| Budget Amount *help |
¥4,400,000 (Direct Cost: ¥4,400,000)
Fiscal Year 1995: ¥600,000 (Direct Cost: ¥600,000)
Fiscal Year 1994: ¥800,000 (Direct Cost: ¥800,000)
Fiscal Year 1993: ¥3,000,000 (Direct Cost: ¥3,000,000)
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| Research Abstract |
This being the final year of this three-year research project, I first of all surveyed and collected the portion of Tokyo materials in the Tokyo Metropolitan Central Library that I could not survey the previous 2 years, and the Tomimotobushi-related listings in the Takeuchi Michitaka Collection in the Kunitachi Music College library. A total of 936 Tomimotobushi authorized librettos and rehearsal librettos were surveyed and collected by me in the 3 years, from the above 2 locations, Tokyo Naitonal University of Fine Arts and Music library, the Kuroki Colleciton in Tokyo University's Faculty of Letters, the Ueno Gakuen College materials room, the Kagetsu Colleciton in Ueda City Library, the Kaga Colleciton in the Tokyo Metropolitan Central Library, as well as my personal collection. These were arranged and catalogd by bibliographic content. Listing the titles in (Japanese) alphabetical order and preparing a table of publication details, postscripts (okugaki), shikigo, marginal notations
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, number of leaves and of lines to a page, etc., I produced a small booklet report. Since, compared to the Tokiwazubushi in the same Bungobushi line of joruri, Tomimotobushi are quantitatively small and are hardly ever performed any more, the chances are they will soon die out. Tomimotobushi branched off from Tokiwazubushi, and Kiyomotobushi branched off from Tomimotobushi, so the latter is in an intermediate position ; the tunes, consequenytly, are also of an intermediate nature, and seem to have lost vitality by being sandwiched between the other 2 forms. The 2nd Tomimoto Buzen dayu, a master artist by repute, took Tomimotobushi to its peak, but his long career, and the absence of a competent successor, apparently hindered the form's development. Still, Tomimotobushi's place in performing history is significant for that very reason, and the performances of the 2nd Buzen-no-jo are important in late-modern joruri. Most likely there are more Tomimotobushi texts than those covered by my report, so it is thus only an interim report. Less
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