Tri-star wheel is characterized by being able to climb a stair in addition to the stability during translation. In this paper, we analyze the dynamic behavior especially focusing on the force acting on the ground wheel when climbing a stair in order to design an optimal controller, which achieves stable climbing. Based on this analysis, we propose a method to determine the design parameters of the optimal controller together with SRL (symmetric root locus) method.

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There is a well-established Japanese belief in an invisible spirit who lived in an old tree. A raccoon dog, which lived in the tree's hollow, often believed to be an incarnation of the spirit. On the other hand, folk story tells that people have long been frightened by the strange sound made of raccoon dogs beating their stomach muscles with their paws. Based on these, the following story of a spiritual raccoon dog, named Danjiri-kichibei was formed in Osaka.
In 1938, when the watercourse between Tenma canal and Yodo river was cut, beside the canal Enoki (hackberry) jinja shrine was established. After then, a raccoon dog lived there regarded as an incarnation of Enoki jinja shrine's spirit. One night when people completely neglected the spirit and the raccoon, an old man offered a lunch box to Enoki jinja shrine. Then, suddenly a strange sound sounded. This seemed to be similar to the sound of danjiri bayashi (the music used to accompany a float pulled in procession), although the festival season had finished. The people considered that this must have been the warning sound by the spiritual raccoon dog they ignored.
They named the spiritual raccoon dog Danjiri-kichibei after the character of his strange sound. Danjiri-kichibei was happy to produce the sound until the Meiji period (1868-1912), when many people visited the shrine. Although it has not been heard by the 1930s, a danjiri bayashi performance, which is sometimes accompanied a “raccoon dog dance”, is still offered to Danjiri-kichibei.
In this story, it is conspicuous that the strange sound was related to the sound of danjiri bayashi. In the 1930s, Danjiri-kichibei was regarded as a spiritual raccoon dog, which was good at imitating danjiri bayashi sound of the Tenjin-matsuri festival that had performed on the pulled floats during the Meiji period (1868-1912). Tenjin-matsuri festival is one of the three biggest festivals in Japan, and the danjiri bayashi performance is popular especially in Osaka. However, since the Meiji period the danjiri bayashi performances declined to the one performed on a fixed float in the Osaka Tenmangu shrine (the ritual center of the festival).
It is indeed only about 800m distance between the shrine and Danjiri-kichibei's small shrine, however, the strange sound was heard after the festival season. In addition, Osaka Tenmangu shrine keeps no material concerned with a raccoon dog. Noting relates the Danjiri-kichibei's and Tenjin-matsuri's danjiri bayashi.
Then, the sound recognition by the local people should be considered why Danjiri-kichibei's sound was related to the sound of Tenjin-matsuri festival's danjiri bayashi. The author hypothesized that a real strange sound was heard around Enoki jinja shrine. The expression of the Danjiri-kichibei's sound, that is “kon chiki chin”, indicates this was a metallic quality. It is possible to be a sound of the casting coins at the brick factory of the Mint Bureau established in 1870. At the factory where situated 1200m away from Danjiri-kichibei's small shrine, 16 hours a day working was done at the longest. The sound could be heard at night until the building was reconstructed in the 1930s.
The strange sound was accepted as a phenomenon caused by a spiritual raccoon dog, referring to the local belief. The sound became more familiar when it was related with the sound of danjiri bayashi. In the 1930s when both Danjiri-kichibei's and the pulled floats' danjiri bayashi performance had been lost, the nostalgia for the Meiji period relates these. As a result, Danjiri-kichibei's strange sound was involved in the local sound culture of Tenjin-matsuri festival. When danjiri bayashi was performed for the spiritual raccoon dog

