◆Samurai, Gagaku, and the Shō

 

Gagaku reached its mature form during the Heian period and became an indispensable part of courtly culture, cherished by the Emperor and the aristocracy. As the power of the nobility waned and the samurai class rose during the late Heian to Kamakura periods, Gagaku maintained its prominence in courtly society. Moreover, the samurai began to study and support this refined art.

Ｔhe Taira family, known for their admiration of courtly culture, actively participated in Gagaku. Taira no Kiyomori introduced Kyoto’s traditional dance and music to the rituals at Itsukushima Shrine, a tradition that persists there today. Notable figures like Taira no Tsunemasa, a celebrated master of instrumental music and a nephew of Kiyomori, exemplified this cultural legacy.

Note: At just 17, Taira no Tsunemasa became the custodian of a famous biwa (lute) named Seizan from Ninna-ji Temple. He was so devoted to the instrument that he played secret melodies at sites like Usa Shrine and Chikubu Island, earning widespread renown.

The Minamoto clan also embraced Gagaku. Minamoto no Yoritomo, the first shogun of the Kamakura shogunate, established a music bureau at Tsurugaoka Hachiman Shrine, inviting musicians from Kyoto to bring the capital’s Gagaku traditions to Kamakura. It is said that gagaku in Kamakura may have influenced some areas after that.

In the Muromachi period, Ashikaga Takauji, the founder of the Ashikaga shogunate and a descendant of Yoritomo, studied the shō under Toyohara Tatsuaki, a renowned Gagaku master from the Kamakura and Nanboku-chō periods. It is said that Yoshimitsu Ashikaga, the third shogun, also learned sho following Takauji.

 

 

 

◆Minamoto no Yoshimitsu and the Shō

 

To discuss the relationship between samurai and Gagaku during the Heian, Kamakura, and Muromachi periods, we cannot overlook an extraordinary tale involving Minamoto no Yoshimitsu and the shō.

Yoshimitsu, a younger brother of Minamoto no Yoshiie, hailed from the prestigious Kawachi Genji lineage, which formed the cornerstone of the ｔhe Minamoto clan samurai identity. He was known as a valiant warrior and a distinguished musician. Having studied under the Toyohara family—renowned for preserving the shō's traditions since the time of Fujiwara no Mototsune—Yoshimitsu became a master of the instrument.

During the Later Three-Year War (1083–1087), Yoshimitsu took action without imperial sanction, rallying a small force to aid his brother Yoshiie. On their way, a young musician, Toyohara Tokiaki, pursued them on horseback, determined to accompany Yoshimitsu. Despite initial resistance, Tokiaki’s resolve won Yoshimitsu’s trust.

Upon reaching Ashigara Pass, Yoshimitsu foresaw the possibility of their journey ending in tragedy. Summoning Tokiaki, he imparted the secrets of a treasured shō melody, entrusting the young musician to return to Kyoto and preserve this art. The melody, later known as “Taishikijō Nyūjō,” survives to this day.

Following the war, Yoshimitsu and Yoshiie returned victorious, earning accolades and high-ranking positions. The Toyohara family continued their legacy as guardians of the shō, and their descendants remain active in Gagaku to this day.

 

 

 

◆Reflections on Tradition

 

 

The preservation of tradition relies on the dedication of those who pass it down and the determination of those who inherit it. Gagaku, often called the world’s oldest orchestra, represents this unbroken legacy.

Although I cannot perform Gagaku myself, I hope to share its profound beauty with others, fostering an appreciation for this timeless art form. Through exploring Gagaku’s elements—kangen (instrumental music), bugaku (dance), and kayō (songs)—and its role across eras, we can uncover its enduring power and meaning.

Let us continue this journey together.

 

Note: Many of the stories and traditions mentioned here are rooted in local folklore and cultural contexts. Please consider them as such while appreciating their historical resonance. 

Written by Atsuko Aoyagi / ao.Inc.

 

 

 

 

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