Sources

"Chinese Music Through the Ages, briefly...". Ding Yi Music Company (2012)
"History of Japanese Traditional Music". Columbia Music Entertainment (2002)
Dae-Cheol, Sheen. "Korean Music in the 19th Century". Univeristy of London (2009)
"Story of Hindustani Classical Music". ITC Sangeet Research Academy (2012)
"Chinese Folk Music". The McGraw-Hill Companies.
"Musical Instruments of the Indian Subcontinent". The Metroploitan Museum of Art (2012)
"A brief History of Carnatic Music". Nadasurabhi Cultural Association.

Sporre, Dennis J. Reality Through the Arts. Pearson (2013)

India

     According to “Musical Instruments of the Indian Sucontinent” there are two categories of Indian music, Hindustani and Carnatic (http://www.metmuseum.org/toah/hd/indi/hd_indi.htm). Each style of music uses “the system of ragas—sets of pitches and small motives for melody construction—and tala for rhythm” (The Metropolitan Museum of Art). Both a raga and a tala are a set of rules and patterns in which the musician works around to create a piece of music. While Hindustani is known for its instrumentalists, the Carnatic is known for its vocalists. Hindustani music uses instruments such as, a sitar, sarod, tambura, sahnai, sarangi, and table. Carnatic music uses the vina, mrdangam, kanjira, and violin. Bamboo flutes are a common instrument used in each style of music.

 musicinformation-to.blogspot.com                          chandrakantha.com
     The “Story of Hindustani Music” is a site which explores Hindustani Indian music of the 19^th century (http://www.itcsra.org/sra_hcm/sra_hcm_chrono/sra_hcm_chrono_modern.html). One style of music that originated in the 19^th century was Nawab Wajid Ali Shah’s pageants, called jogia jashan. These pageants consisted of the kings and palace maids parading about as yogis, or yoga practioners, and it was these pageants that actually set the stage for modern Hindustani theatre. The thumri was another form of music that evolved which was romantic, devotional music, formed from the Chhliyka which was a genre that “combined song and dance with dramatic gestures” (ITC Sangeet Research Academy).  Another person that added to the world of Indian music in the 19^th century was Ramnidhi Gupta, or Nidhubabu. He created the Bengali tappa, which “assimilated the features of the Tappa in Hindustani music and the lilting rhythm of Bengali music” (ITC Sangeet Research Academy). The tappas were secular and written in Bengali and it was said “they were different from the usual devotional model of singing about love through mythological pairs, usually Radha and Krishna” (ITC Sangeet Research Academy). Finally, Sourendramohan Tagore was another person who played a part in the creation of a new style of music in the 19^th century which made Hindustani music international through styles and techniques which would appeal to many.

http://youtu.be/TXE3sC14XDI

     “A Brief History of Carnatic Music” explores the Indian music style called Carnatic(http://www.nadasurabhi.org/articles/6-a-brief-history-of-carnatic-music?showall=1). In the 19^th century India experienced the fall of the Carnatic Trinity, which was a group of three composers that had a great impact on the music of India. Since most of their legacy carried on orally, their music vanished which led way to their disciples traveling the land to carry on their musical traditions. Several composers and musicians arose in the period marked by musical forms such as, varnams, javalis, and tillanas. Varnams are long pieces of work found in recitals. Javalis are musical pieces used often at the end of concerts and in dance performances. It was at this time the violin became a popular instrument of choice and solo pieces increased in number. As well, percussion became largely appreciated and used within Indian music. Finally, in the late 19^th century the rich businessmen began to support musicians, so when the High Court opened in Madras it became the musical central.

 http://youtu.be/4Fvt9ZOYuEg

Korea

     In “Korean Music in the 19^th Century” Sheen Dae-Cheol explains the traditional music of 19^th century Korea was court music, literati music, and folk music(http://www.soas.ac.uk/koreanstudies/soas-aks/soas-aks-papers/file55350.pdf). The court music was played at court rituals and parties, but the literati and folk music played a much larger role in Korean life.

 wiki.smu.edu.sg                                                                             factsanddetails.com                       staff.pausd.org 

     
      Sheen Dae-Cheol said Boheoja was a literati style of music, with variations called Yeomilnak, Yeongsan-hoesang, Gagok, and Gasa. Boheoja was actually imported from the Chinese Song Dynasty and continued to evolve over time. In the 19^th century it was broken up into seven movements and developed into four variations. Yeomilnak was the first variation, which was used at court parties and shortened to six movements in the 19^th century. The Yeongsan-hoesang was another style of music used in the courts that transformed into literati music. The Gagok is a style of literati music that was sung by women. Finally, the Gasa was a style of literati music sung with an instrumental ensemble. 

