일본 아악의 위치 - 아시아 종합예술로서의 아악의 다양성 -

Abstract

In general, ‘Gagaku’ refers to <the legitimate ritual music> in contrast to folk music, and it is widely used in a cultural area of Chinese characters such as Korea․China․Japan, Vietnam, etc. Though there's difference in different times, Gagaku of each country has been influenced by China and has developed independently. Japanese Gagaku was fused and compiled with the music and dance of other Asian countries on the basis of the music and dance used in memorial services for ‘Shinto(神道)’, the indigenous religion. In this paper, I intend to examine its overall outline and to mention about the problems that Gagaku is confronting this day as well as to examine the influence of Korean culture in its history. In this field, as a court music for rituals, Japanese Gagaku accepted Yeonghyangak(宴饗楽; court banquet music), that is not 'Gagaku in China' but ‘Folk music and dance in China'. In early Tang Dynasty, there existed professional musicians in the capital who played and danced regional music and dance of each country of Asia. By the Heian period, people in charge of Gagaku transferred from ‘Utamai-no-tsukasa(雅樂寮)’ to Konoehu-no-Bukan(近僞府武官) or Tenjohbito(殿上人). Especially in the mid Heian period, there was a large-scale reformation of music system. Foreign music and dance was divided into two divisions, Left Dance(Left music)·Right Dance(Right Music), based on the rule of ‘Bipartition of Left and Right’. It seems that the characteristics of Left Dance․Right Dance correspond with those of the traditional dance of Korea․Japan, in the relation to its accompanying music and the teaching method as well as the movements of dance. In brief, there are quite a few cases implying that Korean culture had a great influence to Japanese Aak, even including ‘Music and Dance of Kuniburi(國風)’, which is believed to be the ‘Japan's indigenous piece’.