The basic structure of the <i>togaku</i> modes

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Other Title
  • 唐楽諸調子の基層構造
  • 唐楽諸調子の基層構造--『三五要録』の分析による
  • トウガク ショ ヂョウシ ノ キソウ コウゾウ サンゴ ヨウロク ノ ブンセキ ニ ヨル
  • Based on analysis of <i>Sango Yoroku</i>
  • 『三五要録』の分析による

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Abstract

This paper clarifies the basic structure of the modes of togaku, based on analysis of Sango Yoroku, an extensive collection of notation for the biwa (four-stringed short-necked lute) compiled by Fujiwara no Moronaga (1138-1192). It is said that the modes of togaku derive from modal usage in China of the Tang dynasty (618-917). Detailed analysis of the full range of individual pieces in notated in Sango Yoroku, however, indicates that various transformations occurred as the modes were transmitted in Japan, which resulted in a multi-levelled japanization of modal usage. In this paper three main levels of japanization have been identified: 1. changes in mode-key (Ch. jun, Jp. kin); 2. incorporation into certain modes of pieces originally in other modes; and 3. changes of scale structure in certain modes.<br>Next, in an effort to determine the basic structure common to all modes, statistical analysis was made of the modal usage in the melodies of pieces in Sango Yoroku with reference to the four basic Tang modal species, namely gong (Jp. kyu, church lydian), shang (Jp. sho, church mixolydian), yu (Jp. u, church dorian) and jue (Jp. kaku, church aeolian). Factors considered include the relative frequencies of appearance of the degrees of the modal scale, tendencies in melodic progression, and the position of mordent-like melodic ornamentation. A basic structure was identified: the character of each mode is determined by the relationship between two factors, namely the existence of two melodic centers, which might be called keynote and sub-keynote (the relative position of which differs according to mode), and the appearance of mordent-like ornamentation at specific positions in the basic heptatonic series. This structure is based on the concept of mode-key, which was not fully understood or transmitted in Japan, and it therefore seems reasonable to surmise that it derives from Tang-dynasty modal usage.

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