著者

新井 弘順

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.1983, no.48, pp.42-90,L2, 1983-09-30 (Released:2010-02-25)

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The shomyo of the Shingon sect is divided into four classes according to modal usage:1. Rokyoku (pieces in the ryo mode)2. Rikkyoku (pieces in the ritsu mode)3. Hanryo-hanrikkyoku (pieces half ryo and half ritsu)4. HennonkyokuThe first three classes are distinctions based simply on modal usage, but pieces of the fourth class employ modulations of mode. Pieces of this class begin in one mode, be it ryo or ritsu, and change to the other mode, and finish after modulating back to the original mode. They are most common in the san (hymn) repertoire (comprising Sanscrit hymns [bongo no san] and Chinese hymns [kango no san], which have texts set in verses of four phrases) of which the Shichi bongo no san (“Sanscrit hymn of the Four Wisdoms”) is a representative example.The basic notation manual of Shingon shomyo (which includes the Nanzan shinryu, Shingi-ha chizan shomyo and Shingi-ha buzan shomyo styles) which has been transmitted until the present day, is based on the Gyosan taigai-shu (also called Gyosan shisho or more simply Gyosan-shu, compiled by Joe in 1496, revised in 1514 and printed in 1646) which is written in the goin-bakase (five-note notation) developed by Kakui in the 1270s (see photograph 1). In addition to this notation, referred to as hon-bakase or basic notation, each school uses its own supplementary system which transliterates and facilitates the reading of the original notation, and which is variously called kari-bakase or tsukuri-bakase (makeshift or fabricated notation). The tuning of each piece in the repertoire is based on the practice of the Shomyo ryakuju-mon of Ryuzen (1258-?). According to this source, the Shichi bongo no san is a hennonkyoku in ryo-ichikotsucho (ryo mode on D) or ryo-sojo (ryo mode on G). Beginning on sho or the second degree (i. e. E) of ryo-ichikotsucho, the piece modulates twice at intermediate points to ritsu-banshikicho (ritsu mode on B), and ends on the second degree (E) of ryo-ichikotsucho.The scale of Shingon shomyo is based fundamentally on the goin (five-note) scale structure (note names in ascending order kyu, sho, kaku, chi, u), and the special characteristics of each note in the scale depend on the mode of the piece (i. e. whether it is ritsu or ryo). A characteristic melodic ornamental figure called yu (or yuri), for instance, occurs on the kyu scale degree in ryo, and the chi scale degree in both ritsu and ryo. Pieces in the ryo mode characteristically begin and end on the kyu or chi degrees of the scale, while ritsu pieces begin and end on the sho or u degrees of the scale. However, the Shichi bongo no san appears to be an exception to this rule, since notwithstanding the fact that the piece begins and ends in a ryo mode (ryo-ichikotsucho), its initial and final notes are both the sho degree of the scale. In addition, the ornamental figure yu (yuri) is also found on the same degree of the scale, thus contradicting the usual practices of pieces in ryo modes. This contradiction is not only characteristic of this single piece, but can be seen in other pieces in the hennonkyoku group.Dr. Kindaichi Haruhiko has in his article “Shingon shomyo” (“Buddhist ritual chant of the Shingon sect”, Bukkyo Ongaku, Toyo Ongaku Sensho Vol. VI, 1972) attempted to explain the reason for the occurrence of these unusual features of the pieces in the hennonkyoku group. According to Kindaichi, the shomyo of the Nanzan shinryu school

著者

新井 弘順

出版者

智山勧学会

雑誌

智山学報 (ISSN:02865661)

巻号頁・発行日

vol.42, pp.187-216, 1993