Musical Change in Family Traditions of Saibaras-space.snu.ac.kr/bitstream/10371/87412/1/9. 최마악 ( 사이... · As most of the musical scores of saibara have originally been compiled

Musical Change in Family Traditions of Saibara

Introduction

Lee Ji-sun Ochanomizu University, Japan

A ccording to Saibara-shiden-soshO filL~~Uili.m*, a document compiled in the early 13th century, saibara fl~~, a Japanese court song genre, was

handed down in two main family traditions, the Genke il~(Minamoto family) which was founded by Atsumisinno ft.~3:(893-967) and the Toke .~(Fujiwara family) by Minamoto no Hiromasa ilttJl(918-980)(MINASE 1220). In the long history of saibara, it had died out completely in the early 16th century and the Genke tradition saibara was reconstructed between the early 17th century to the 19th century and has been preserved to present.

As most of the musical scores of saibara have originally been compiled in the 12th century, the musical scores of Nabeshimake-bon-saibara ~~~*fl,~ ~(Genke), Tenji-bon-saibara-shO :R?E]:*fl~~t~(Toke), Jinchi-yoroku {=W~iJl (which includes pieces of both Genke and Toke), and Saibara-ryaku-fu fl,~~ ~~(Genke) will be compared in this paper to investigate whether the two traditions of saibara have undergone any musical changes before being lost. Specifically, we will examine what kind of changes have been made, when the changes occurred and the significance of the changes.

Musical scores of saibara

Nabeshimake-bon-saibara ~ ~ ~*fl ,~~(henceforth NB) Collection of texts of 60 saibaras of the Genke tradition, of which neither

date nor compiler is known but is considered to be slightly earlier in date than Tenji-bon-saibara-shO of 1125. As Figure 1 shows, the system of musical

184

Figure 1. Wagakado in NB Figure 2. Wagakado in TB

notation employs the sign hyaku Ef which indicates the beat of the clapper, shaku-byoshi ~fSr, to the right of the texts.

Tenji -bon -saibara-shO :R is ~ f11L~~ttp(henceforth TB) Collection of texts of 56 saibaras of the Toke tradition compiled by

Fujiwara no Munetada Sirnt*}~, in Tenji :Ris2nd year (1125). This system of musical notation consists of the sign hyaku Ef and ko-byosh liJsr, small dots , . " indicating the beats of the clapper to the right of the texts (Figure 2). Since TB employs both hyaku and small dots, it can note the go-hyoshi liJsr and sando-byoshi = ittSr rhythmic patterns of saibara. That is, go-hyoshi consists of one hyaku and four small dots and sando-byoshi consists of one hyaku and two small dots. However, the time interval between the rhythmic signs in TB cannot be judged.

Jinchi-yoroku f=~~~(henceforth JY) Collection of tablature score for so ~ or zither used in gagaku ~~,

originally in 12 volumes, compiled by Fujiwara no Moronaga SirntNiIi-:fjt

Musical change in family traditions of saibara

Figure 3. Wagakado in JY

sO tablature signs

~ measure 7[ +3i: B +- hyaku

[t'-k8

2 3.1-

!J;;~.:~ . ~ '" small dots intra-colurnn

186

2 3 4 5 6 7 8 1 2 3 4

Figure 5. Go-hyoshi and sando-byoshi in JY

Saibara-ryaku-fu filL~~~~1Hhenceforth SR)

.. /'It... -1" ~ Ii ..... .::.

Figure 6. Wagakadoni in SR

Collection of texts and musical scores of 43 saibaras of the Genke tradition compiled by Ayanokoji Suketoki *,tfJ,~j(~ in Kenkyu.~ 8th year (1197). In addition to the usual vocal music neume notation, the system of musical notation employs gagaku flute (hue Eln tablature signs to indicate pitch and the rhythmic sign hyaku and small dots. The time interval between the rhythmic signs in SR cannot be judged due to the use of neume notation.!

Musical change in family traditions of saibara

In this paper, seven pieces are examined. The reason why they are investigated is that the pieces of JY contain some questionable signs which cannot be observed on other pieces.

