著者

寺内 直子

出版者

The Society for Research in Asiatic Music (Toyo Ongaku Gakkai, TOG)

雑誌

東洋音楽研究 (ISSN:00393851)

巻号頁・発行日

no.63, pp.16-36,L2, 1998

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The <i>wagon</i> _??__??_, the Japanese indigenous six-stringed zither, is often said to have been used only in Japanese native genres such as <i>mikagura</i> _??__??__??_, <i>azuma-asobi</i> _??__??_, and the like. However, from the 10th century, the <i>wagon</i> was introduced into <i>togaku</i> _??__??_ and <i>saibara</i> _??__??__??_ in the context of private concerts, called <i>gyoyu</i> _??__??_, held by a small number of high ranking nobles. Neither this fact, nor the nature of the <i>wagon's</i> musical practice at that time are well known. Fortunately, several sources on the <i>wagon</i> compiled or copied during the Edo period by the musicians of the Ayanokoji family _??__??__??__??_ and others are available. The source Gakurin-gosho _??__??__??__??_ is of most importance in the following regards; 1) It could be dated back to the 15th century which means it represents the old performance tradition, from the time before the <i>saibara</i> tradition's loss in the late Muromachi period. 2) It contains a detailed scores of the <i>wagon</i> as used in both <i>saibara</i> and <i>togaku</i>. An analysis of these sources has made the followings apparent; First, in <i>saibara</i>, the <i>wagon</i> repeats two fixed patterns called <i>sugagaki</i> _??__??_ and <i>katagaki</i> _??__??_ regardless of the vocal melodies. The former pattern is used in <i>go-hyoshi</i> _??__??__??_ or 8 unit pieces and the latter in <i>sando-byoshi</i> _??__??__??__??_ or 4 unit pieces. The <i>wagon</i> part's lack of a close relationship with the vocal part is a characteristic shared with other native vocal genres such as <i>mikagura</i> and <i>azuma-asobi</i>. The basic techniques included in <i>sugagaki</i> and <i>katagaki</i> patterns in <i>saibara</i> can in fact be found in various native genres, so it is possible that <i>sugagaki</i> and <i>katagaki</i> were constructed from these already existed techniques. In this sense, the <i>wagon</i> as used in <i>saibara</i> can be seen as part of a unified lineage of the <i>wagon</i> practice in Japanese native court songs including <i>mikagura</i>.<br>In the case of <i>mikagura</i>, however, a periodical cyclic structure is lacking (except in a small number of exceptional pieces) and the <i>wagon</i> is not played in a periodic patternized manner. On the other hand, periodical repetition is a characteristic of the <i>wagon</i> part in <i>saibara</i> which bears similarity to the rhythmic structure of <i>togaku</i>. In <i>saibara</i>, the <i>wagon</i> actually played in a clear rhythmic role, with unequivocal accents marked with the plectrum pattern in a cycle.<br>Unlike in <i>saibara</i>, the <i>wagon</i> in <i>togaku</i> has developed a more melodic dimension that follows the wind instruments' fundamental melody line. In order to highlight its distinction from other long zither, <i>so</i> or <i>koto</i>, in <i>togaku</i> ensemble, the <i>wagon</i> was always played using plectrum patterns that produced a unique sound and strong accents in a periodical cycle.<br>Although, the <i>wagon</i> was used in a highly patternized way in <i>togaku</i>, different arrangements of a single piece in the sources examined show considerable variety in their detail. This suggests a flexibility in arrangement of individual melodies. In this regard, the <i>wagon</i> had more scope for musical development in the context of <i>togaku</i> than it did in <i>saibara</i>, for the latter case the <i>wagon</i> played only two fixed patterns. In <i>togaku</i>, then, the <i>wagon's</i> style was in closer accord with the ideals of <i>gyoyu</i> which allowed a large amount of improvisation or personal arrangement of melodies.