鷺流狂言の小舞謡 ―無形文化遺産部所蔵「山口鷺流小舞謡」の記録をめぐって―

Sagi-ryu is a school of kyogen that disappeared from most part of Japan after the Meiji period but is inherited by amateur performers today in Yamaguchi prefecture and Sado, Niigata prefecture. Sagi-ryu of Yamaguchi is designated as an intangible cultural heritage of Yamaguchi prefecture and is now selected as cultural property “requiring documentation and other measures.” Many repertories were transmitted in Yamaguch during the Meiji period, but today very few songs are transmitted. The Department of Intangible Cultural Heritage (the Department of Performing Arts at the time) recorded Sagi-ryu kyogen of Yamaguchi at Yamaguchi city on March 18, 1958. Although the repertories recorded are not many, the recordings are very precious since many of the repertories recorded are no longer transmitted today. There are many scripts and scores of Sagi-ryu written since the Edo period remaining in Yamaguchi. Study was made to see how much of the recordings made by the Department retain the traditional style of performance of Yamaguchi Sagi-ryu kyogen by comparing the recordings with the scores. As a result, it was found that the singing of Taguchi Mitsuzo, who was 83 years old and the oldest member at the time of the recording, is fairly faithful to the scores. Taguchi learned kyogen directly from SHUN’ NICHI Shoichi, the last professional Yamaguchi Sagi-ryu kyogen artist, during the Meiji period. On the recording Taguchi is singing “Setsubun” and “Nanatsugo” but a part of the former and the last half of the latter are different from the scores. Since Taguchi was not engaged in kyogen performance for some time after he became a member of the municipal assembly during the Taisho period and since it is supposed that there was almost no opportunity for performances of “Setsubun” and “Nanatsugo” at the time the recording was made, it is thought that the styles of performance became unclear in parts. Nakanishi Jiro, who was 65 years old at the time of the recording, had not learned directly from Shun’nichi nor was he a pupil of Taguchi. The melody and rhythm of “Saru-uta” was changed into a form different from either that of Okura-ryu or Izumi-ryu. Since it is also hard to think that “Saru-uta” was actually performed at the time of the recording, Nakanishi, like Taguchi, probably made the recording according to what he remembered. “Fumininai” performed by Kono Haruomi, who was 61 years old, is performed even today. The melody of his song is the same as that of today and also matches the score of the late Edo period. On the other hand, although the melody of the song sung in “Chidori” is the same as that of today, the melodic pattern is slightly different from that of traditional kyogen style. The melody of “Suehirogari” is also different from that of Okura-ryu or Izumi-ryu. Although it is not certain when such changes began, it may be possible to think that Yamaguchi Sagi-ryu began to move toward its own unique direction when kyogen ceased to be performed with noh in Yamaguchi and began to be performed by itself. It is assumed that even though the traditional style was retained at the time Taguchi made the recording, changes became larger in the succeeding generation