日本の古楽：外来の影響を受ける以前の音The Ancient Sounds of Japan: Exploring Kogaku Before Foreign Influences
In this article, we will delve into kogaku (古楽), a type of traditional music that emerged in Japan long before the influence of foreign cultures.
When people hear the phrase “traditional Japanese music,” what comes to mind? Most would likely think of instruments such as the koto, shamisen, or shakuhachi. Others might recall gagaku (雅楽), the court music performed in Shinto rituals, or the musical elements of traditional performing arts such as Noh (能楽) and Kabuki (歌舞伎).
However, much of what is considered “traditional Japanese music” today has undergone transformations due to foreign influences at different points in history. For this reason, music that predates these external influences is distinguished as kogaku (ancient music). Yet, defining kogaku precisely is complex due to the historical changes that have taken place over centuries.
The definition of kogaku is closely tied to the historical context of the 8th century. In particular, it relates to the establishment of the Taiho Code (大宝律令) in 701 under Empress Jito (持統天皇). This legal framework, modeled after the Tang Dynasty’s legal system, led to the creation of the Gagakuryo (雅楽寮), an official bureau dedicated to music.
The establishment of the Gagakuryo was heavily influenced by music from continental Asia, which had been introduced to Japan through Baekje (百済) and Silla (新羅)—two ancient Korean kingdoms that maintained close ties with Japan.
As a result, music that existed in Japan before the founding of the Gagakuryo is classified as kogaku. However, even the definition of gagaku itself is not straightforward. Originally, gagaku referred to Tang Dynasty music (唐楽) from China and Samhan music (三韓楽) from Korea, but over time, it came to include elements of Japan’s own ancient music as well.
Kogaku can be broadly divided into four categories:
- Kagura-uta (神楽歌) – Sacred songs performed in Shinto rituals.
- Saibara (催馬楽) – Songs originating from folk music, adapted into court music.
- Kume-uta (久米歌) – Songs associated with the Kume clan, an influential ancient family.
- Azuma-asobi (東遊) – Ritual music performed in the eastern regions of Japan.
A key characteristic of kogaku is that it was not purely instrumental. Instead, it was always centered around vocal elements—either singing or storytelling. This distinguishes it from the instrumental-only gagaku that was introduced from China and Korea.
Even today, instrumental gagaku is often performed during New Year’s celebrations and festivals in Japan, leading many Japanese people to believe it is an indigenous musical tradition. However, in reality, it has foreign origins.
However, Japanese sokyoku (箏曲), which is played using instruments such as the shamisen and koto, generally includes vocal accompaniment, though some pieces are purely instrumental.
Interestingly, the modern idea of “traditional Japanese music” as purely instrumental is a relatively recent phenomenon that emerged after the Meiji era (1868–1912). This shift followed the lively import of Western classical music.
This historical shift clarifies that the essence of kogaku lies in koyo (古謡), or ancient chants. The foundation of Japan’s earliest music was not just melody or instruments, but rather the power of words—sung or spoken.
In fact, ancient Japan had official storytellers known as kataribe (語部), who played a crucial role in preserving and transmitting oral traditions. These storytellers held an esteemed position in society, as they were responsible for passing down historical and mythological narratives.
Because it predates written music notation, it is nearly impossible to reconstruct the exact melodies or rhythms of Japan’s ancient music. After all, more than 1,300 years have passed since those early times.
However, glimpses of kogaku remain in Japan’s oldest surviving texts:
- Kojiki (古事記, compiled in 712)
- Nihon Shoki (日本書紀, compiled in 720)
While both texts were written in the 8th century—during a period when Japan was already absorbing influences from foreign cultures—they were based on much older oral traditions. In fact, the compilation of Kojiki was a state-led project initiated by Emperor Tenmu (天武天皇, r. 673–686) to preserve Japan’s historical and mythological heritage.
One of the earliest references to kogaku can be found in a famous myth from Kojiki: the “Ame no Iwato” (天岩戸) legend.
In this story, Amaterasu (天照大神), the sun goddess and ancestral deity of the imperial family, retreats into a cave, plunging the world into darkness. Chaos ensues, with famine and disease spreading across the land. To lure Amaterasu out of the cave, the remaining deities perform a ritual ceremony involving music and dance.
This event is considered the mythological origin of kagura (神楽), one of the four main types of kogaku. Even today, kagura remains a sacred ritual performed at the imperial court and major Shinto shrines, rather than a form of entertainment. The songs (kagura-uta) sung during these ceremonies preserve some of the earliest surviving traces of Japan’s ancient music.
So, what was Japanese music truly like before foreign influences took hold?
As we explore this question, we uncover a deeper cultural concept: kotodama (言霊)—the belief in the mystical power of words.
「日本の伝統音楽と聞けば、皆さんは何を思い浮かべますか？ 実は一般的に知られている伝統音楽は、8世紀頃に中国や朝鮮の影響を受けて以降、広まったものです。では一体、古代日本の音楽とはどのようなものだったのか、それを探るために今回は「古楽」と呼ばれる音楽の歴史に注目します。」
When you hear the term ‘traditional Japanese music,’ what comes to mind? In fact, most well-known traditional music spread after the 8th century, influenced by China and Korea. So, what was ancient Japanese music like before these influences? To explore this, we will focus on the history of a genre called ‘kogaku’ (ancient music).