Generative Principle of Melodic fragment in Rokyoku
| Project/Area Number |
26370094
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Multi-year Fund |
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| Section | 一般 |
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| Research Field |
Aesthetics and studies on art
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| Research Institution | Osaka Kyoiku University |
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Principal Investigator |
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| Project Period (FY) |
2014-04-01 – 2017-03-31
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| Project Status |
Completed (Fiscal Year 2016)
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| Budget Amount *help |
¥4,810,000 (Direct Cost: ¥3,700,000、Indirect Cost: ¥1,110,000)
Fiscal Year 2016: ¥1,560,000 (Direct Cost: ¥1,200,000、Indirect Cost: ¥360,000)
Fiscal Year 2015: ¥1,560,000 (Direct Cost: ¥1,200,000、Indirect Cost: ¥360,000)
Fiscal Year 2014: ¥1,690,000 (Direct Cost: ¥1,300,000、Indirect Cost: ¥390,000)
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| Keywords | 浪花節 / 浪曲 / 骨格式 / 定型性と変形性 / 旋律断片 / 家(流派) / 家（流派） / 節 / 旋律型 / 規範と変形 |
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| Outline of Final Research Achievements |
In the recitation of naniwabushi, performers do not reproduce the melodies that have been notated in advance. In this study, I examine the generative principle of ‘fushi’ (melody) in naniwabushi through an analysis based on the ‘skeletal formula’. The ‘skeletal formula’ is the tonal path of a melodic fragment that is assigned to the conceptual sentence ‘nani ga nani shite nantoyara’, which constitutes the starting, sustaining, and finishing tones. The results of the analysis are as follows: (1) Every performer semi-improvises a series of melodic fragment based on his/her characteristic ‘skeletal formula’. (2) The performers belonging to the same ‘ie’ (school) tend to use the same or similar melodic fragments in the context of ‘skeletal formula’.
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Report
(4 results)
Research Products
(10 results)
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[Presentation] 浪曲の声2014
Author(s)
北川純子
Organizer
日本音楽表現学会
Place of Presentation
帝塚山大学
Year and Date
2014-06-21
Related Report
Invited
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