一噌流能管の旋律型の生成と展開の諸相

「中ノ高音」「呂のかすり」「高音ノ吹むすひ」を中心に

抄録

Today there are significant differences in the performance styles of the three no flute traditions, the Isso, Fujita, and Morita schools. These differences first become apparent in documents from the late Muromachi and Edo period. In this period players of various schools began to transcribe their techniques through a form of notation called shoga-tsuke. However, there has been little analysis of the formalization of practices of the no flute traditions. As a starting point to address this issue, this study attempts to investigate the processes of generation and evolution of melody patterns in the Isso school's performance practices from the late Muromachi period to the present time.
The term melody patterns refers to the short phrases for an accompaniment of no chanting. Today there are about 20 extant melody patterns, such as “takane” and “rokunoge”. But only 5 melody patterns are seen in the Isso-ryu Fue Hidensho (the oldest shoga-tsuke dating back to the late 16^th century). In Isso-ryu Fue shoga-tsuke (the one in the early 17^th, century), there are even some melody patterns that are no longer performed today. So it is thought performance practices of melody patterns have changed much over time.
To address the mystery of how these patterns changed, I chose to compare and contrast the following six texts written in the late Muromachi period, the early Edo period, the middle Edo period, and the present time:
Isso-ryu Fue Hidensho
It was compiled in 1596 ((1)). This is thought to be the oldest scores. In 1704 it was inserted by Isso Matarokuro (?-1716), the fifth head of Isso school ((2)).
Isso-ryu Fue Shoga-tsuke
It was transcribed in 1660 by Isso Hachiroemon (1624-1703), the third head of Isso school ((3)). In 1705 section it was inserted by Isso Matarokuro (?-1716), the fifth head of Isso school ((4)).
The shoga-tsuke has the preface, “Tairano Masaka wrote this shoga-tsuke in 1791.”
This is thought to be written in 1791 by Isso Matarokuro Masaka (?), the eighth head of Isso school ((5)).
Isso-ryu Fue Yubitsuke-shu
It was written and compiled in 1940 by Morikawa Sokichi and revised by Isso Eiji (1910-1945), the thirteenth head of Isso school ((6)).
The notation of the six shoga-tsuke are analyzed using the smallest elements of the shoga score, such as kana symbols, phrases, and annotation made to shoga. Through this study, the following three aspects of the generation and evolution of melody patterns became evident. First, though several shoga symbols changed, much of the essential musical elements that form the core of no flute performance remained unchanged. Secondly, there was the process in which melody patterns became firmly associated with their titles. Lastly, I indicated that there were many different stages of flute performancesfrom the shoga of the earliest score Isso-ryu Fue Hidensho.The earliest no flute performance practices make us imagine no drama as havingpastoral roots. Noh players perhaps relied on only a certain core set of musical elements with significant variation in particular performance. It was a germinal stage that would grow into the no of today. From such variety, some set forms of melody patterns were born and they changed variously and finally they established today's styles. In the changes in no flute performance, we can see the parallel evolution of all of no drama.