| Project/Area Number |
03610022
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| Research Category |
Grant-in-Aid for General Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Research Field |
美学(含芸術諸学)
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| Research Institution | Osaka Kyoiku University |
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Principal Investigator |
MABUCHI Usaburo Osaka Kyoiku University, Faculty of Education, Professor, 教育学部, 教授 (30030406)
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| Co-Investigator(Kenkyū-buntansha) |
MINAMITANI Miho Shitennoji International Buddhist University, Lecturer, 短期大学部, 講師 (50219698)
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| Project Period (FY) |
1991 – 1992
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| Project Status |
Completed (Fiscal Year 1992)
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| Budget Amount *help |
¥1,500,000 (Direct Cost: ¥1,500,000)
Fiscal Year 1992: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 1991: ¥1,000,000 (Direct Cost: ¥1,000,000)
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| Keywords | Edo Period / Gagaku / Performing style / Tempo / Rythm Pattern / Music Books / Gakuso-Nikki / Gakka-roku / リズムパタン / 舞楽 / 管絃 / 雅楽譜 / 素人愛好家 |
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| Research Abstract |
The research report consists of two sections ; Section 1, and section 2. Section 1 refers to the changes in the style of gagaku performance during the Edo period through philological researches of the technical terms refering to the music of gagaku. The result of our research shows that because of liyue, the tempo of gagaku performance was made slow during the Edo period to give a solemn impression to the music to fit the idea of liyue ; to perform the music of gagaku is to cultivate one's mind.
Then we tried to show how these changes in the performances of gagaku music was made by investigating through gagaku music books, performing deta and trial performances by using a music soft on a computer. Trial performances showed that the music of gagaku played in older style turned out to be fairly rhythmical whereas the music after the 18th century became solemn and static which is just as same as the music we listen today. These trial reveald that tempo and rhythm affect very heavily on the character and the image of the music.
The second part of the report consists of 1) research results upon inquiry of the gagaku music books housed in the University of Kyoto and the Yakumo Honjin located in Shinji, Shimane, 2) research results found from the investigation of the diary of Togi Fuminari, a gagaku musician of the Sanpo-gakuso who was active in the late Edo period. The first research revealed that the pieces of gagaku music now selected as the Meiji-sentei-fu are just as same as the repertoire played during the late Edo period. By investigating the diary of Togi Fuminari, we found out that gagaku musicians earnestly taught amateur gagaku musicians living far from Kyoto, and the Buddhist priests of the Jyodo-Shinshu sect played an important role in distributing the music. We also found that the samurai calss were also eager in learning and playing the gagaku music.
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