     Pansori and Sanjo were most popular of the folk songs of the era Sheen Dae-Cheol explains. The Pansori was more refined and males, females, and children were given vocal parts. The king adored Pansori and because of this Pansori reached new heights and gained more popularity than it ever could without such support. Sanjo was a folk song that brought to life instrumental solo music, which had never been seen before in Korea.

http://youtu.be/ktjI6TpUd5w

     In the late 19^th century similar to China and Japan Western styles of music began to make their way into Korea and influence Korea’s traditional style of music. Western music was first introduced through the way of military bands, specifically the introduction of the bugle. This was the main way Western style music spread through Korea. Also, Sheen Dae-Cheol states Western style music became widespread in Korea due to the spread of Christianity, “especially the hymn of Protestantism” (Dae-Cheol, 15). This carried into schools and Western style music was used in the education of the masses, called Changga, consisting of patriotic and enlightening songs.    

Japan

     The “History of Japanese Traditional Music” is a site that discusses the history and various styles of music experienced 19^th century Japan (http://jtrad.columbia.jp/eng/history.html). It states19^th century Japan is called the Edo period and in this time the merchant class experienced rising amounts of wealth, thus increased money for leisure and entertainment. There were two forms of music in this time called Nagauta, which is a lyrical style of music, and Joruri which is a narrative style of music. The Joruri or narrative used song and speech to tell a story where the Nagauta or lyrical sang a song. Nagauta was used in dances and plays, whereas, Joruri was used in puppet theaters.

 www.last.fm

     The “History of Japanese Traditional Music” explores some of the most popular styles of Joruri which were called Tokiwazu, Tomimoto, Kiyomoto, and Shinnai(http://jtrad.columbia.jp/eng/history.html). Tokiwazu is “the most square and formal of these styles” (Columbia Music Entertainment). It has long and complex plots as seen by Masakado (1836). The next style, Tomimoto was more grand and elegant with “many passages of high singing” (Columbia Music Entertainment). This style, along with Kiyomoto took the risk and produced music that was more sensual and fluid, Yasuna (1818) as an example. Finally, Shinnai was a recital style that was the “most intensely sensual and the stories sensational” (Columbia Music Entertainment). Instruments such as the shakuhachi, a flute, and koto, a stringed musical instrument, were used in Joruri style music.

                      jtrad.columbia.jp                                    http://youtu.be/Eddo9EfH4RU

      In the beginning Nagautas were a series of short pieces as the “History of Japanese Traditional Music” explains, but as time went on they evolved into longer, elaborate pieces made for specific purposes and no longer did they remain solely narrative, but mixed lyrical styles as well(http://jtrad.columbia.jp/eng/history.html). A few examples are Kokaji (1831) and Kanjincho (1840). Also, no longer were they played just in the Kabuki theatre, but amateurs practiced and sung these pieces creating concert pieces separate from the Kabuki theatre. A few examples are Aki no Irogusa (1845) and Matsu no Midori. A few other styles evolved outside of the Kabuki theatre in this era called Hauta, Utazawa, and Kouta. Hauta was a style of music which was very short that was either slow and romantic or fast and lively. Utazawa was more “refined in terms of elegance and artistic elaboration” than the Hauta (Columbia Music Entertainment). Finally, the Kouta is a style of music which is short and witty.   

  
 
www.ou.edu                                                                   http://youtu.be/JC8mSAlU5-4
      
     The “History of Japanese Traditional Music” concludes by explaining how towards the end of the 19^th century Japan was opened up to the West and similar to China a flood of new musical styles and ideas came rushing in (http://jtrad.columbia.jp/eng/history.html). Western style music actually became standard in Japan’s education system. One important aspect of this time was Yose or vaudeville houses, which were cheap theatres where there was comic storytelling, juggling, and magic. Music played a large part in these Yoses, “from the short melodies that introduce the performers to the music for jugglers and paper cutters” (Columbia Music Entertainment, http://jtrad.columbia.jp/eng/history.html).

