竹内道敬著『近世邦楽研究ノート』

抄録

The second collection of articles by Takeuchi Michitaka has been published, following his Kinsei Geino-shi no Kenkyu (‘Research on the History of the Edoperiod Performing Arts ’) of eight years ago (see review in issue 48 of this journal). In both publications he has contributed much to research on the history of the performing arts of the Edo period.
The volume is divided into three sections, namely: 1. research notes (10 articles); 2. research on shohon (play texts); and 3. introduction to source materials.
Research notes:
1. “Performance practices in Japanese music” compares the practices characteristic of performance in Japanese music with those of foreign practices, such as Western orchestral practices.
2. “About kakeai pieces” undertakes a historical study using written materials of the changes in kakeai, a type of performance practice in which musics of different genres are played alternately or simultaneously to produce an effect not available when the genres are performed alone.
3. “The origin of uwajoshi” provides a new theory to explain the appearance of uwajoshi, higher tunings used on the shamisen.
4. “Concerning children's songs: their appearance in the traditional repertoire today” deals with four children's songs, examining their dates of origin, their adoption into theatrical music genres such as tokiwazu and kiyomoto, and their relationship to modem children's songs using the same texts.
These first four articles all deal in some way with the contents and/or contemporary performance practice of pieces in the traditional repertoire. Although employing source material to advantage, they are all about topics on which it is difficult to draw conclusions, so one is left feeling slightly dissatisfied.
The following three articles have all grown out of the author's research on miyakoji-bushi. This was the origin of the bungo-type joruri genres (tokiwazu, tomimoto, and kiyomoto) that went on to have the greatest connection with kabuki, but little research has been done on it to date. These articles should prove to be very valuable for future research on the bungo-type joruri genres.
5. “Notes on Miyakoji Bungo-no-jo” seeks to fill in the gaps in our knowledge of the life of Miyakoji Bungo-no-jo.
6. “Miyakoji Bungo's ‘Nise no Kumiobi” ’ compares a previously unknown piece with a piece in the repertoire of gidayu-bushi.
7. “Concerning Miyakoji Toshidayu” examines this figure and a collection of notation that was in his possession in an attempt to trace the path of miyakojibushi after Bungo-no-jo.
The first section ends with three articles that deal with ogie-bushi and related matters. This is also a field that has yet to be researched thoroughly; Takeuchi's work is very valuable.
8. “A study of ‘Suisen Tanzen’ employing nagauta shohon” examines the piece “Suisen Tanzen” in the present ogie-bushi repertoire through a study of nagauta texts for the same piece, which is also still performed today.
9. “Kyoden and ogie: from meriyasu to ogie” demonstrates with reference to works by Santo Kyoden that the meriyasu pieces that gave birth to ogie-bushi were not those of the theatre, but rather those sung by male and female geisha at Edo's licensed quarters in Yoshiwara.
10. “Performing arts of the licensed quarters: about “Yoshiwara Niwaka” deals with “Yoshiwara Niwaka” as a representative of the performing arts of Yoshiwara and the licensed quarters.
These ten articles make up the first section of the volume. All are valuable, yet deal with fields in which researc