一中節の旋律型分析-初世都太夫一中の作品を中心として-

抄録

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.