In Figure 7, besides hyaku and small dots written on the right side of tablature signs, there are white circles' 0' and small dots' . ' recorded on the left side. What do these signs mean? What relation do these questionable signs have with the rhythmic signs? With respect to these questions, seven pieces of JY will be compared with the same ones of NB, TB, and SR.

The seven pieces are Wagakado ~r~, Wagakado'o ~r~-, Sashikushi ,tliUWi,

lYamanoi Motokiyo interprets the rhythm of go-hyoshi of saibara in SR as '5(2+1+2)+3(1+2)' and that of sando-byoshi as '2+2(0.5+1.5)' (Yamanoi 1966: 247-51), but since SR is a musical score which is written by neum notation, it is impossible to judge the time interval between rhythm signs. On the one hand, Lee Hye-ku interprets the rhythm of go-hyoshi as '5(2+1+2)+3(2+1)' and that of sando-byoshi as '3(2+1)+2' (Lee 1995: 301-06).

Musical Change in Family Traditions of Saibara

6seri *7f, Asanzunohashi ilJ1

188

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Figure 8. Wagakado in NS, TS, JYl, JY2, and SR

JY2 SR L R

W ~ " .2...11 \co. t.. ~0 I:D. 11 ~ !

Musical Change in Family Traditions of Saibara 189

Text wa ka ka to ni ya wa ka ka to ni u

NB(Primary Genke) B "Ei B

TB(Toke) B "Ei B

JYl(Toke) B "Ei B

JY2 R(Primary Genke) B "Ei B

L(New Genke) 0 0 0 0

SR(New Genke) B' B B B B

Figure 9. Comparative musical score of Wagakado

On the other hand, the positions of rhythmic signs corresponding to text-syllables of NB, TB, JYl, and JY2-R are identical with each other. It indicates that primary Genke (NB, JY2-R) does not differ from Toke(TB, JYl) in terms of rhythm.

Another similar example as Wagakado is Wagakado'o. (Refer to the comparative musical scores at the end.)

Sashikushi }fUIi First, we examine rhythmic pattern and the number of the repetitive

rhythmic pattern in each musical score. Five musical scores of Table 2 are identical with each other in the fact that

all of them use sando-byoshi. However, in the case of Genke, while NB and JYl repeat the rhythmic pattern 15 times in the piece, SR repeats it 16 times. From this we know that the length of the piece in primary Genke (NB, JY1) increased in new Genke (SR). The fact that the length of a piece became longer in using the same texts means that the text-syllables were distributed at sparse intervals and ultimately it can be interpreted that the music became faster.

As seen in Figure 10, the positions of circles and small dots of JY1-L agree with those of rhythmic signs of SR, suggesting that the signs of JY1-L refer to the rhythmic pattern of new Genke.

NB and JY1-R of primary Genke do not correspond with JY1-L and SR of new Genke. That is, by the increase of the length of the piece, the positions

Table 2. Rhythmic pattern and the number of repeats of the rhythmic pattern of Sashikushi

NB(Genke) TB (Toke) JYl (Toke) JY2 (Genke) SR(Genke)

III 15 III 15 III 15 III 15 III 15

190

Text torisika ha sa shi ku shi mo na shi ya sakimu ta

NB(Primary Genke) 8 8 8 8

TB(Toke) 8 8 8 8

JY2(Toke) 8 8 8 8

JYl R(Primary Genke) 8 8 8 8

L(New Genke) 0 0 0 0 0

SR(New Genke) 8 8 8 8 8

Figure 10. Comparative musical score of Sashikushi

of rhythmic signs corresponding to text-syllables also weathered change. On the other hand, NB, TB, JY2 and JY1-R coincide with each other in the

positions of rhythmic signs corresponding to text-syllables. This means that primary Genke (NB, JY1-R) does not differ from Toke (TB, JY2) in terms of rhythm.

Another similar example as Sashikushi is 6seri -j(Jf. (Refer to the comparative musical scores at the end.)

