東洋音楽研究
Online ISSN : 1884-0272
Print ISSN : 0039-3851
ISSN-L : 0039-3851
竹内道敬著『近世芸能史の研究』
平野 健次
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ジャーナル フリー

1983 年 1983 巻 48 号 p. 170-173,L7

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The title page of this publication includes the subtitle “Kabuki and hogaku” in the title of the book, although this has been omitted from that on the cover and in the author's preface to the volume. The contents of the book are divided into three parts: a section dealing with kabuki; a section dealing with the history of the vocal forms of the period (called hogaku here); and a section containing reference material. This organization reflects the author's clear purpose in dividing study of the performing arts of the Edo period into two broad topics: firstly, theatrical aspects dealt with under the heading “Kabuki”; and secondly, musical aspects dealt with under the heading “Hogaku”. Within this framework, the author has arranged a collection of his past articles in both fields.
Since it is likely that criticism on the section dealing with the theatrical aspects of the study has been or will be made by specialists in the field, comment in this review will be restricted largely to the musical section of the study. Before commencing with that, however, a remark must be made concerning the author's division of the topic into two. The author himself is a scholar originally trained in the study of the theatrical aspects of these performing arts, but unlike many of his colleagues who have little practical experience with and tend to ignore the musical aspects of these arts, he has not fallen into the trap of failing to treat those important musical aspects. Although this emphasis on the musical aspects of the performing arts is something that researchers in the field of musicology might expect and take for granted, this is far from being the accepted standard in studies made by most scholars from the theatrical field of study.
Indeed, in the fields of literature and theatrical study, the performing arts of the Edo period are usually understood to comprise the theatrical forms kabuki and ningyo joruri (the gidayu-bushi joruri of the bunraku puppet theatre). Other types of joruri are generally ignored completely. Scholars in these fields, while recognizing the existence of music, regard it as being only a single and secondary aspect of the theatre, and not one that needs to be considered as a separate category within the field of the performing arts. A tendency towards treatment of this type is particularly prevalent in the fields of literature, theatre and the performing arts today, and can be seen quite clearly in the publication of series studies in these fields, where generally speaking, materials concerning the music of the period are completely lacking, or at best included only as a secondary aspect of kabuki. Studies of gidayu-bushi joruri, although treating it fully as a literary and dramatic form, fail to deal adequately with it as a musical genre.
In the past, published works by scholars in the field of theatre and literature with a deep understanding of music, such as Takano Tatsuyuki (1876-1947) and Kuroki Kanzo (1882-1930), illustrate that those scholars did not neglect the necessary treatment of music as an independent characteristic of the performing arts of the period. However, notwithstanding this, literary scholars of the present generation, tending to place more emphasis on folkloric-type studies, have rarely dealt with the history of the vocal music of the Edo period. When considered in the light of this trend, the author's division of the performing arts of the Edo period into the two topics kabuki and hogaku, is one that should be applauded. Moreover, the musics that the author has dealt with are mainly the non-gidayu-bushi genres of joruri, which are often not even considered by a majority of the scholars in his field. One can understand why he did not subtitle the book “Kabuki and joruri

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