The reevaluation of traditional music in modern Japan: focusing on transcriptions of gagaku into western notation

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This study aims at clarifying the recognition of traditional Japanese music in relation with newly introduced western music in the late 19^<th> to early 20^<th> centuries Japan, focusing on endeavor to transcribe gagaku in western notation. In concrete terms, first, I analyzed KONOE Naomaro's (1900-1932) transcriptions of gagaku pieces in comparison with what he wrote about the issues of transcription and the preservation of tradition. The analysis has revealed that his transcriptions were a place for him to realize a revival of gagaku in its ideal form, which he deduced from his historical and analytical research. Secondly, an investigation of the transcriptions of gagaku by Tokyo Ongaku Gakko, Hogaku Chosa Gagari (HCG) (1916-1927) was carried out, which has clarified that the transcriptions were polished several times until the completion and that transcribers edited the notes on the transcription, "Gagaku kifuho hikae" to guide readers to a comprehensive understanding of gagaku. Thirdly, a comparison of the gagaku transcriptions by HCG with a recorded material made in 1903 has showed that the tempo of gagaku in the early 20^<th> century was faster than it is today and phrases were not cut into smaller pieces as they are today.According to the various discourses on transcription in western notation found in newspapers and journals of the time, transcriptions meant to them 'universalization', documentation, preservation or creation of Japanese traditional music.