Temporal structure and synchronization in the Tōgaku ensemble of Japanese court music (Gagaku)

In this paper we present the first empirical analysis of rhythm, meter, and synchronization to be carried out using a recorded corpus of instrumental gagaku music. We present an account of metrical-formal structure, tempo change, interaction (including the role of preparatory arm movements),and interpersonal entrainment (including the synchronization of rhythmic events). We draw on existing observations and theorizations of gagaku music, particularly including observations of phenomena which can be described as aspects of performance practice; that is they do not form part of the notation or formal description of the repertoire but can be observed and form part of musicians’ practical knowledge. In this respect, we complement existing accounts with new interview material. The first aim of this paper is to use empirical analysis of a recorded corpus to shed light on these aspects of gagaku music by providing precise descriptions of what occurs (at least in these specific performances).The second aim is to use these descriptions to argue that gagaku embodies a number of phenomena that are not explained by existing theorizations of meter. Thus, we argue, in order to develop more a comprehensive and less culture-bound metrical theory, gagaku and other traditional Japanese music genres need to be taken into account