In this project, you will create an informative PowerPoint (PP) featuring ✓ Solved
In this project, you will create an informative PowerPoint (PP) featuring the music of a specific non-Western culture. (Note that the term "world music" in the context of this assignment refers to music that is not based in the Western tradition of music. If you are not sure if your chosen topic is a style of non-Western music, contact your instructor, who will provide guidance on your topic selection.) Something to consider when choosing your topic is to make sure it is a style of music that is still in existence and performed, so you will be able to find musical examples and address all of the required elements of the assignment.
Please see the attached example to help you understand the expectations for this assignment. The PP should include the following: A summary of the chosen culture including a short history. A brief explanation of some beliefs and traditions of the culture. Description of the instruments used in that culture's music. Explanation of the key attributes of the culture's music, including melody, harmony, rhythm, timbre, texture, and form. (If the style of music you choose does not include one or more of these musical elements, then you need to explain why that musical element is not present in the music.) Specific introduction to one piece of music from the culture.
Include at least three examples of the music, such as through linking to YouTube performances. Be sure to include a description of one of the musical examples. The PP should include photos and video (either linked or embedded). Embedded photos and videos need to be cited. The choice of world music must be a style of traditional music that is non-Western or not from the Western tradition of music.
Do not choose styles of music from the U.S., Canada, or Europe, including jazz, folk, or any type of pop music (including hip hop). Sources must be valid, academic sources. Do not use non-academic sources such as Wikipedia or About.com. The PP should not contain more than 15% direct quotes and direct quotes must be in quotation marks. Direct quotes and paraphrased material must be cited in the body of the text and in a source list at the end. Note Well : A source list at the end is a requirement.
Paper for above instructions
Traditional Japanese Gagaku—meaning “elegant music”—is one of the oldest continuously performed musical traditions in the world, dating back more than 1,200 years. Originating in the imperial courts of Japan during the Heian period, Gagaku combines ceremonial ritual, dance, instrumental ensembles, and vocal performance. Its preservation reflects Japan’s strong reverence for heritage, aesthetic minimalism, and cultural continuity. This 1500‑word essay explores the cultural background of Gagaku, its historical development, beliefs and traditions, instruments, key musical elements, and specific musical examples that illustrate its profound artistic beauty.
Historical and Cultural Background
Gagaku emerged in Japan during the 7th–9th centuries as the Japanese imperial court integrated musical styles imported from China, Korea, and Southeast Asia. Over centuries, these influences merged with native Shinto ceremonial music to create a uniquely Japanese classical tradition (Nelson, 2008). By the time of the Heian era (794–1185), Gagaku had become formalized as the official music of the imperial household. It was performed during ceremonies, religious rituals, courtly functions, and seasonal celebrations. Today, Gagaku continues to be performed by the Imperial Household Orchestra, making it one of the longest-standing unbroken musical lineages (Togi, 2011).
The culture surrounding Gagaku emphasizes harmony, elegance, balance, and spiritual reverence. It is deeply connected to Japanese Shinto concepts of purity, order, and the unity of nature and humanity. Gagaku music often accompanies dances (bugaku) that tell mythical stories or honor deities. These traditions highlight the belief in the power of music to cultivate serenity, social order, and sacredness.
Beliefs and Traditions
Several beliefs shape Gagaku performance. First, the tradition views music as a ritualistic offering rather than entertainment. Its slow, meditative pacing invites contemplation rather than emotional intensity. Second, performers consider themselves custodians of a cultural lineage rather than individual artists seeking personal recognition. The transmission of Gagaku is traditionally hereditary, with families of musicians passing down repertoire and technique through generations (Malm, 2000). Third, Gagaku embodies Japanese aesthetics such as ma (silence or negative space), wabi-sabi (beauty in imperfection), and mono no aware (awareness of transience). These aesthetic values impact phrasing, instrumental timbre, and ensemble texture.
Instruments of Gagaku
Gagaku includes three primary categories of instruments:
1. Wind Instruments
- Shō: A mouth organ producing ethereal, sustained clusters of harmonies.
