著者

小塩 さとみ

出版者

山川出版社

雑誌

歴史と地理 (ISSN:13435957)

巻号頁・発行日

no.640, pp.35-43, 2010-12

著者

Narutt Suttachitt Chan Cheong Jan 大友 理 伊藤 恵 小塩 さとみ 加藤 富美子 田中 健次

出版者

日本音楽教育学会

雑誌

音楽教育学 (ISSN:02896907)

巻号頁・発行日

vol.32, no.3, pp.23-35, 2002 (Released:2017-08-08)

参考文献数

6

著者

小塩 さとみ

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.1999, no.64, pp.1-22,L1, 1999-08-25 (Released:2010-02-25)

参考文献数

21

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The aim of this paper is to clarify the concept of “gaku” in nagauta. Some nagauta pieces include a section labeled as “gaku”. The “gaku” sections are usually interpreted as representing or musically describing gagaku, court music, though it has been pointed out that the “gaku” sections do not imitate the musical style of gagaku. This paper considers 1) the types of music represented in the gaku, and 2) musical characteristics which create the gaku-likeness.It is not only nagauta that uses the term “gaku”: other genres such as music in the no theater, offstage music (geza ongaku) in the kabuki theater, and Yamada school koto music also use this term. However, the meaning of the term “gaku” varies in each genre. In the case of music in the no theater, the gaku is a type of dance mostly performed by the main actor (shite) who plays the role of “China man”, and the accompanying hayashi ensemble plays a special rhythmic/melodic pattern which is also called gaku. The gaku section is recognizeable by this pattern and can be considered to be representing Chinese music. In the case of kabuki offstage music, a short shamisen piece named gaku is performed as a kind of background music during the opening scene of a palace or at the entrance of a nobleman on stage. Different from the case of no, the gaku in the kabuki theater has a strong connotation with the aristocracy and does not represent Chinese music. But, when the gaku pieces are played, the hayashi part accompanies the same gaku pattern as no music. Some Yamada school koto music also includes a gaku section, where the gagaku koto technique called shizugaki is often used. The gaku here represents or imitates Japanese court music gagaku.The types of music represented in the gaku sections of nagauta have a wider range since they adopt the concepts of gaku from other genres and add nagauta's original meaning to them. In addition to Chinese music, background music for the opening scene at the palace and Japanese court music, some gaku sections represent exquisite music heard in “Western Paradise”, and some are used as background music for a Buddhist saint's appearance.Then, what kind of musical characteristics make a section sound gaku-like? In order to extract the common musical features of the gaku sections of nagauta, twenty-four nagauta gaku sections and seven gaku pieces of kabuki offstage music, which have a close musical relationship with the gaku section of nagauta, have been analyzed. As a result of the musical analysis, the following eight features have been found: 1) slow tempo; 2) continuous pizzicatos (hajiki); 3) double stop technique; 4) special techniques such as kaeshi bachi, and urahajiki; 5) unnatural melodic movement; 6) coexistence of the plural melodies; 7) regular phrasing of four- or eight-bar; 8) the rhythmic/melodic pattern performed by the hayashi part named gaku. Of these eight points, 2), 3) and 4) create the “elegant” and “solemn” atmosphere by using special tone colors, while 5) and 6) produce the gaku-likeness by using melodic movements different from nagauta's usual melodic movements.Creating gaku-likeness can be related to two ways of giving certain meanings to a melody which are widely employed in nagauta pieces: one is to quote a phrase from or to imitate the style of other musical genres, and this is considered to bring the musical atmosphere of the original genre into a nagauta piece; the

著者

小塩 さとみ

出版者

国際日本文化研究センター

雑誌

日本の語り物――口頭性・構造・意義 = A Narrative of Japan: Oral Nature, Structure, and Meaning (ISSN:13466585)

巻号頁・発行日

vol.26, pp.231-247, 2002-10-31