Asanzunohashi i~*m Table 3 shows the rhythmic pattern and the number of the repetitive

rhythmic pattern in each musical score. All five musical scores of Table 3 use sando-byoshi and repeat the rhythmic

pattern 21 times in the piece. So, differently from the previously examples, has not any change occurred in Genke? Let's examine it by the following comparison of musical scores.

In Figure 11, JY1-L coincides with 5R in the positions of rhythmic signs, meaning that the signs of JY1-L indicate the rhythmic pattern of new Genke.

New Genke, JY1-L and 5R do not correspond with primary Genke, NB and JY1-R. That is, although new Genke did not change in the rhythmic pattern and the number of the repetitive rhythmic pattern, it suffered change in the positions of the rhythmic signs corresponding to text-syllables.

On the other hand, NB, TB, JY2, and JY1-R are identical in the positions of

Table 3. Rhythmic pattern and the number of repeats of the rhythmic pattern of Asanzunohashi

NB(Genke) TB(Toke) JYl (Toke) JY2 (Genke) SR(Genke)



Text me no fu ri ni shi ni re 0 ta re

NB(Primary Genke) 8 8 8 8 8

TB(Toke) 8 8 8 8 8

JY2(Toke) 8 8 8 8 8

JY1 R(Prlmary Genke) 8 8 8 8 8



Figure 11. Comparative musical score of Asanzunohashi

rhythmic signs. This indicates that there are no difference between primary Genke (NB, JYI-R) and Toke (TB, JY2) in terms of rhythm.

Other similar examples as Asanzunohashi are Koromogae ~::& and lkanisen fpJ1.!i;. (Refer to the comparative musical scores at the end.)

Conclusion

This paper has examined the two saibara family traditions of the Genke and Toke to study any musical changes they have undergone and the significance of the changes. The findings of the study can be summarized as follows.

Musical change can be observed in Genke but not in Toke. The aspects of change in Genke is in rhythmic pattern, the number of repetitive rhythmic pattern (length of a piece), and the positions of rhythmic signs corresponding to text-syllables. In the rhythmic pattern change, a piece performed by go-hyoshi changed to that by sando-byoshi. However, we cannot find evidence that a piece of sando-byoshi changed to go-hyoshi one. This suggests that the music became faster. In addition, the lengths of several pieces in Genke changed longer in using the same texts, meaning that the text-syllables were distributed at sparse intervals and ultimately it can be interpreted that the music turned faster.

These changes of Genke have been detected in Saibara-ryaku-fu of 1197 but not between Nabeshimake-bon-saibara-sho compiled in the early 12th century and Jinchi-yoroku written before 1192. However, considering the fact that Jinchi-yoroku records the signs indicating the new Genke as well as the primary Genke, we can deduce that the new Genke started appearing in the age of Jinchi-yoroku. In other words, the primary Genke in the early 12th

192

century formed the main stream just up to 1192 when the new Genke started to appear before taking its final form in 1197. It is not certain why this change occurred during this period but it seems to reflect the preference of people of those days for fast music.

Reference

HAYA5HI, Kenzo ;ft~ = 1969 "5aibara ni okeru hy6shi to kashi no rhythm ni tsuite". Gagaku: Kogakufu no

kaidoku (Toyo ongaku sensho vol. 10), Tokyo: Ongaku no torno sha, 461-507. rl1iL~*t.::.i:lMtQtBr c :rk~1ij0) ~ :;( A t.::.-?I. ''''CJ ~~* - il*~O)Mlffi:~ (*i$lf*~~nf 10). **: lf~lHi.

LEE, Hye-ku *'!:t 1995 "5aibara eui go-hyoshi". Han'guk umak non'go, Seoul: Seoul deahakkyo

ch'ulpanbu, 281-335. "11lL~*.9.J 1i.tBr". ~.lIlf*rnu7J(~. ).i ~: ).-l ~** tttl:'dl&g~.

YAMANOI, Motokiyo llrJ:j:m 1966 Saibarayakufu. Tokyo: Iwanarni shoten. ~li.~*~~~J. **: :fiillrlfJi5.

