- 著者
-
遠藤 徹
- 出版者
- 社団法人 東洋音楽学会
- 雑誌
- 東洋音楽研究 (ISSN:00393851)
- 巻号頁・発行日
- vol.2004, no.69, pp.1-17,L1, 2004
This paper clarifies the basic structure of the modes of <i>togaku</i>, based on analysis of <i>Sango Yoroku</i>, an extensive collection of notation for the <i>biwa</i> (four-stringed short-necked lute) compiled by Fujiwara no Moronaga (1138-1192). It is said that the modes of <i>togaku</i> derive from modal usage in China of the Tang dynasty (618-917). Detailed analysis of the full range of individual pieces in notated in <i>Sango Yoroku</i>, however, indicates that various transformations occurred as the modes were transmitted in Japan, which resulted in a multi-levelled japanization of modal usage. In this paper three main levels of japanization have been identified: 1. changes in mode-key (Ch. <i>jun</i>, Jp. <i>kin</i>); 2. incorporation into certain modes of pieces originally in other modes; and 3. changes of scale structure in certain modes.<br>Next, in an effort to determine the basic structure common to all modes, statistical analysis was made of the modal usage in the melodies of pieces in <i>Sango Yoroku</i> with reference to the four basic Tang modal species, namely <i>gong</i> (Jp. <i>kyu</i>, church lydian), <i>shang</i> (Jp. <i>sho</i>, church mixolydian), <i>yu</i> (Jp. <i>u</i>, church dorian) and <i>jue</i> (Jp. <i>kaku</i>, church aeolian). Factors considered include the relative frequencies of appearance of the degrees of the modal scale, tendencies in melodic progression, and the position of mordent-like melodic ornamentation. A basic structure was identified: the character of each mode is determined by the relationship between two factors, namely the existence of two melodic centers, which might be called keynote and sub-keynote (the relative position of which differs according to mode), and the appearance of mordent-like ornamentation at specific positions in the basic heptatonic series. This structure is based on the concept of mode-key, which was not fully understood or transmitted in Japan, and it therefore seems reasonable to surmise that it derives from Tang-dynasty modal usage.