 

 

China

     “Chinese Music Through the Ages” is a site that explores Chinese music in the 19^th century(http://blog.omy.sg/dingyimusic/tag/qing-dynasty/). It states 19^th century China was called the Qing Dynasty. In the beginning of the Qing Dynasty, as we read in the previous section, China was being cut off from the rest of the world. China “saw a restriction in the freedom of ideas and thoughts”, this trend made its way into music as well (Ding Yi Music Company). “Music of the past was encouraged within official grounds and music became more and more detached from real life” (Ding Yi Music Company). Within the official courts music from the past was encouraged, maintaining the idea of no progression, but with the common people folk music gained popularity. As more people migrated into China, the music found in the rural areas mixed and formed in the “vibrant” city centre, where folk music flourished. It was at this time the Chinese began to publish books and scores. Without these records we could have not had such deep insight to the Chinese music of the period.

 factsanddetails.com                               ljbeau.deviantart.com                        www.theepochtimes.com
      The most common instruments used in folk music were the dizi and erhu as the site “Chinese Folk Music” explains (http://spotlightonmusic.macmillanmh.com/n/teachers/articles/folk-and-traditional-styles/chinese-folk-music). The dizi is a bamboo flute with has six different holes along which your fingers are placed. If anyone ever remembers playing a recorder in elementary school, the shape and style is quite similar. “The tone color of the dizi is crisp and clear” (McGraw-Hill). The erhu is quite different from a dizi. It is a fiddle with two strings which is held in one’s lap upright and played with a bow. The erhu is quite similar to a cello or violin if you are familiar with these instruments. The sound box of the erhu is made of sandalwood or ebony and is covered with snake skin. Listen to these videos to get a better idea of how these instruments sound. 

                         www.foreigners-in-china.com                                         http://youtu.be/yBXdNA8uTtc

             http://youtu.be/w9LRN5naG4s                                                                                         www.chinese-flute.com

      Towards the end of the Qing Dynasty “Chinese Music Through the Ages” explains China began to evolve because they opened up to the rest of the world ( http://blog.omy.sg/dingyimusic/tag/qing-dynasty/). New ideas from other countries began to make their way into China. The imperial examination was abolished and schools were created for the education of the masses. In schools music was used as a tool for teaching, which followed the teachings of Confucius, but with a slight twist. “No longer was music meant to be moderate, to be devoid of strong emotions” (Ding Yi Music Company). Liu Tian Hua, Shen Xin Gong, Xiao You Mei were a few people who revolutionized Chinese music in the late 19^th century. Using music in teaching is a technique that has lost steam in the past few years in the United States. No longer do teachers use these unconventional methods of using the arts to teach, so it truly is a dying art.

19th Century Asia

    In Dennis Sporre's Reality Through the Arts he discusses 19th century Asia. In the 19^th century Asia experienced a great amount of change, influencing all aspects of life. Sporre explains Japan was still under control of the Tokugawa Shogunate, but once America forced the government to open ports for international trade Japan began to see changes. Trade stayed limited for awhile, but many Japanese people saw the benefits of opening up trade with the Western nations, due to science and military advancement. Japan was forced to sign unequal treaties with the Western nations, which gave the Western nations economic and legal advantages. As a result Japan initiated reforms in all of Japanese society to advance the country economically and militarily, attempting to gain back power and independence. Japan’s government once influenced by a democracy, establishing human rights, turning from an agrarian economy into an industrial economy. They ended up adopting a “European style constitution and established a parliament (Diet), while leaving sovereignty with the emperor” states Sporre (Sporre 319). Then in 1894 a conflict with China over Korea began, resulting in the Sino-Japanese war. Japan won and received Taiwan, but the “Triple Intervention”, which involved Russia, France, and Germany, led to Japan forcibly relinquishing more territories and consequently increasing military once more. This brief history will allow you to better understand the music of the age, specifically why and how it was created.

 

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