著者

田中 悠美子

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.2002, no.67, pp.1-22,L1, 2002-08-20 (Released:2010-02-25)

参考文献数

26

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Itchu-bushi, a genre of joruri narrative, was originated by Miyako Itchu I in Kyoto in the Genroku era (1688-1703). There is debate as to whether pieces in the contemporary repertoire were composed by Itchu: some scholars feel that some of them may have been composed or revised by Miyako Kunitayu Hanchu (a student of Itchu I who later became independent and started bungo-bushi, another school of joruri narrative). Other pieces are thought to be compositions or revisions by Itchu V who revived itchu-bushi with the help of a kato-bushi shamisen player, Sugano Joyu I. Kato-bushi is also another school of joruri. Two factors make it difficult to identify the composers of joruri. Firstly, published texts are limited in number. Secondly, few records of performances exist due to the fact that compositions were not performed in the theater but in the salon.Nonetheless, there exist a core of pieces which are generally identified as Itchu's compositions. For this purpose of this paper, I selected twelve pieces, the names of melody types of which are identified in published texts. Ten pieces included in the staff notation form, compiled by the Hogaku Chosa-gakari (Department of Research in Japanese Traditional Music) which was attached to the Tokyo Ongaku Gakko (Tokyo Academy of Music) in the first half of 20th century; or in numeral notation form transcribed by Asada Shotetsu. I transcribed the remaining two pieces from sound recordings. Analysis of these twelve pieces in those contemporary notation has enabled me to classify melody types used by Itchu I in terms of their musical functions, identify the basic melodies (kihon-ji) which are used frequently in itchu-bushi narrative style, and observe the frequency of borrowings from other schools and arrangements of melody types used in each piece.The results of the analysis are as follows.(1) An itchu-bushi piece centers on the basic units (jishitsu tangen), is divided into sections by its connecting units (kessetsu tangen), and is varied musically by inserting figurative units (moyo tangen). Lots of melody types are related to other schools of joruri.(2) The basic units are classified into basic and borrowed motives. The former corresponds to the basic melodies (kihon-ji), and the latter comes from the other schools of joruri such as bungo-bushi, gidayu-bushi. Representative patterns of kihon-ji which listeners may perceive as typical itchu-bushi style are the patterns E, I and J of ‘futsu-ji’ in Score 2. The patterns named ‘haya-ji’ (hE, hI, hJ hK, hM, ) in Score 2 are also typical, and they are often quoted in the other shamisen music as typical itchu-bushi melody.(3) After studying the arrangements of melody types used in each piece, I can conclude that all twelve pieces analyzed contain melodies borrowed from other narrative genres. It is safe to say that the descendants of Itchu I (Hanchu, Itchu V and Joyu I) have added some revisions to the original pieces.

著者

藤井 徹也 玉腰 浩司 中山 和弘 大林 実菜 田中 悠美 篠崎 惠美子

雑誌

聖隷クリストファー大学看護学部紀要 = Bulletin Department of Nursing Seirei Christopher University

巻号頁・発行日

vol.22, pp.45-52, 2014-03-31

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本研究は、看護師養成機関における性同一性障害(gender identity disorder : 以下GID とする)学生の演習・実習指導などについて、受け入れ経験者から得た具体例を検討した。対象は、身体的性は女性であるが自己認識は男性であるFTM(Female to Male Transsexual)学生の受け入れ経験のある教員3名である。結果、GID 学生の治療状況により、演習などのグループやトイレ、更衣室の使用が変化した。特に身体の外観的が男性と認識できれば、男子学生として受け入れ、女性であれば女子学生として受け入れていた。女子学生として受け入れた場合は、本人の意向によりユニフォームの考慮や演習時のペアを特定するなどの対応が必要であった。今回の3事例に関わった教員は、全てGID 学生の相談などを担当し、演習や学内行事の前にGID 学生と話し合いを行うことで、最善な対策を選択することを心がけていた。