The library of Tokyo National University of Fine Arts and Music has Heikyoku written on staff notation. It was done by the Hôgaku Chôsagakari (Department of Research in Japanese Traditional Music) which was attached to the Tokyo Ongaku Gakkô (Tokyo Academy of Music), the former Tokyo National University of Fine Arts and Music.
The writer was given the opportunity to investigate this notation, and was able to understand how it came to be written. Through this writer's investigation, the circumstances how it was done became fairly clear. TATEYAMA Zennoshin, who was extremely devoted to Heikyoku, lamented the declining interest in this tradition and encouraged the preservation and study of traditional music. Through his efforts, the Department of Research in Japanese Traditional Music was established in 1907 (Meiji 40). The department's major project was to write traditional music onto staff notation.
According to the written record of the department, there are four pieces still remaining as well as five pieces and a piece with just a biwa part, which, because they were probably incomplete, were believed not to have been submitted to the department (See Figure 1).
In these written records, the writer was able to learn when and by whom these staff notations were done. Certain descriptions in the “Heike Ongakushi (the History of Heike Music)” written by TATEYAMA, who himself sang for the notation, conflict with some of the points in the written records. In his book TATEYAMA described the proper notation of Heikyoku used by the performer. These proper notations, copied by KUSUMI Bansui, include 650 stories in 5 volumes. At present, three of the volumes are owned by TATEYAMA Kôgo in Sendai, the fourth son of Zennoshin.
Considering that the biwa was used when the notation was done, the writer believes, at least in regard to these four extant pieces, that the biwa may not have been used. This is because there are mistaken pitches in the staff notation that could not have occurred if the biwa had actually been used.
Since there are only a few Heikyoku performers at present, the notated music is highly valuable. Furthermore, each of the four pieces shows interesting characteristics. The ‘Nasu-no-Yoichi’ was written showing two different singing methods: the first can be refferred to as su-gatari or “plain singing” while the second can be called kurai-gatari or “performance-singing”.
According to the characteristic of its music, Heikyoku can be divided to two categories, hushi-mono and hiroi-mono. ‘Kiso Saigo’ represents hiroi-mono and ‘Naishi-dokoro Miyako-iri’ represent hushi-mono. Therefore from these two pieces we can see the various aspects of these music.
Because ‘Yasaka-ryû Hôgetsu’ retains some of the characteristics of the Yasaka-ryû style which had discontinued in the middle of the Edo period, it provides an important example for the study of the older styles of Heikyoku.
Since TATEYAMA gives a detailed explanation of the proper notation, it is possible to understand how to perform what is written in the proper notation. In other words, his explanation can be corroborated through the notated music. For all these above reasons, the writer believes that the study of this notation along with the performances of Heikyoku as they are transmitted to this day are indispensable for studying the musical aspect of Heikyoku.

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　日本舞踊は、師匠から弟子へ、身体から身体で芸が伝えられる伝承文化である。伝承の現場である”稽古”の際は、弟子は、師匠の動きを見て、師匠と同じように動くことができるようになることが求められる。しかし、実際に師匠の動きをきちんと見て取ることは、指導者である師匠が上手ければ上手いほど難しくなってくる。本研究では、日本舞踊において特に難しいとされる「胸」の技法について、熟練した指導者である舞踊家の、具体的な「胸」動きをモーションキャプチャを用いて明らかにすることを目的とした。被験者は、東京藝術大学日本舞踊専攻の准教授1名と生徒4名である。熟練した指導者と、その学習者との間にどのような動きの違いがあるか、 ①移動運動　②回転運動　③伸縮運動 の観点から比較した。その結果、指導者の胸の動きは、三つの観点のいずれにおいても、他の学習者とは異なる特徴的な動きをしていることが明らかになった。このことは、本研究が今後の日本舞踊教育に貢献する可能性を示す結果であると言えるだろう。詳細は、会場にて発表する。

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The title page of this publication includes the subtitle “Kabuki and hogaku” in the title of the book, although this has been omitted from that on the cover and in the author's preface to the volume. The contents of the book are divided into three parts: a section dealing with kabuki; a section dealing with the history of the vocal forms of the period (called hogaku here); and a section containing reference material. This organization reflects the author's clear purpose in dividing study of the performing arts of the Edo period into two broad topics: firstly, theatrical aspects dealt with under the heading “Kabuki”; and secondly, musical aspects dealt with under the heading “Hogaku”. Within this framework, the author has arranged a collection of his past articles in both fields.
Since it is likely that criticism on the section dealing with the theatrical aspects of the study has been or will be made by specialists in the field, comment in this review will be restricted largely to the musical section of the study. Before commencing with that, however, a remark must be made concerning the author's division of the topic into two. The author himself is a scholar originally trained in the study of the theatrical aspects of these performing arts, but unlike many of his colleagues who have little practical experience with and tend to ignore the musical aspects of these arts, he has not fallen into the trap of failing to treat those important musical aspects. Although this emphasis on the musical aspects of the performing arts is something that researchers in the field of musicology might expect and take for granted, this is far from being the accepted standard in studies made by most scholars from the theatrical field of study.
Indeed, in the fields of literature and theatrical study, the performing arts of the Edo period are usually understood to comprise the theatrical forms kabuki and ningyo joruri (the gidayu-bushi joruri of the bunraku puppet theatre). Other types of joruri are generally ignored completely. Scholars in these fields, while recognizing the existence of music, regard it as being only a single and secondary aspect of the theatre, and not one that needs to be considered as a separate category within the field of the performing arts. A tendency towards treatment of this type is particularly prevalent in the fields of literature, theatre and the performing arts today, and can be seen quite clearly in the publication of series studies in these fields, where generally speaking, materials concerning the music of the period are completely lacking, or at best included only as a secondary aspect of kabuki. Studies of gidayu-bushi joruri, although treating it fully as a literary and dramatic form, fail to deal adequately with it as a musical genre.
In the past, published works by scholars in the field of theatre and literature with a deep understanding of music, such as Takano Tatsuyuki (1876-1947) and Kuroki Kanzo (1882-1930), illustrate that those scholars did not neglect the necessary treatment of music as an independent characteristic of the performing arts of the period. However, notwithstanding this, literary scholars of the present generation, tending to place more emphasis on folkloric-type studies, have rarely dealt with the history of the vocal music of the Edo period. When considered in the light of this trend, the author's division of the performing arts of the Edo period into the two topics kabuki and hogaku, is one that should be applauded. Moreover, the musics that the author has dealt with are mainly the non-gidayu-bushi genres of joruri, which are often not even considered by a majority of the scholars in his field. One can understand why he did not subtitle the book “Kabuki and joruri”

