Abstract
Anthologies of notation of heikyoku (Heike Monogatari, the Tale of the Heike, in accompanied vocal recitation) have, since the end of the Second World War, attracted the attention of researchers as materials for studies on the Heike Monogatari and on accent in the Japanese language. The first collection of notation published in photographic reproduction was the Heikyoku Mabushi held in the collection of the Department of Japanese Literature of Kyoto University (hereunder referred to as the Kyoto University score), which was undertaken by Okumura Mitsuo in 1971. This article examines its compilation and the nature of the source annotations that appear in great number throughout its text.
One of the reasons for the Kyoto University score having been the first selected for photographic reproduction from among the many surviving examples of notation seems to lie in the the supposed circumstances of its compilation. Since the research of Atsumi Kaoru, it has been viewed as being a copy of the draft manuscript for Heike Mabushi, edited by Ogino Kengyo (1776). Heike Mabushi is a collection of notations of Maeda school heikyoku that was used throughout the country in the late Edo period (c nineteenth century) because of the clarity of its notational style and a structural composition that facilitated learning. If it is a copy of the draft manuscript for Heike Mabushi, the Kyoto University score is clearly an important reference for understanding the process by which Heike Mabushi was edited.
However, close examination of the Kyoto University score and comparison with the score thought to be the parent copy of Heike Mabushi, that of the Ozaki family collection (photographic reproduction, 1974), has led the present author to the conclusion that the Kyoto University score (or, if it existed, an older original) must have been compiled after, not before, the Ozaki family Heike Mabushi.
In what way, then, was the Kyoto University score compiled? Its colophon records the name Oka. This refers to the Edo kokugaku scholar Oka Masatake (1773-1854), the author of Heikyoku Mondo-sho (‘Questions and Answers on Heikyoku’). According to the preface of this work, Oka compiled it in 1820 as a record of answers given by Hoshino Kengyo of Kyoto in writing to various queries posed by Oka that emerged during his preceding eight-year comparative collation of heikyoku notations. The fact that more than eighty percent of the questions dealt with in Heikyoku Mondo-sho agree in some way with annotations to be found in the Kyoto University score indicates that the Kyoto University score was compiled by Oka to function as a record of this comparative investigation.
Chapter Two of this article examines the sources for the annotations, amounting to 2200 examples of approximately 30 types, attached to variants identified in the text of the Kyoto University score, in an effort to detail the extent of Oka's comparative collation. As a result, it has become clear that this was based on the following sources: 1. a comparative score made in the Genroku year-period (1688-1704); 2. Heikyoku Ginpu, a score used by sighted enthusiasts in eighteenth-century Edo; 3. a score of the Toyokawa-bon lineage used in Edo by musicians of the todo blind musicians' guild, also used as the central source in the compilation of Heike Mabushi; 4. a score in the lineage of Yokoi Yayu's Heigo, a Maeda-school score used in Nagoya and other regions also used as a source in the compilation of Heike Mabushi; 5. Heike Mabushi as disseminated to Kyoto and Edo; and 6. the actual performance of contemporary heikyoku musicians. As well as contributing important reference material on the process by which Heike Mabushi was edited, the Kyoto University Heikyoku Mabushi score is extremely important in
