著者

神田 邦彦

出版者

二松學舎大学

雑誌

日本漢文学研究 (ISSN:18805914)

巻号頁・発行日

no.2, pp.105-129, 2007-03

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Fujiwara Michinori is famous as a close retainer of the former Emperors Toba and Goshirakawa during the Heian Inseiki, the period ruled by the former emperor. Until now, although aspects of his life as a politician have been studied, there has not been any discussion about him as a musician. His musical activities were extremely varied, and he knew the Biwa, Sou, Sho, Mai, and Imayou.This paper focuses on Michinori's Biwa performances as a part of his musical activities. First, I examine the relationship between Michinori and his teacher Fujiwara Takahiro and his students, Minamoto Hironori and Nakahara Ariyasu. Michinori had an extremely close relationship with Ariyasu. In Ariyasu's work "Kokinkyoroku," he discusses his relationship with Michinori. Ariyasu also discusses Michinori as a Biwa performer. In those days there were two schools of Biwa, the Katura School and the Nishi School. Although Michinori studied the Biwa at the Nishi School under Fujiwara Takahiro, he chose not to success Takahiro at the Nishi School and instead developed his own original style of performing on the Biwa. Music was considered an indispensable cultural activity for bureaucrats in those days. Michinori's various musical activities showed his passion for music. No doubt, he was influenced by his surroundings, and especially the former Emperors Toba and Goshirakawa whom Michinori attended to. Both emperors were devoted to music, and they had an influence on Michinori. During the Hogen period, Michinori altered his activities to concentrate on music such as the Uchinoen and Sumaiseche. He also revised the dances of girl musicians, breaking off with ancient instruments. Michinori's musical activities are worthy of evaluation not only in terms of musical history, but also from the vantage point of cultural history.