著者

牧野 英三

出版者

奈良教育大学

雑誌

奈良教育大学紀要. 人文・社会科学 (ISSN:05472393)

巻号頁・発行日

vol.29, no.1, pp.115-136, 1980-11-25

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At the Shunie performed at the Nigatsudo Hall of the Todaiji Temple, the Jimmyocho, which is supposed to have originated with the Engishiki, is recited immediately after the Shoya period every day during the fortnight's ritual, following the Jobun of the Kanjoku recited by the officiating priest, Daidoshi. The chanting of the Jimmyocho, of which seven common priests (Hirashu) take charge as chanters (Yomiyaku) by turns, takes place for the purpose of inviting the gods omnipresent throughout Japan, amounting to over 13,700, to the ceremonial hall of the Shunie, and calling on them to help carry out the religious cerermony, Gyobo, uneventfully. It is not, however, until he is confined in the Nigatsudo Hall for the religious devotion for the third year that the Hirashu is qualified for the Yomiyaku. There are two ways of chanting-Hombushi, orthodox recital, and Hikiage, informal recital. The Hombushi is recited for the first seven days, Johichinichi, and the Hikiage for the latter seven days, Gehichinichi. However, on the days with rather lots of rituals, such as the fifth and seventh days during the Johichinichi, the Hikiage is recited. The Jimmyocho is divided into nine sections. The first section is recited rather slowly to anicety. The tempo of the recitation is accelerated gradually from the second section on, until it comes to its audible limit, especially in the fifth to the seventh section. In the eighth section the tempo is decelerated to that of the first part. In the recitation of the Goryo in the ninth section the scale is toned down, and the whole recitation comes to the finish in stillness. The time required for chanting varies from twenty to twenty-eight minutes according to the Hombushi or the Hikiage, and the Yomiyaku, etc. The note of the melody of the Jimmyocho and the pattern of each section are shown on the following pages. (The music is based on what was taped by the late Daisojo Kokai Kitagawara, former Betto of the Todaiji Temple, in 1958.)

著者

牧野 英三

出版者

奈良教育大学

雑誌

奈良教育大学紀要. 人文・社会科学 (ISSN:05472393)

巻号頁・発行日

vol.32, no.1, pp.107-127, 1983-11-25

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During the term of the Shunie of the Todaiji Temple, from the first to the fifteenth of March, the Kakocho, list of the departed remarkable for meritorious services to the temple, is read in a chanting tone after the Karichozu, which means a brief recess for urination, on two days of the term, the fifth and the twelfth. The priest in charge of chanting the Kakocho is the Kitashu-no ichi, chief of the four common priests sitting in the north seat in the hall together with two superiors, for the twelfth, and one of the three common priests also seated with another two superiors in the south seat, or a common priest who has taken part in his fifth year's cult, for the fifth. The original of the Kakocho in existence, put in good repair in the eighth year of Kambun (1668 A.D.), is a scroll about thirty meters in lenght with eighty sheets of paper pasted together. After that time on the names of the departed have been written down in a separate scroll, and those put on record so far in the two scrolls exceed 3700 in the aggregate. The first part of the Kakocho is read off rather in a slow repressed tone, the second being chanted in a higher tone and pitch. The third part is read almost straight on, and the chanting of the last is finished off in a slow stream. The time required for this is about forty minutes.

著者

牧野 英三

出版者

奈良教育大学

雑誌

奈良教育大学紀要. 人文・社会科学 (ISSN:05472393)

巻号頁・発行日

vol.20, no.1, pp.105-118, 1971-10-30

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During the Shunie period extending over a fortnight, Hokkesenbo is recited after Hanya on each of the four consecutive days, from the 1st day down to the 4th, in the former part of the whole function, and in the latter part there of the same thing is also recited after Hanya on the four days, from the 8th day down to the 11th; Hokke-senbo is thus recited 8 times all told. To each of these occasions are allotted 3 members nominated out of the following 5, namely, Kitashu-no-ichi, Minamishu-no-ichi, Kitashu-no-ni, Minamishu-no-ni, and Chudo. And, one of these three priests acting as leader, this group goes to confession by virtue of Hokekyo (the Sutra of the Lotus). Daisbugan is recited at Shoya in exactly the same words as at Goya but in a different melody. The melody of Daishuganintroduced here is that of Daishugan recited at Shoya. Both Hokkesenbo and Daishugan are Shomyo (pl.) rather monotonous and plain but are noteworthy in that they have their own forms of expression.

