of the music and dance of the greater Asian mainland as well.
Today, gagaku in not just performed at private ceremonies and functions. In efforts to
preserve Gagaku, Gagaku musicians have taken to performing Gagaku to a greater audience.
At the Imperial Court, two performances a year are open to the public. In addition, the ICMD
orchestra has toured Japan, as well as foreign countries, to spread appreciation of Gagaku
music. Indeed, the West was introduced to Gagaku music at a special exhibition for the
United Nations General Assembly in 1959. Since then, an international audience has been an
ever increasing component of Gagaku performance.
In conclusion, because Gagaku holds significant parts of Asian history alive, it can be argued
that Gagaku is one of the most important forms of art alive today. Asia holds 60% of the
world's population according to the CIA World Factbook. From this we can infer that Gagaku,
holds elements of history, culture and art for 60% of the World's population, alive and in
preservation for continued aesthetic appreciation and edification.
Notations and Works Cited

1. Koizumi, I. Okada, K. Gagaku;The Noble Music of Japan. Gottingen, Institut Fur Den
Wissenscftlichen Filmen, 1974. Pg 2
2. Garfias, Robert. Gagaku: The Music and Dance of the Imperial Household. New York,
NY: Theatre Art Books, 1959.
3. Koizume & Okada. Pg 2
4. Garfias
5. Koizumi & Okada. Pg 3
6. Imperial Ceremonial Music Department website, http://
7. Gaerfis
8. Tottman, Conrad. Japan Before Perry. Berkely, CA, University of California Press, 1981
9. Koizumi & Okada. Pg 4 & 85
10. Koizumi & Okada. Pg 4
11. Koizumi & Okada. Pg 10
12. Koizumi & Okada. Pg 4
13. Koizumi & Okada. Pg 5
14. Institute for Medieval Japanese Studies website:
http://www.medievaljapanesestudies.org/current-
activities-programs/gagaku-classical-japanese-music.html
15. Imperial Ceremonial Music Department website:
http://www.kunaicho.go.jp/e-culture/gagaku.html
16. Imperial Ceremonial Music Department
17. Gaerfis
18. Gaerfis
19. Gaerfis
20. Koizume & Okada pg 5 & 85
21. Gaerfis
22. Institute for Medieval Japaneses Studies & Imperial Ceremonial Music Department.

Bibliography

Garfias, Robert. Gagaku: The Music and Dance of the Imperial Household. New York, NY:
Theatre Art Books, 1959.
Koizume, I. Okada, K. Gagaku;The Noble Music of Japan. Gottingen, Institut Fur Den
Wissenscftlichen Filmen, 1974
Tottman, Conrad. Japan Before Perry. Berkely, CA, University of Calafornia Press, 1981
Institute for Medieval Japanese Studies website:
http://www.medievaljapanesestudies.org/current-activities-programs/gagaku-classical-japanese-music.html
Imperial Ceremonial Music Department website: http://www.kunaicho.go.jp/e-culture/gagaku.html