雅楽は、中国から朝鮮半島経由で日本に伝来し、宮廷音楽として根付いた日本の伝統音楽である。雅楽の旋律は多数のの組み合わせで構成されているが、先行研究におけるは雅楽すべての旋律の中のごく一部を示しているに過ぎず、すべての旋律の中でのの位置付けを示す必要がある。 　雅楽のは仮名譜を通じて楽譜中に読み取ることができる。しかし雅楽の楽譜は奏法譜であること、「塩梅」が楽譜上に記述がないことから、その読解は非経験者には困難である。読解は経験的に行われており明文化されたルールがないため、雅楽習得の敷居を高くしてしまっている。 　そこで、本研究の目的は、雅楽の標準的楽譜でありもっとも広く普及している楽譜である『明治撰定譜』から雅楽の主旋律を担当する楽器「篳篥」のを抽出すること、とりわけ、これまで経験的無自覚に行われてきたの認識を統計手法を以って行うこととした。 　まず、『明治撰定譜・篳篥譜』全72曲をデータ化し、その内68曲を分析対象とした。データ化の際にセルという形式を筆者が策定した。セルとはパターンの最小単位であり「仮名譜」における唱歌の大きい仮名ひとつを中心にした唱歌の仮名、運指などの楽譜データの複合体である。 　次に、データ化した楽曲群を「六調子」を基に分析対象群と背景群に分けた。　次に、『明治撰定譜』に存在するすべてのセルタイプを抽出し、１～８セルタイプによるパターンを総当たりで生成した。次に、生成したパターンそれぞれについて統計的評価尺度であるFスコアを求め、パターンの特徴性を数値化した。次に、Fスコアの高い順に各「調子」ごとの特徴的パターンを抽出した。最後に、抽出したパターンと演奏音源を照合することで、各「調子」ごとの特徴的なを抽出した。演奏音源は宮内庁式部職楽部、東京楽所、天理大学雅楽部のものを使用した。 　本稿では代表的なパターンと対応するについて、出現頻度や前後の文脈を示すことで、「篳篥」の特徴的なを可視化し、雅楽の旋律の中でのの位置付けを示した。また、既往研究で挙げられなかったを得ることができた。

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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.

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Charkh is one of many keywords when considering Iranian culture. In Persian, Charkh initially means “a wheel”, and secondarily “firmament and fate”. In Iranian culture, “firmament and fate” must be regarded as “circulation”, and moreover, the Iranian view of life is often likened to “the wheel of fate”.
This concept of Charkh is applicable not only for exploring the view of life of Iranian people in Persian classic poetry studies, but also for various fields in Iranology. For example, in Persian music studies, the concept of Charkh, though not necessarily extending to being a view of life is, nevertheless, highly suggestive if only for its implications of “circulation”. In this paper, I illustrate how a Charkh-like structure is reflected in performance type and in the musical structure of Iranian music, and how it exists in various scales as multilayers and interlaces in one performance. Finally, I clarify the Iranian way of listening, feeling and making music which is peculiar to a Charkh feeling.
The Charkh-like structure in Iranian music indicates the following temporal distribution of traditional melody types such as “change and recursion of tessitura and atmosphere”. Several traditional melody types, which constitute the mode of Iranian music, are, roughly speaking, performed from melody types, which take on lower tessitura, to melody types which take on higher tessitura. And after reaching the highest tessitura of the mode, it returns quickly to the tessitura and atmosphere of a base through a certain fixed melody type called “forud (down)”.
This “Charkh” structure is surely reflected in the performance type and musical structure of Iranian music, and exists on various scales in multilayers, and interlaces each other in one performance. There is, therefore, way of listening, feeling and making music peculiar to a “Charkh feeling” there. For example, when a performance is heard independently, it can be heard as a climax, and in a “Charkh feeling”, it turns out that its emotional expression is controlled for the following further climax. Moreover, the melody type called “forud” is recognized and felt not as a merely descending figure but as a “recursion” function that forms “Charkh”.
Namely, this “View of Charkh” has a very important meaning in the mind of the leading player during improvisation in terms of “what to do next?” In the world of traditional music, musical acquisition is not merely memorizing traditional melody types as a repertory but rather the acquisition of a “View of Charkh”. Even in improvisation for fun, a musician sets up a “forud” based on this “View of Charkh”.

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