Tsuzumi, which is used in accompanying music for
nogaku and
kabuki, is a type of hand drum with sandglass-shaped body.
Tsuzumi used in
nogaku, including smaller size
kotsuzumi and larger size
otsuzumi, is said to have developed from
tsuzumi used in
gagaku. As the shape of
nogaku tsuzumi is different from that of
gagaku tsuzumi in details, the author supposed that there were some transitional types. Conducting a study of ancient musical instruments owned by temples and museums throughout the country, the author discovered several transitional
tsuzumi. This paper shows how the shape of
tsuzumi changed from that used in
gagaku to that used in
nogaku.
Three names have normally been used to distinguish
tsuzumi used in
gagaku: ikko, the smallest;
ni-no-tsuzumi, the medium sized;
san-no-tsuzumi, the biggest. But as a result of investigation, it was found that the shape and size of
tsuzumi bodies were not standardized, as was understood until now, and that there was a gradual transformation. For instance, bowl-shaped parts of the body became narrower, thus resembling
tsuzumi used in
nogaku.
In the course of investigation, several black-lacquered
tsuzumi were discovered at Araki Shrine, Isonokami Shrine, Taji Shrine, and Kandani Shrine. Compared with
tsuzumi used in gagaku, they are not decorated with imaginary flowers and their two bowl-shaped parts are decorated with three carved lines instead of double-strand bands. Without the lines carved on the bodies, they would look like
tsuzumi used in
nogaku. In addition, almost all of them have very similar bodies, as if they were standardized. These discoveries coincide with the tradition which says that the size and shape were determined by craftsmen in the Tonomine District during the Kamakura Period. However, there are differences in the way the inside of the body is carved. For example, the
tsuzumi of Isonokami Shrine is closer to
gagaku tsuzumi, while those of Taji and Kandani Shrine are closer to
nogaku tsuzumi. These
tsuzumi seem to have been used in
gagaku or medieval performing arts other than
nogaku. Two
tsuzumi of Araki Shrine seem to have been used in
gagaku, for the Araki area was a territory of a
gagaku musician, Ohno Yoshikata, in the Kamakura Period. Four
tsuzumi are said to have been used in a festival at Isonokami Shrine. At Taji Shrine, four
tsuzumi are used in a dance called “Kakko-suri” which has been continued since the Muromachi Period. The
tsuzumi of the Kandani Shrine, whose interior was carved for tuning, was perhaps used in
nogaku or medieval performing arts.
Another
tsuzumi, more similar to
tsuzumi used in
nogaku, was discovered at Nunakuma Shrine. Three carved lines remain on the body, but the body is decorated with
makie just like a
nogaku tsuzumi. This is by tradition the work of Chigusa, an early craftsman of masks and instruments. It is clear that this
tsuzumi was first coated with black lacquer and used to accompany some medieval performing art.
Makie was later applied when the
tsuzumi began to be used in
nogaku. This
tsuzumi is the very missing-rink that connects
gagaku, medieval performing arts and
nogaku.
Another interesting fact about this
tsuzumi discovered at Nunakuma Shrine is that its size is that of
kotsuzumi even though it has the shape of
otsuzumi. According to a catalogue of
nogaku-players called “Yoza Yakusya Mokuroku”,
kotsuzumi player, Ko Gorojiro, transformed
otsuzumi into
kotsuzumi. In addition, the discovery of the
tsuzumi of Nunakuma Shrine suggests that the shape of
kotsuzumi
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