著者
千葉 優子 Yuko Chiba フェリス女学院大学 音楽学部 音楽芸術学科(教員)
出版者
フェリス女学院大学
雑誌
フェリス女学院大学音楽学部紀要 (ISSN:13410601)
巻号頁・発行日
vol.11, pp.43-69, 2011-03

Much confusion and many theories surround the origins of the kokyu. This paper is a comprehensive study which considers a variety of sources, beginning with a rereading of the first literature on the kokyu, the Kokyu Shichikushoshinshu (1644) by Nakamura Sozan, and continuing with an examination of visual resources, the social milieu in which the kokyu functioned, how the Chinese characters for "kokyu" are used, early performers, and resources on late 16th -early 17th Christians in Japan. The result is an understanding that the modern instrument called the koyu was modeled on the Japanese shamisen, and that the technique of playing the kokyu with a bow was influenced by foreign instruments. In addition, in this paper the author points on which one must take care when using Edo period (1603-1867) narratives as modern scholarly documents. Finally, the author notes that by studying differing viewpoints throughout the years, we can learn the thoughts and values of people at various times.2009年7月4日開催日本音楽学会関東支部特別例会(東洋音楽学会東日本支部第45回定例研究会と合同)において「展望 キリシタン音楽研究の可能性」として口頭発表したもののうち、研究の実例として述べた後半の胡弓と近世邦楽史料としての説話に関する部分をもとにまとめたもの