東洋音楽研究

音階形成の要素

黒沢隆朝

1962 年 1962 巻 16-17 号 p. 13-36,en20
発行日: 1962/06/30
公開日: 2010/11/30

DOIhttps://doi.org/10.11446/toyoongakukenkyu1936.1962.13

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This treatise is designed to study on concrete facts the developmental formation of the musical scales and thereon pursue the following points:
(1) Various Existing Theories on Growth of Scales
(2) Role Attained by Musical Bow on Formation of Pentatonic Scale and Its Actual Proofs (Introduction of Overtone Scale)
(3) Contribution Made by Horn and Trumpet-shell to Formation of Scale (Discovery of Intervals of Fourth and Fifth)
(4) Scales Created by Two-stringed Musical Instrument (Kinds of Scale Formed according to Position of Left Fingers Placed on Finger-board and Transfer from Pentatonic Scale to Heptatonic Scale)
(5) Complex of Tonalities Naturally Created on Two-stringed Instruments

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平安文学に現われた楽器

今井通郎

1962 年 1962 巻 16-17 号 p. 37-59,en20
発行日: 1962/06/30
公開日: 2010/11/30

DOIhttps://doi.org/10.11446/toyoongakukenkyu1936.1962.37

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There is no era besides the Heian Era where Gagaku was applauded with so much enthusiasm. Accordingly in the literary works of this period there frequently appear descriptions relating to Gagaku. Though it is dangerous to regard all of them as historical materials, they are undoubtedly valuable supports for such materials. Moreover, there are sometimes to be found such legends or episodes, concerning musical instruments and compositions, as could never be found in the books of history or of music. This treatise is designed to pick up such descriptions and regulate them according to the kinds of musical instruments.

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只博士の解読

水原夢江

1962 年 1962 巻 16-17 号 p. 61-118,en21
発行日: 1962/06/30
公開日: 2010/11/30

DOIhttps://doi.org/10.11446/toyoongakukenkyu1936.1962.61

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Tada-hakase is one of the notations of Budhistic music, originated in the draft of Sh@/oc8/@õdaishi Ryonin in the 11th century and completed by the establishment of “Gyozan-mokuroku” by S@/oc81/@kai in the year 1223. This notation is not lia simple memo-like one but the one developed scientifically to a considerable extent. It was written with the use of a special brush named hakasefude, in the strokes of which there are certain rules to be adhered to. This treatise is designed to study the rules of stroke of such a brush, which is considered to be the only method to decipher this notation and to learn the music at that time.

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寛永三年催馬楽再興の記録

田辺尚雄

1962 年 1962 巻 16-17 号 p. 119-121
発行日: 1962/06/30
公開日: 2010/11/30

DOIhttps://doi.org/10.11446/toyoongakukenkyu1936.1962.119

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蒙古の唄 (完)

曲譜と訳詞

武田忠一郎

1962 年 1962 巻 16-17 号 p. 122-125
発行日: 1962/06/30
公開日: 2010/11/30

DOIhttps://doi.org/10.11446/toyoongakukenkyu1936.1962.122

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琉球の音楽芸能史

山内盛彬

1962 年 1962 巻 16-17 号 p. 126-133
発行日: 1962/06/30
公開日: 2010/11/30

DOIhttps://doi.org/10.11446/toyoongakukenkyu1936.1962.126

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笙の和声に就ての試論

長内忠雄

1962 年 1962 巻 16-17 号 p. 157-159
発行日: 1962/06/30
公開日: 2010/11/30

DOIhttps://doi.org/10.11446/toyoongakukenkyu1936.1962.157

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A Research into the Accords of the Sho

Tadao Osanai

1962 年 1962 巻 16-17 号 p. en1-en19
発行日: 1962/06/30
公開日: 2010/11/30

DOIhttps://doi.org/10.11446/toyoongakukenkyu1936.1962.en1

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The shõ 笙 serves as the standard of pitch ih the gagaku 雅楽^* Japanese classical court-music, and produces 11 sorts of peculiar accord called aitake fit. The writer desired and endeavoured to know in detail of the tuning of the sho, and, if passible, to give a reasonable explanation to the aitake. The result is satisfactory, and a very simple method is proposed to express numerically the degree of concordance of not only these 11 aitakes but also of almost any accord.

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