文献一覧: 寺内直子 (著者)

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

2015-04-17 22:15:06
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1 0 0 0 OA 越境する雅楽~伝統音楽の海外における発信・受容と展開

著者: 寺内直子
出版者: 神戸大学
雑誌: 基盤研究(C)
巻号頁・発行日: 2012-04-01

この研究は、日本の宮廷音楽・雅楽が、海外においていかに発信・受容され、定着、展開しているかを分析する、音楽学的、文化人類学的考察である。本研究は、海外の雅楽を1)日本からの「渡航型」と2)現地在住者による「滞在型」に分け、国際的に活躍する日本の雅楽演奏者やプロデューサーに聞き取りを行うとともに、日系移民の多いハワイ、ロサンジェルス、日系移民が少ないニューヨーク、ケルンでフィールドワークを行い、海外における雅楽実践を、実践者の活動と意識、聴衆の反応、実際の音楽内容、演出等の観点から分析し、その展開のメカニズムと社会的意義を学術的に分析した。

2014-09-16 00:20:12
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https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-24520157/

1 0 0 0 OA 雅楽「復元」の諸相~20世紀における「復元」研究と演奏の視座

著者: 寺内直子
出版者: 神戸大学
雑誌: 基盤研究(C)
巻号頁・発行日: 2006

本研究は、明治時代以来、現代に至る、これまでの雅楽の「復元」研究と「復元」演奏の目的・方法論・実際を整理し、再評価するとともに、現代日本の音楽文化における雅楽の「復元」の可能性と、その歴史的、社会的意義を明らかにするものである。具体的には、1)明治末から第二次大戦までの20世紀前半、2)1945~1970年代前半、3)1970年代後半~1980年代、4)1990年代以降の四つの時期に分けて、それぞれの時代の「復元」研究と演奏の特徴を、資料批判、音楽的解読、鳴り響く音への実現の手法の観点から考察、整理している。

2014-05-07 20:20:07
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https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-18520087/

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