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''Yayue'' () was originally a form of Chinese classical music that was performed at imperial courts. The basic conventions of ''yayue'' were established in the Western Zhou. Together with law and rites, it formed the formal representation of aristocratic political power. The word ''ya'' (雅) was used during the Zhou Dynasty to refer to a form of song-texts used in court collected in ''Shijing''. The term ''yayue'' itself first appeared in the ''Analects'',〔〔(【引用サイトリンク】title=The Analects - Yang Huo )〕 where ''yayue'' was considered by Confucius to be the kind of music that is good and beneficial, in contrast to the popular music originated from the state of Zheng which he judged to be decadent and corrupting.〔〔(【引用サイトリンク】title=The Analects - Wei Ling Gong )〕 ''Yayue'' is therefore regarded in the Confucian system as the proper form of music that is refined, improving, and essential for self-cultivation, and one that can symbolize good and stable governance. It means the kind of solemn ceremonial music used in court, as well as ritual music used in temples including those used for Confucian rites. In a broader sense, ''yayue'' can mean a form of music that is distinguishable from the popular form of music termed ''suyue'' (俗樂) or "uncultivated music", and can therefore also include music of the literati such as ''qin'' music. The court ''yayue'' has largely disappeared from China, although there are modern attempts at its reconstruction. In Taiwan ''yayue'' is performed as part of a Confucian ceremony, and in China in a revived form as entertainment for tourists. Other forms of ''yayue'' are still found in parts of East Asia (the music however does not necessarily correspond to Chinese ''yayue''), notably the ''gagaku'' in Japan, ''aak'' in Korea, and ''nhã nhạc'' in Vietnam. The Korean ''aak'' in particular preserved Song dynasty elements long lost in China. ==History== According to tradition, ''yayue'' was created by the Duke of Zhou under commission from King Wu of Zhou, shortly after the latter's conquest of Shang. Incorporated within ''yayue'' were elements of shamanistic or religious traditions, as well as early Chinese folk music. The ''Book of Rites'' records a number of situations where ''yayue'' might be performed. These included ceremonies in honour of Heaven and Earth, the gods or the ancestors. There were also detailed rules on the way they were to be performed at diplomatic meetings. ''Yayue'' was also used in outdoor activities, such as aristocratic archery contests, during hunting expeditions, and after the conclusion of a successful military campaign. ''Yayue'' was characterised by its rigidity of form. When performed, it was stately and formal, serving to distinguish the aristocractic classes. It was sometimes also accompanied by lyrics. Some of these are preserved in the ''Book of Songs''. Dance was also closely associated with ''yayue'' music, and a ceremonial or ritual dance may accompany a ''yayue'' performance. With the decline of the importance ceremony in the interstate relations of the Spring and Autumn Period, so did ''yayue''. Marquess Wen of Wei, for example, was said to prefer the popular music of Wey and Zheng to the ancient court music, listening to which he may fall asleep. Confucius famously lamented the decline of classical music and the rites. Much of the ''yayue'' of the Zhou Dynasty continued into the Qin Dynasty. However, some pieces appeared to have been lost or were no longer performed by the Han Dynasty, and the content and form of ''yayue'' was modified in this as well as the succeeding dynasties. During the Tang Dynasty components of popular music were added to ''yayue''.〔(【引用サイトリンク】title=Change and Continuity of Chinese Yayue in Korea )〕 However, the dominant form of music in the Sui and Tang court was the entertainment music for banquets called ''yanyue'' (燕樂), and the term ''yayue'' became reserved for the music of Confucian rituals used in temples of the Imperial Family and the nobility as well as in Confucian temples. During the Song Dynasty, with Neo-Confucianism becoming the new orthodoxy, ''Yayue'' was again in ascendancy with major development, and a ''yayue'' orchestra in this era consisted of over 200 instrumentalists. Two important texts from the Song Dynasty describing ''yayue'' performances were Zhu Xi's ''Complete Explanation of the Classic of Etiquette and Its Commentary'' (儀禮經傳通解) and ''Collection of Music'' (樂書) by Chen Yang (陳暘). In 1116, a gift of 428 ''yayue'' instruments as well as 572 costumes and dance objects was given to Korea by Emperor Huizong upon request by the Emperor Yejong of Goryeo. As a result, elements of Song Dynasty ''yayue'' music such as melodies are still preserved in Korea. Some forms of yayue survived for imperial ceremonies and rituals until the fall of the Qing Dynasty when the imperial period of China came to an end. ''Yayue'' however was still performed as part of the Confucian ritual in China until the Communist takeover in 1949 when it completely disappeared. There has been a revival in ''yayue'' in Confucian ritual in Taiwan since the late 1960s, and in mainland China since the 1990s. A major research and modern reconstruction of ''yayue'' of the imperial court was initiated in Taiwan in the 1990s, and in mainland China a performance of ''yayue'' music in 2009 by Nanhua University's ''yayue'' music ensemble in Beijing also spurred interest in this form of music.〔 There are however questions over the authenticity of these revived and recreated ''yayue'' music and dances, nonetheless some argued that such music and dances have always changed over time through succeeding dynasties, and that any changes introduced in the modern era should be seen in this light. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Yayue」の詳細全文を読む スポンサード リンク
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