著者

今田 健太郎

出版者

国際日本文化研究センター

雑誌

特別研究員奨励費

巻号頁・発行日

2004

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本研究は、日本における無声映画からトーキー映画への移行期に焦点をあて、トーキー映画体験を通じた知のありようを探ろうとするものである。平成16年度には、日本のトーキー映画における音楽のあり方やその評価には、大きく分けて欧米のやり方を導入しようとするものと、近世から無声映画を経て続く芸能興行の慣習の延長にあるものがあるということを指摘し、本研究では後者に重点をおいて進めることを表明した。さらに平成17年度は、映画という視聴覚形式が、先行する芸能(たとえば絵解きや人形浄瑠璃など)を受け継いでいること、さらに映画における語りと音楽は先行芸能に依拠しつつ、映画に独自のはたらきをもちえるようになったことなどを指摘してきた。この移行の詳細を具体的にすることこそ、本研究の眼目といえよう。そのため平成18年度は、「囃子」という形式・実践・概念についての研究を進めた。囃子は、能、歌舞伎、文楽など、映画に先行する諸芸能に必ず含まれる音楽的実践であり、映画や芸能における音楽の位置づけの一典型を示していることに着目したからである。たとえば、学会発表ではないが、京都市立芸術大学日本伝統音楽センターのプロジェクト研究「近代日本における音楽・芸能の再検討」では、3度の口頭発表をおこなった。囃子という概念が日本における映画の音楽を分析するのにどれだけ有効か、また、無声映画からトーキー映画への移行を描くに適したものかどうかについて、議論を重ねている。その間接的な成果のひとつが、「What's Gekiban?:A Composition Style for Animation Films in Japan and its Roots as Exemplified by Lupin III Works」である。これは、《ルパン三世》というアニメーション映画の音楽を、難子という形式・実践・概念で説明しようとした論考であるが、予想どおり、かなりの類似性があることが明らかになった。他方、調査活動の一環として昨年度おこなっている無声映画の伴奏音楽を実演する機会を、今年度も得ることができた。昨年度と同様、これは情報提供者の依頼によるため、研究公演というよりも、現在の通常の興行というコンテクストのなかでおこなった。このようなコンテクストに身を置いて、伴奏音楽を再現する作業は、上記の囃子の議論を支えるものであり、また応用する場面でもあることから、本研究に資するところとなっている。

著者

今田 健太郎

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

vol.2000, no.65, pp.33-53,L4, 2000-08-20 (Released:2010-02-25)

参考文献数

15

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This article has two purposes. One is to determine, from documentation, audience's visual and auditory reaction to silent movies. In contrast to talkies, with its apparent combining of sounds with image, silent movies have their own peculiar characteristics. Above all, what is important is that people who saw silent movies made a connection between the sounds and the image. The other aim is to clarify the kind of musical accompaniment that was used for silent movies. This study, which makes use of the verbal testimonies and practices of ÔNO Masao, offers valuable information about the combination of sounds and image of silent movies.Silent movies such as cinematograph and vitascope were first shown in Japan in 1897. The earliest documentation concerning the use of sounds for silent movies appears in 1897 in connection with the Kyôgoku-za in Kyoto. It is presumed that the music used to accompany the screen image, given the condition of music at that time, was probably military music or a civilian band. According to documentation, there was no relationship between the content of the screen and the music performed. The music was merely a type of western style ornamentation. A narrator would explain the content-though this was only to point out the important parts of the movie to facilitate comprehension. The sounds of western music and the voice of the narrator were not seen as being sounds of the screen for the audience. Clearly, in common with these were the new strange and untraditional sounds which possessed an enlightening nuance. These sounds were means to enhance understanding of the film as a narrative.In 1899, when the dancing of geisha was portrayed on the screen, there was musical accompaniment by a nagauta group of musicians. In other words, there was an attempt to reproduce the music which would have heard by the geisha. It is uncertain whether the timing of the sound matched perfectly that of the screen. But at least, the sounds of nagauta approached the content of the film and would have been regarded by the audience as causing realistic feeling. A more extreme example was the portrayal of news film depicting a fire in London. Although the content was a fire in London, a traditional Japanese bell used to announce fires in Japan was used here. In so doing, this succeeded in creating a feeling of actually being present at the incident. Sounds and voice used in silent movies were not strict reproductions of the sounds of that portrayed on the screen but rather attempts to create sounds familiar to the audience so as to elicit the appropriate emotion.Using this historical information, I examine the actual combining of the image with sounds by ÔNO Masao through his use of wayô-gassô, literally “Japanese Western ensemble”. Firstly, there is the term wayô-gassô music combination which is derived from the joint use of Japanese musical instruments and western musical instruments. Apart from the scores for percussion instruments, western score notation was used. However the repertoire was divided into two groups, one being the music derived from musical accompaniment in kabuki and the other, music from western classical works. When choosing music from the repertoire of the kabuki to match the screen, music making a symbolized connection with kabuki, that is, music in the kabuki manner would be used. On the other hand, choosing music from the western music repertoire meant only a very general impression and connection were made with the screen image. Moreover, there was a separate repertoire of music making use of both western and Japanese music instruments for chanbara (sword fighting) scenes which were peculiar to jidaigeki (period films) at that time. In this respect, this combination of Japanese/western music instruments could respond to any scene