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This chapter clarifies how melody and rhythm of tôgaku, a sub-genre of Japanese court music gagaku, are organized on multiple structural levels. Focusing on a short but well-made piece, Etenraku in hyô-jô mode, it examines: (1) the musical idioms of each instrument, interactions among the instruments, and melodic patterns associated with the registers of each instrument in the surface structure; (2) the properties of the mode according to Chinese theory, which are clear in the deep structure (the basic melody) and the structure of melodic patterns in that mode; (3) principles of modal modulation and transposition, which differ in the surface and deep structures. By reading and interpreting current and historical music notation with a full understanding of the relationship between the current surface realization and the deep basic melody, it is possible to reconstruct ancient tôgaku melodies.
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