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https://doi.org/10.24546/81003773
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2024-03-28
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81003773 (fulltext)
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81003773
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open access
出版タイプ
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タイトル
江戸時代の「楽家」と音楽伝承のアイデンティティ : 龍笛と篳篥の唱歌を中心に
エド ジダイ ノ 「ガガク」 ト オンガク デンショウ ノ アイデンティティ - リュウテキ ト ヒチリキ ノ ショウカ ヲ チュウシン ニ
その他のタイトル
Family lineage and musical tradition in the Edo period's gagaku : focusing on mnemonic sounds of ryuteki and hichiriki
著者
著者名
寺内, 直子
Terauchi, Naoko
テラウチ, ナオコ
所属機関名
神戸大学大学院国際文化学研究科
収録物名
国際文化学研究 : 神戸大学大学院国際文化学研究科紀要
巻(号)
37
ページ
44-94
出版者
神戸大学大学院国際文化学研究科
刊行日
2011-12
公開日
2012-02-24
抄録
This article studies the schools and transm1ss10n of the gagaku (royal court music) tradition in the Edo period (1603- 1868) by analyzing musician's genealogy and musical scores notating mnemonic syllables of wind instruments. It is generally understood that each special practice of ryuteki (transverse flute) , hichiriki (reed pipe) , sho (mouth organ) , biwa (lute) , koto (zither) , mai (dances) , or utamono (songs) has been respectively relegated to specific families and handed down from generation to generation in Kyoto, Nara, and Osaka. However, in the late 16th and early 17th centuries, some branches of Nara and Osaka families were encouraged to be settled in Kyoto by the imperial order and to play together with Kyoto musicians at the court. Furthermore adoption of members of the Nara and Osaka into Kyoto families makes flow of tradition more complicated. How did they retain the musical identity of their family tradition in this mingled situation? To clarify the musical identity of schools on the two main melodic instruments in gagaku ensemble, ryuteki flute and hichiriki pipe, this study analyzed mnemonic sounds of the instruments written in the scores compiled in the Edo period. Mnemonic syllables called 'shoga' is a kind of verbalization of a melody, usually sung in a mentor-protege lesson, and therefore recognized as of the primary importance to their family tradition. Today's gagaku practice is based on the unified score Meiji senteiju complied in 1876 and 1888, in which hichiriki syllables contain E sounds (te, re, fe···), while those of ryuteki do not. However, Edo period's scores show variety in usage of vowel and consonant, which does not match the system of Meiji senteiju shown above. Based on the analysis on selection of vowel/consonant and indication of extra sounds of prolongation of the preceding notes, this study classified syllable systems of ryuteki and hichiriki in the Edo period respectively into three groups and tried to identify some of them with specific families' tradition. In a concluding part, a hichiriki score edited by a Kyoto-resident-Osaka musician T6gi Fuminari (1811-1873) is particularly focused on. This score includes two different shoga systems that require further discussion in a socio-historical viewpoint on 'double (or more) identity' of an individual musician, considering family background and performance occasion.
カテゴリ
国際文化学研究科
国際文化学研究 : 神戸大学大学院国際文化学研究科紀要
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37号(2011-12)
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資源タイプ
departmental bulletin paper
言語
Japanese (日本語)
ISSN
1340-5217
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NCID
AN10436600
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110008790882
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