〔資料紹介〕東京文化財研究所所蔵 フランス・パテ社製SPレコード 長唄『吉原雀』を中心に

The present paper is a report that follows the article “Disque Pathé, Records Requiring a Special Player” by Ijima Mitsuru and Nagai Miwako in Research and Reports on Intangible Cultural Heritage No. 6 . That article presents an outline of the 40 SP records (39 works) in the collection of the National Research Institute for Cultural Properties, Tokyo that were sold by the French recording company Pathé. The collection of Pathé records includes various genres of music: gidayubushi, kouta, kiyomoto-bushi, chikuzen biwa, nagauta, shakuhachi and shinnai-bushi as well as Japanese repertoires played on western musical instruments. The characteristic of these records is that while SP records in general are laterally cut, Pathé records are vertically cut and require special apparatus for playing. Based on the history of performances of the players who were involved in the recording, it is assumed that the recordings were made around October 1911. In this paper, focus is placed on the recording of the nagauta “Yoshiwara Suzume” (manufacture number: 34640–34645). It consists of 5 sides, with each side being 3 minutes long: in other words, an equivalent of two-and-a-half records. Representative nagauta performers of the time including Kineya Rokuzaemon XIII, Kineya Kangoro V and Okayasu Nampo VI were involved in the recording. It may be said that these recordings are extremely valuable, especially with regard to those of Okayasu Nampo (1874 － 1915), since recordings were still rare in those days and since he died at the age of 41. The characteristic of these recordings is that a special device is attached to shamisen in order to express high notes (uwajoshi ), which today is rarely done in this repertoire. Recordings made more than 100 years ago are compared with current performances and analyzed from the points of view of singing, shamisen and hayashi . In addition, the achievements of Okayasu Nampo, who is not quite well known today, are examined, based on newspaper and magazine articles of his days. There are 7 nagauta recordings in the collection and all have been digitized. Studies of these recordings will be made in order

〔資料紹介〕東京文化財研究所所蔵 フランス・パテ社製SPレコード 長唄『綱館』を中心に

In previous volumes of Research and Reports on Intangible Cultural Heritage the present author has reported on two recordings on SP record made by Pathé in the collection of the Tokyo National Research Institute for Cultural Properties: on a nagauta “Yoshiwara Suzume” (vol. 9, March 2015) and on “Shin Urashima” (vol. 11, March 2017). The present report is on the recording of “Tsuna Yakata,” another nagauta (manufacture number 34648 - 34653, Institute’s inventory number 17-221A - 17-223B).In this recording, Yoshimura Ijuro VI sings the song to the accompaniment of several musical instruments including the shamisen by the brothers Kineya Rokuzaemon XIII and Kineya Kangoro V. Since the piece was composed around 1869 by Kineya Kangoro III, grandfather-in-law of Rokuzaemon and Kangoro, it is a historically valuable work performed by those close in kinship to the composer.In the lyrics of the piece, the aunt of Watanabe no Tsuna who raised him as a child visits the house of Tsuna who had subdued a demon by cutting off its arm at Rashomon. The two speak, fondly remembering the past. But the aunt is the demon in disguise and at the end he takes back the arm that Tsuna had cut off.The piece uses ohzatsumabushi , a different type of narrative phrase from that of nagauta and one which was absorbed into nagauta in the middle of the 19th century. The piece is characterized by its wild, soul-stirring melody. The report also touches on the ohzatsumabushi “Tsuwamono Azumaya-zukuri” which is said to be one of the sources of “Tsuna Yakata.”There are several versions of the recording of “Tsuna Yakata” by Yoshimura Ijuro. Since this Pathé recording is assumed to have been made around October 1911, it would be an old one for Ijuro’s recording. Ijuro, who was a transmitter of ohzatsumabushi under the name of Ohzatsuma Bundayu IV, sings the roles of Tsuna, the aunt and demon skillfully with his characteristic strong narration and wide range of voice.The shamisen performance by the brothers Rokuzaemon and Kangoro is a perfect match combining different melodies like the melody of ohzatsuma at the beginning, that of makusanju, or melody of shamisen which is used at change of scenes, and that of ohzatsuma again when Tsuna and the demon fight. Although according to the label on the record Kineya Kangoro is said to have been in charge of the high notes (uwajoshi ) of shamisen , it was not possible to confirm such high notes on the recording

2018ネンド イショウ ガッカイ サクヒンショウ センコウ ケッカ ホウコク

受賞作品 : 村井, 陽平氏「三味線に関するプロダクトデザインからの考察 ― 道具と人との新たな関係の構築を目指して

三味線を用いた現代作品の分析的研究 : 独奏曲、合奏曲及び協奏曲における三味線の特性

東京藝術大学平成28年

Developing the ICT programs for playing SHAMISEN

P(論文)日本の小・中学校の音楽の授業では「日本の伝統音楽」の指導が求められていると同時にGIGAスクール構想によって授業でICT を活用することが求められている．しかしながら「日本の伝統音楽」の指導は十分におこなわれておらず，ICT を活用した指導も十分におこなわれていない．そのため，本研究では「日本の伝統音楽」の普及とICT 活用の促進を目指して三味線音楽を体験するためのプログラミング教材を開発した．そして小学校で実践をおこない効果を検証した．本研究では日本全国の小・中学校でICT を活用した三味線音楽の体験機会の創出を目指す．departmental bulletin pape