…The music and dance of Asian countries that was introduced to ancient Japan was gradually adapted to Japan around the middle of the 9th century, and was reorganized into two parts, the left and right dances of Chinese origin and the right dances of Korean origin, to fit the imperial court society. This is generally called the "music reform" of the Ninmyo era, and the establishment of this system of two parts, the left and right, completed the foundation for the tradition of Bugaku that continues to this day. The left dance is accompanied by Tang music, and the right dance is accompanied by Goryeo music, but exceptions will be discussed later. … From 【Gagaku】…Of these, both Heicho and Taishicho use the Heicho tone (Ho tone) as the Miya (tonic tone), but are classified as separate tones due to the difference between Ritsuryo and Ryo. The tones of Tang music were organized in this way in the mid-Heian period, when the more than ten tones that existed up until then were organized into six tones called "mother tones," and all others were classified as "branch tones" of one of the mother tones (see Musical System Reform below). There are three types of Goryeo music: Ichigetsucho, Heicho, and Socho, each of which is two tones (major second) higher than Tang music, so they are distinguished as Goryeo Ichigetsucho, Goryeo Heicho, and Goryeo Socho. … *Some of the terminology used in relation to the "music system reform" is listed below. Source | Heibonsha World Encyclopedia 2nd Edition | Information |
…古代の日本に伝来したアジア諸国の楽舞は,9世紀半ばごろには徐々に日本化が進み,中国系統の左舞と朝鮮系統の右舞に二分割再編成されて,宮廷社会になじむ制度となった。一般には仁明朝の〈楽制改革〉と称されているが,この左右両部制の成立によって,今日に至る舞楽伝承の基礎が完成された。左舞は唐楽を伴奏とし,右舞は高麗(こま)楽を伴奏とするが,例外については後述する。… 【雅楽】より…このうち平調と太食調とはともに平調音(ホ音)を宮(主音)とするが,律・呂の違いにより別調とされる。唐楽の調子がこのようにまとめられたのは平安時代中期のことで,それまで十指にあまる調子があったのを〈母(おも)調子〉6調に整理し,他をすべて母調子いずれかの〈枝(えだ)調子〉としたのである(後出[楽制改革]を参照)。高麗楽には壱越調,平調,双調の3種があり,それぞれ唐楽より2律(長2度)高いので高麗壱越調,高麗平調,高麗双調といって区別する。… ※「楽制改革」について言及している用語解説の一部を掲載しています。 出典|株式会社平凡社世界大百科事典 第2版について | 情報 |
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