A characteristics common to melody lines in ENKA (a traditional-style in Japanese popular song) is described in this paper. Feature patterns extracted from the power spectrum of melody lines in Japanese popular songs are analyzed by using fuzzy clustering. From the analysis, there exists a distinctive cluster where ENKA melodies are assembled. A rough style of the melody lines in ENKA is reasoned by analogy from the feature pattern common to the cluster. A melodic style common to ENKA is cleared when we take a view of the melody lines from long time axis in comparison with a melody length. From analyzing the feature pattern, it is recognized that the rough straight-line representing a melodic line is modulated by ups and downs fluctuations and the strong correlation between a note and front note can be expected in the melodic progression in ENKA.

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楽曲分析の一つとして, 旋律パターンを判別するための手法は旋律を比較する形で発展してきた。その多くの分析手法は目的毎に特異な分析形態をとっているのが普通である。本論文は, 日本の歌謡曲においては伝統的旋律の一つである演歌旋律パターンの類似関係について述べている。その類似関係の評価は旋律パターンのスペクトル傾度空間におけるファジィクラスタリングによって行われる。日本の歌謡曲531曲に適用したクラスタリングでは, 演歌と非演歌の二つのクラスタに大別できた。演歌が集群したクラスタ内の特徴ベクトルから演歌に共通する旋律パターンの特徴を類推する。更に, 旋律パターンのスペクトル傾度と旋律進行のお互いの関連についても議論する。

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The five-minute music program 'MINNA NO UTA' (Everyone's Songs), which has been broadcast on NHK since 1961, has contributed to the popularization of new children's songs. It has created about one thousand tunes, influencing musical education and popular music in Japan. This paper explores the characteristics and meanings of this program by focusing on its text as well as the processes of its production and consumption. My research involved conducting interviews with directors and distributing questionnaires to audiences. My aim is to explain the uses of this program by audiences through their everyday lives and how this TV program contributes to creating new children's songs. My conclusions are, firstly, that this program has a distinctive history that has been flexibly transforming songs into appropriate styles for children in the TV age. Secondly, these songs played a role in constructing a national collective identity for everyone (including grown-ups), especially from the 60s to the 80s, because these texts have functioned as 'national music' mediated by a state channel.

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