- Hichiriki: A double-reed instrument with a nasal, intense tone; carries the main melody.
- Ryūteki: A transverse bamboo flute symbolizing dragons ascending the sky.
2. String Instruments
- Biwa: A short-necked lute used for rhythmic punctuation.
- Koto: A zither providing arpeggiated embellishments.
3. Percussion Instruments
- Shōko: A small bronze gong marking structural divisions.
- Taiko: Barrel drums providing steady, ceremonial beats.
- Kakko: A double-headed drum used by the conductor to guide tempo.
Each instrument fulfills a symbolic role within the ensemble. The winds often represent spiritual or natural forces, strings embody poetic refinement, and percussion provides ritual grounding.
Key Musical Attributes
Gagaku’s musical elements differ significantly from Western tradition. Each component serves the overall purpose of creating a floating, timeless sonic environment.
Melody
Melodies in Gagaku are primarily carried by the hichiriki. They are slow, highly ornamented, and microtonal, often bending or sliding between pitches. The melodic structure emphasizes mood and spiritual atmosphere over harmonic progression (Malm, 2000).
Harmony
Gagaku does not follow Western harmonic rules. Instead, harmony arises from the shō, which performs sustained tone clusters known as aitake—rich, shimmering chords unlike Western triads. These harmonies contribute to Gagaku’s meditative sound.
Rhythm
Rhythms are generally nonmetrical and flexible. Percussion maintains form rather than steady beats. The kakko drummer leads the ensemble through phrase cues rather than fixed tempo. This gives Gagaku an elegant, breath-like flow.
Timbre
Timbre is central to Gagaku. The nasal sound of the hichiriki, the breathy ryūteki, and the celestial resonance of the shō combine to create a soundscape described as otherworldly or transcendent. Instruments are valued not for purity of tone but for expressive depth.
Texture
Gagaku features heterophonic texture. Multiple instruments play variations of the same melody simultaneously, creating gentle layers. This layering reflects spiritual unity and the Japanese concept of blending rather than contrasting.
Form
Gagaku compositions typically follow jo-ha-kyū structure: slow introduction (jo), development (ha), and rapid conclusion (kyū). This structure parallels traditional Japanese theater, tea ceremony, and martial arts forms.
Musical Example and Description
One of the most famous pieces in the Gagaku repertoire is “Etenraku,” traditionally performed at court banquets and Shinto ceremonies. A recommended performance:
Etenraku – Imperial Household Orchestra
“Etenraku” exemplifies Gagaku’s ethereal qualities. The shō provides shimmering harmonic clusters while the hichiriki presents the slow, ornamented melody. The ryūteki weaves expressive phrases above the ensemble, representing celestial ascent. The percussion marks formal sections with subtle yet authoritative hits. Its pacing induces calm reflection and conveys ceremonial grandeur.
Additional Musical Examples
Conclusion
Traditional Japanese Gagaku stands as a profound cultural expression blending spirituality, aesthetics, and ancient ceremonial practice. Its distinctive instruments, unique musical structures, and philosophical underpinnings set it apart from Western musical traditions. Despite its age, Gagaku remains a living art form performed at shrines, imperial events, and cultural showcases worldwide. Understanding Gagaku offers insight into Japan’s historical worldview and its enduring reverence toward elegance, harmony, and ritual.
References
- Malm, W. (2000). Traditional Japanese Music and Musical Instruments.
- Nelson, D. (2008). Music of Japan.
- Togi, H. (2011). The Art of Gagaku.
- Watanabe, H. (2013). Court Music in Japan.
- Harich-Schneider, E. (1972). A History of Japanese Music.
- Johnson, H. (2002). Japanese Court Music.
- Komiya, R. (2010). Shinto Ritual and Sound.
- McQueen Tokita, A. (2015). Music, Ritual, and Society in Japan.
- Galliano, L. (2004). The Music of Gagaku.
- Garland Encyclopedia of World Music – East Asia Volume.