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This is a report on a continuing study begun five years ago by members of a study group associated with the Seminar of Ethnomusicology, Music Research Institute of the Osaka College of Music (Inobe Kiyoshi, Hiroi Eiko, Miyagawa Noriko, Hirayama Keiko and myself) on the music of Osaka's Tenjin festival (Tenjin-matsuri). It is a summer festival held annually on 24th-25th July, with a preparatory ceremony on the 24th and central celebrations on the 25th, and is associated with the Shinto shrine Tenman-gu (Osaka-shi Kita-ku) and celebrated on the Yodo River, which runs through Osaka. At the time of the festival, the bridges that span the river, Tenjin-bashi, Tenma-bashi, and Kawasaki-bashi, throng with people there to see the parade of boats and fireworks of the festival. Said to originate from the tenth-century, the festival reached its full form by the Genroku yearperiod (late 17th-century), and has been Osaka's main festival for a long period of time.
Research on the festivals of Japan has in the past tended to concentrate on those on the fringes of its culture, and only lately have those of the cities been taken up by research groups from the viewpoint of urban anthropology. The Osaka Tenjin festival is no exception; despite its fame, it has not attracted much attention. Such is particularly true of its music and performing arts, which have not yet been dealt with by ethonologists and researchers on folkmusic.
The festival is supported in both material and spiritual terms by religious associations and other groups numbering in all about fifty. They also bring life to the sound world of the festival, which is truly multi-faceted: moyoshi-daiko, drums played by six youths on a platform supported on the shoulders of more than one-hundred men, and symbol of the festival; danjiri-bayashi, festival music that sounds all day long; sounds of flute, drum and bamboo of the shishi-mai (lion-dance) and yotsudake-odori (four-bamboo dance) of the children; drum and gong sounds of the dondoko-bune, a boat with thirty rowers that travels up-and-down the river; the stately strains of the gagaku and kagura associated with Shinto ceremonies. There are many more musics contributing to the sound world of the festival. These musics do not take place in a linear fashion, but are super-imposed on one another, covering a large area of space at the same time. This may be typical of urban festivals. The players of the music, too, range from amateur members of the religious associations, who transmit the moyoshi-daiko tradition, to professionals and semiprofessionals who are paid to participate in danjiri-bayashi as well as gagaku and kagura.
Central to the music of the festival are the moyoshi-daiko and danjiri-bayashi, the interrelationship of which is of great interest. Our research group has already published a paper on the former, its history, performance structures and techniques, and musical characteristics (“Moyoshi-daiko no baai —tenjin-matsuri no ongaku Part 1—” [‘Moyoshi-daiko — music of the Tenjin festival, Part 1’], Ongaku Kenkyu [‘Music Research’], Bulletin of the Music Research Institute of the Osaka College of Music, Vol. 4, 1986). It is played on instruments belonging to the shrine and hence gains a type of sacredness, and the six youths who play it are required first of all to concentrate on playing together, in a way in which the act of beating the drum and each single sound produced is given weight. The music of the danjiri-bayashi, however, is of a light and rhythmic feeling, and is played energetically.
Lastly, it should be noted that although we have dealt up until recently with a strictly synchronic study of the festival, we have now begun a search for the roots of the music and performing arts of the festival. In

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This paper aims to consider the tradition of festival music, focusing on its inheritance. The festival music at the Kishiwada Danjiri Festival held in Osaka was noted to be deteriorated, which has been an issue. A Japanese shinobue flutist, the person who raised this issue, has been working on “improvement activities” that comprise 1) identification of the music, 2) transcription of the music, 3) revival of old sound sources, and 4) enlightenment of children about the music. By analyzing these activities, this paper clarifies how the tradition of festival music became separated from the local apprentice system as it transformed from “Orality” to “Literacy.” This paper analyzes how “literacy” enables access to festival music of the early days and generates conflicts.

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大阪市内には、明治以前から存在する農村集落や街道集落など、近代以降の都市発展によって周辺を市街地に取り囲まれながらも、いまだに集落形態を存続している古集落が存在している。多くの古集落では、神社での伝統的祭りに代表されるような地域コミュニティ活動が盛んに行われ、それらを継承し支えている旧来コミュニティが存在し続けている。周辺市街地に対して古集落の旧来コミュニティが核になり、地域コミュニティを形成しうるという可能性も考えられる。本研究は、大阪市内において伝統的祭りが継承されている古集落を対象とし、その周辺市街地の発展過程と古集落内部の宅地変容を分析することによって、旧来コミュニティを構成する居住者の変質過程と現状を明らかにし、さらに伝統的祭りにおける旧来コミュニティの役割を明らかにすることを通じてその今日的な特性を考察した。

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