Ryoo は下記のアルバムに収録されています

	アルバム	アーティスト
	Musical Anthology of the Orient, Unesco Collection Vol 2
Ryoo - Music of the Left (Rinyugaku), originally written in the mode called Sadacho and then transposed into the mode Ichikotsucho during the Middle Ages. This piece is also called Ran-Ryoo, Ra-Ryoo, Ryoo and has also other names. It belongs to the Old Music. According to the T'ung-tien (a historical collection of texts, compiled by Tu-yu, 735-815) the dance is based on the following legend: The prince of Lan-ling (Jap. Ranryo) called Ch'ang-kung (Jap. Chokyo), who belonged to the Northern Ch'i dynasty (Jap. Sei) and ruled from 550 to 557, started a war to pacify the country. This prince was not only intelligent and brave, but also extremely handsome. He therefore could not inspire terror in the enemy. This is why he put on a horrifying dragon's mask, and then attacked the enemy, and achieved a complete victory. As a sign of gratitude, this dance was created by his followers to glorify their brave commander. According to the legend, mentioned in the T'ung-tien, when this piece is played, peace reigns over the empire, the country flourishes and the earth gives an abundant harvest. This piece is called Lanling wang ju-chen-ch'ii (Jap. Ranryoo Nyujinkyoku) which means “the prince of Lan-ling breaking through the enemy lines". The classical Japanese work on Bugaku, the Kyokunsho (dating from 1233) relates: “The question of the importation of the work to Japan is not clear. The interpretation of the work by (the dancer) Owari no Hamanushi (733-848!) is considered to be correct". There are, however, still other legends regarding the origin of Ranryoo. If the assumption that Hamanushi brought the work from China and taught it in Japan is correct, it may be considered that the tradition dates from the second half of the eighth century. From what is known about this complex work, it seems that it may not be connected with the legend. The dance is a solo dance without any of the war-like symbols which would otherwise have been expected. Even the dragon's mask can hardly be of Chinese origin. The ancient mode Sadacho appears to come from India. The style of the dance, with its ample movements, seems to be inspired by Indian or Indochinese dancing; and also the employment of a Mudra, a symbolic gesture, acting as a spell. The names and their spelling raise difficult problems. It appears that we may find here the remnant of an ancient rain-charm, which was preserved and brought to Japan, and to which the T'ungtien alludes. The composition begins with a short musical spell, the Koranjo (the small Ranjo) which is a short version of the Shingaku-Ranjo (the spell of the New Music). (Ryuteki, Shoko, and Taiko). This is followed by an introduction, known as Ranjo (a word different from the previous Ranjo). This accompanies the dancer from the music-tent, the Gakuya (used as a dressing room) to the dance stage. It has the form of a canon, and when performed in its entirety, develops into ever increasing contrapuntal virtuosity. In the Old Music the San-no-tsuzumi can be used instead of the Kakko, as is done here in the dance-work Ryoo. When the dancer is on the stage, the main movement begins. At first the Netori is played, a short phrase which sets the tonal character of the mode. The Ryuteki then introduces the entry of the complete orchestra with a motif. After the end of the main part of the composition, a fragment of a piece, called Ama, is played. This has been the custom since the reign of the Empress Shotoku-Tenno (765-768). To the sound of this music the dancer returns to the music-tent. In this recording the main piece is repeated twice. Ryoo is one of the most popular dances of the Bugaku and is often performed. It is played not only at the Emperor's court, but also by music groups in the large shrines and temples.