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The second collection of articles by Takeuchi Michitaka has been published, following his Kinsei Geino-shi no Kenkyu (‘Research on the History of the Edoperiod Performing Arts ’) of eight years ago (see review in issue 48 of this journal). In both publications he has contributed much to research on the history of the performing arts of the Edo period.
The volume is divided into three sections, namely: 1. research notes (10 articles); 2. research on shohon (play texts); and 3. introduction to source materials.
Research notes:
1. “Performance practices in Japanese music” compares the practices characteristic of performance in Japanese music with those of foreign practices, such as Western orchestral practices.
2. “About kakeai pieces” undertakes a historical study using written materials of the changes in kakeai, a type of performance practice in which musics of different genres are played alternately or simultaneously to produce an effect not available when the genres are performed alone.
3. “The origin of uwajoshi” provides a new theory to explain the appearance of uwajoshi, higher tunings used on the shamisen.
4. “Concerning children's songs: their appearance in the traditional repertoire today” deals with four children's songs, examining their dates of origin, their adoption into theatrical music genres such as tokiwazu and kiyomoto, and their relationship to modem children's songs using the same texts.
These first four articles all deal in some way with the contents and/or contemporary performance practice of pieces in the traditional repertoire. Although employing source material to advantage, they are all about topics on which it is difficult to draw conclusions, so one is left feeling slightly dissatisfied.
The following three articles have all grown out of the author's research on miyakoji-bushi. This was the origin of the bungo-type joruri genres (tokiwazu, tomimoto, and kiyomoto) that went on to have the greatest connection with kabuki, but little research has been done on it to date. These articles should prove to be very valuable for future research on the bungo-type joruri genres.
5. “Notes on Miyakoji Bungo-no-jo” seeks to fill in the gaps in our knowledge of the life of Miyakoji Bungo-no-jo.
6. “Miyakoji Bungo's ‘Nise no Kumiobi” ’ compares a previously unknown piece with a piece in the repertoire of gidayu-bushi.
7. “Concerning Miyakoji Toshidayu” examines this figure and a collection of notation that was in his possession in an attempt to trace the path of miyakojibushi after Bungo-no-jo.
The first section ends with three articles that deal with ogie-bushi and related matters. This is also a field that has yet to be researched thoroughly; Takeuchi's work is very valuable.
8. “A study of ‘Suisen Tanzen’ employing nagauta shohon” examines the piece “Suisen Tanzen” in the present ogie-bushi repertoire through a study of nagauta texts for the same piece, which is also still performed today.
9. “Kyoden and ogie: from meriyasu to ogie” demonstrates with reference to works by Santo Kyoden that the meriyasu pieces that gave birth to ogie-bushi were not those of the theatre, but rather those sung by male and female geisha at Edo's licensed quarters in Yoshiwara.
10. “Performing arts of the licensed quarters: about “Yoshiwara Niwaka” deals with “Yoshiwara Niwaka” as a representative of the performing arts of Yoshiwara and the licensed quarters.
These ten articles make up the first section of the volume. All are valuable, yet deal with fields in which researc

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  1920年代において、日本のサイレント映画は西洋音楽の土着化と舞台から映画へという同時代的な転換との複合的な帰結による改革のなかにあった。当初、1910年代の日本映画は歌舞伎の強い影響下にあった。当時の邦画は舞台劇の一種の安価な代用品とみなされており、ロングショット、長廻し、固定カメラで撮影されていた。音楽演出においても三味線や太鼓などの伝統的器によって歌舞伎の舞台劇を模倣することが目指されていた。ところが1920年頃になるとこうした舞台志向の映画は、クロースアップやクロスカッティング等の映画に必要な技法を追求せず、古臭い物語に安住することで批判されるようになった。そして新しい邦画を模索する純映画劇運動のなかで、伴奏音楽もまた、洋楽と洋画伴奏のもとで再編成されることになる。しかもこの動きは、歌舞伎などの伝統の根強い時代劇においても浸透し、洋楽合奏や和洋合奏による古典曲や輸入洋楽曲の演奏、さらには新作伴奏曲をともなって上映されるようになるのである。本論文は、東京における日活の封切館であった浅草富士館や神田日活館の興行実態や伴奏曲をめぐる言説、および伴奏譜の資料考証を交え、複合的にこの再編成のありようを捉え直す試みである。まず浅草富士館の支配人三宅巌の試行錯誤に注目し、歌舞伎的伝統の根強い富士館でどのように洋楽合奏や和洋合奏が導入されたのかを考察する。次いで残る2節では、現存する楽譜資料や同時代の言説の検証により、1926年頃の時代劇伴奏のレパートリー、そして時代劇伴奏の代表的作曲家のひとりであった松平信博の1927年以後の実践を考察し、1920年代後半にどのように楽曲と編成におけると洋楽の折衷ないし再編成が進んだのかを示す。

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