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Nara Women's University Digital Information Repository > 040 大学院人間文化研究科 > 人間文化研究科年報 > 第27号 >

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AN10065983_V27pp316-326.pdf1.08 MBAdobe PDF見る/開く
タイトル: 『体源抄』に見える「姿」「心」論 ―巻十一における歌論書引用部分を中心として―  
その他のタイトル: The terms of "sugata ” and “ kokoro ” in gagaku : focusing on the articles quoting the treatise on waka in “Taigen-sho” volume 11
著者: 比嘉, 舞
著者(別表記) : Higa, Mai
著者読み: ひが, まい
キーワード: 雅楽; 体源抄; 音楽論; 楽書; 豊原統秋
発行日: 2012年 3月31日
出版者: 奈良女子大学大学院人間文化研究科
引用: 比嘉舞 : 人間文化研究科年報(奈良女子大学大学院人間文化研究科), 第27号, pp. 316-326
抄録: “Taigen-sho”, which was written by Muneaki Toyohara(1450-1524) during the Muromachi period, is the book on gagaku. One of its features is that it has many articles quoting the book of various fields. Because of many such contents, there are still few studies about“ Taigen-sho”. This paper analyzes the concepts of “sugata( 姿)” and “kokoro( 心)” in gagaku, focusing on the articles quoting the treatise on waka called“ Shinsensuinou-iukoto” and“ Isshiden-ni-iukoto” in “Taigen-sho” volume 11. In the first section I show the summary of “sugata” and “kokoro” in “Shinsensuinoh-iukoto”. “Sugata” means an acoustic element(a sound and a melody) as well as a physical movement (posture and technique in playing the sho). Then, “kokoro” stands for the knowledge of the pieces, while it implies the beat. In the second section I classify the articles quoting the treatise on waka in “Taigen-sho”. As a result, the pieces quoting the treatise on waka in volume 11 are regarded as independent parts in that they do not concern the previous and next articles. In addition, there are two commonalities between “Shinsenzuinoh-iukoto” and “Isshiden-ni-iukoto”: their discription form and a topic of “kokoro”. It shows that Muneaki tried to suggest his attitude toward gagaku, being based on the theory about tanka poetry. In the third section I research two points: one is the use of “sugata” which means an audible element in “Taigen-sho”, another is why “kokoro” stands for the beat. Consequently, “sugata” is the expression that visualized music and it needs “sugata” as the physical movement for perfect performance. Then, “kokoro” is used for the instructions of the playing method, and the methods are different by having “kokoro” or not. This suggests that “kokoro” in gagaku is different from “kokoro” in waka according as which “kokoro” is succeeded. It is interpreted from these analyzes that Muneaki expressed his attitude toward gagaku, recognizing not only the commonality but also the difference between waka and gagaku.
URI: http://hdl.handle.net/10935/2962
ISSN: 0913-2201
出現コレクション:第27号

このアイテムの引用には次の識別子を使用してください: http://hdl.handle.net/10935/2962

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