著者

牧野 英三

出版者

奈良教育大学

雑誌

奈良教育大学紀要 人文・社会科学 (ISSN:05472393)

巻号頁・発行日

vol.29, no.1, pp.p115-136, 1980-11

---

At the Shunie performed at the Nigatsudo Hall of the Todaiji Temple, the Jimmyocho, which is supposed to have originated with the Engishiki, is recited immediately after the Shoya period every day during the fortnight's ritual, following the Jobun of the Kanjoku recited by the officiating priest, Daidoshi. The chanting of the Jimmyocho, of which seven common priests (Hirashu) take charge as chanters (Yomiyaku) by turns, takes place for the purpose of inviting the gods omnipresent throughout Japan, amounting to over 13,700, to the ceremonial hall of the Shunie, and calling on them to help carry out the religious cerermony, Gyobo, uneventfully. It is not, however, until he is confined in the Nigatsudo Hall for the religious devotion for the third year that the Hirashu is qualified for the Yomiyaku. There are two ways of chanting-Hombushi, orthodox recital, and Hikiage, informal recital. The Hombushi is recited for the first seven days, Johichinichi, and the Hikiage for the latter seven days, Gehichinichi. However, on the days with rather lots of rituals, such as the fifth and seventh days during the Johichinichi, the Hikiage is recited. The Jimmyocho is divided into nine sections. The first section is recited rather slowly to anicety. The tempo of the recitation is accelerated gradually from the second section on, until it comes to its audible limit, especially in the fifth to the seventh section. In the eighth section the tempo is decelerated to that of the first part. In the recitation of the Goryo in the ninth section the scale is toned down, and the whole recitation comes to the finish in stillness. The time required for chanting varies from twenty to twenty-eight minutes according to the Hombushi or the Hikiage, and the Yomiyaku, etc. The note of the melody of the Jimmyocho and the pattern of each section are shown on the following pages. (The music is based on what was taped by the late Daisojo Kokai Kitagawara, former Betto of the Todaiji Temple, in 1958.)

著者

牧野 英三

出版者

奈良教育大学

雑誌

奈良教育大学紀要. 人文・社会科学 (ISSN:05472393)

巻号頁・発行日

vol.33, no.1, pp.69-85, 1984-11-26

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It is contemplated in this issue to research into the constitution of the rhythm and intonation of the reciting or chanting of the latter half of the Kakocho, which could not afford to be referred to in the article of 1983 (XII-a), and that of the Fujumon, recital of the Kakocho chanted by the officiating priest, Daidoshi, in the early-evening period, Shoya, every day during the fortnight's ritual. The recital of the Kakocho, proceeding to the third section, gives way to a monotonous reading, one item after another read out rapidly in a monotone. The List of departed persons from the first to the 671st is recited in proper order, while the 672nd to the 3314th are read off at a stretch, some of them skipped over according to the reciter's judgment. For the part from the Meiji Period (1868-1912) up to date, covering the 3716th to the latest, all-of the departed are mentioned in proper order. The Fujumon is recited by the officiating priest, who describes what are purported by those who wish the dead the repose of their souls. It is recited in a tone peculiar but monotonous as well. What are contained in the Fujumon are prayers for both of the alive and the dead offered by all the priests participating in the religious performance, Shunie, or individuals devoting themselves to the religious service for the departed. It is a matter of interest to observe through the prayers that each of the times has Its own religious way of thikmg.

著者

牧野 英三

出版者

奈良教育大学

雑誌

奈良教育大学紀要 人文・社会科学 (ISSN:05472393)

巻号頁・発行日

vol.18, no.1, pp.89-108, 1969-11

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Jukai (ceremony for giving commandments of Buddhism) is held twice during" the whole Shunie function-about two o'clock in the morning on the 1st of March, and right before Jikjddsaho (rite performed at the dining hall) observed on the 8th of'March. Nearly the same thing is done on these two occasions. Wajo receives commandments from Binzurusonja in a most solemn manner and the other members are likewise given by Wajo commandments to be followed till the end of the Shunie function. While these rites are being performed, varius Shomyo (pl.) are recited, Wajo acting as leader. Most of these Shomyo are Hyohakumon whose contents are derived from the aforesaid commandments. The compass of voice applied is small, and the melody taken up is almost akin to that usually adopted for narration. Jikidosaho is the rite held at the Jikido (dining hall) before and after the meal which begins at about half past eleven o'clock every day. In this rite, Daidoshi and Dotsukasa taking the lead, various Shomyo (pl.) are recited. The nuclear parts of these Shomyo consist of Jinbun and Kaku, and are similar to the "Daidoshi-no-Inori" (prayers by Daidoshi) offered during the Goya period. It is to be noted, however, that here in this Kaku, Daidoshi and Dotsukasa alternately give their recitation. For about thirty minutes do these leaders offer their supplications, and thereafter the meal is eaten. These prayers are said for the sake of every citizen of Japan-from the Emperors down to the masses--of all ages, for the welfare of the whole country, for the comfortable life of all the people, for everybody's peaceful death and admission into paradice, and so forth. The melody" adopted here is very much like that taken up in the case of Jukai.