著者

近藤 静乃

雑誌

無形文化遺産研究報告 = Research and Reports on Intangible Cultural Heritage

巻号頁・発行日

no.3, pp.21-36, 2009-03-31

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This paper is a report on Buddhist rituals which the author attended in 2008. Until now she has been studying the relationship between shomyo (Buddhist chants) and gagaku in medieval Buddhist rituals and in particular tsukemono, a method of accompaniment in which gagaku instruments are used to accompany shomyo. She has analyzed the way in which tsukemono has been performed based on a study of traditional scores. In reality, majority of shomyo is not accompanied by tsukemono, which requires a high level of musical skills of both shomyo and gagaku. In fact, tsukemono is used only in very few Buddhist rituals. So the author selected Buddhist rituals conducted today in which tsukemono or tsukegaku (independent music which is performed with shomyo by an ensemble of gagaku) that retains aspects of medieval days is played. The Buddhist rituals she studied are: (1) Oeshiki March 22 Horyuji temple (Nara) (2) Gyoki-daie April 21_22 Chion-in temple (Kyoto) (3) Manbu-oneri May 1 Dainenbutsuji temple (Osaka) (4) Osenbo-ko May 30 Sanzen-in temple (Kyoto) (5) Hoon-ko November 28 Higashi-honganji temple (Kyoto) The following three points were noted in each of the Buddhist ritual studied.1. The program of each Buddhist ritual was made into a table, noting what the author considered to be the structural features: introduction, development and conclusion.2. The role of tsukemono and tsukegaku was confirmed and their functions in the progress of Buddhist rituals were studied.3. Musical characteristics of the method of performing tsukemono and tsukegaku were studied. As a result, it was found that music accompanied by tsukemono is used in the introductory and concluding portions of Buddhist rituals, that it is characterized by a simple melody and that it does not obstruct the melody of shomyo. On the other hand it was found that by adding tsukegaku to voices of priests in the middle of Buddhist rituals, depth is given to the sound and a trance-like atmosphere is created. Of the five Buddhist rituals studied, tsukemono in its true sense was found in wasan (shomyo sung in Japanese syllables of 7+5) of Oeshiki and kada (verses written in Chinese style with 4 lines of 7 or 5 Chinese characters per line) of Osenbo-ko and Hoon-ko. The others were either tsukegaku or music similar to it (performed with a single note as in tsukemono but with an independent melody of shomyo).