Study of the Modern Gagaku Tradition : Focusing on the Promotion of Gagaku as the Official Music of Shinto Ritual

本研究考察了战前日本宫廷和神社在神道教仪式中引入歌乐的情况。明治维新后，雅乐被同化为与祭祖有关的新仪式。在此过程中，以乐乐为中心的乐体裁从宅乐转向了本土的歌舞形式。最重要的形式是神乐，它取代了togaku作为1870-73年间用来伴奏向神献上和移走祭品的音乐，并在1938年再次使用。另一方面，神道教将歌乐纳入神社仪式的进程较为缓慢。从1883年开始，乐手们开始在Koten Kokyousho教授乐手，而在1900年左右，他们还在全国各地为神道教牧师教授乐手工作坊。此外，大约在这个时候，许多新的神道教，如天理教，开始采用歌乐作为他们的仪式音乐。这样，近代乐作为神道音乐获得了前所未有的新形象和新现实。

This study examines the introduction of gagaku into the Shinto rituals of the Imperial Court and Shinto shrines during the pre-war years.Following the Meiji Restoration, gagaku was assimilated into the new ceremonies associated with imperial ancestor worship. During this process, the genre of gagaku viewed as central shifted from togaku to the indigenous song and dance forms. The form that gained most importance was kagura, which replaced togaku as the music used to accompany the presentation and removal of offerings to the gods during 1870-73, and used again in this context in 1938.On the other hand, the incorporation of gagaku into Shinto shrine ritual proceeded more slowly. From 1883 musicians from the Gagaku Bureau began to teach at Koten Kokyousho, while around 1900 they also taught gagaku workshops for Shinto priests, held at sites throughout the country. In addition, it was at about this time that many of the new Shinto cults, such as Tenri-kyo, began to adopt gagaku as their ritual music. In this way, gagaku of the modern period acquired an unprecedented new image and reality as the music of the Shinto religion.