MINA5E, Sadasuke *~ii5E~ 1220 Saibara shiden soshOo (1927 ed. Zoku gunsho ruiju vol. 19), Tokyo: Zoku

gunsho ruiju kanseikai, 542-49. ~li,~*~ijil';j'l=t*~. rmt'If~JHiE~. m+:h.~ JiJf~J(. **: m#1f~1iE%Jl\t1t.

Nabeshimake bon saibara 1931 Nabeshirna naoyasu zo. Tokyo: chikuhakukai. ~~~**li,~*~ ~~1R$

,ii:: 1931 **: tTfB@1tl~. Tenji bon saibara shO

1926 Veno gakuen nihon ongaku siryo sitsu zo Rakusaido kyuzo bon. Tokyo: Koten hozonkai. ~:Ritl*1fiH!;:,*t~J. J:.ff'~11 B *lf~JU4~,ii:. *~1itfi 1iZ* 1926, **: il$1*:ff:@1tl~.

Jinchi yoroku Kyoto daigaku fuzoku toshokan zo, Kyu Kikutei ke zo bon. ~l=W~if


Comparative musical score

CD Wagakado f;ltr~ V and III indicate the rhythmic pattern, go-hyoshi and sando-byoshi,

respectively. Arabic numerals indicate the number of the repetitive rhythmic pattern.

NB TB JYl JY2-R JY2-L SR

V21 V21 V21 V21 III 40 III 40

Arabic numerals indicate the order of the sign hyaku B. That is, 1 and 3 show the first and third hyaku, respectively.

The first section

Text wa ka ka to ni ya wa ka ka to ni u

NB(Primary Genke) 1 2 3

TB(T6ke) 1 2 3

JYl(T6ke) 1 2 3

JY2 R(Primary Genke) 1 2 3


SR(New Genke) O 1 2 3 4

Text wa rno no su so nu re sita rno no su so rnu re asa natsu

NB(Primary Genke) 4 5

TB(T6ke) 4 5

JYl(T6ke) 4 5

JY2 R(Primary Genke) 4 5



194

Text mi yu fu na tsu mi a sa na tsu mi


TB(T6ke) 6 7

JY1(T6ke) 6 7


L(New Genke) 10 11 12 13 14

SR(New Genke) 10 11 12 13 14

Wagakado'o ~r'-

NB NB JY1-R JYI-L SR

V14 V 14 V 14 III 28 HI28

The first section

Text Wa ka ka to 0 to sa n ka u sa


TB(T6ke) 1 2

JY1 R(Primary Genke) 1 2 3


SR(New Genke) 0 1 2 3 4 5

Text neruo no ko yo shi ko sa ru ra shi


TB(T6ke) 3 4 5



SR(New Genke) 6 7 8 9


Text ya yo shi ko sa ru ra shi ya


TB(Toke) 6 7

JYl R(Primary Genke) 6 7

L(New Genke) 10 11 12 13 14

SR(New Genke) 10 11 12 13 14

Sashikushi )fin.

NB TB JYl JY2-R JY2-L SR

III 15 IIIl5 III 15 III 15 III 16 III 16

Text Sashlku shi ha tau marinana tsu a ri shi ka to

NB(Primary Genke) 1 2 :3 4 5

TB(Toke) 1 2 .3 4 5

JY2(Toke) 1 2 3 4 5

JYl R(primary Genke) 1 2 3 4 5


SR(New Genke) 0 1 2 3 4 5

Text ta ke ku no so fu no ashitani to ri yo sari to ri


TB(Toke) 6 7 8 9 10

JY2(Toke) 6 7 8 9 10

JYl R(Prlmary Genke) 6 7 8 9 10

L(New Genke) 6 7 r 8 9 10 SR(New Genke) 6 7 8 9 10

196

Text torisikaha sa si ku si mo na si ya sa kimuta


TB(Toke) 11 12 13 14

JY2(Toke) 11 12 13 14


L(New Genke) 11 12 13 14 15

SR(New Genke) 11 12 13 14 15

Text chi ya

NB(Primary Genke) 15

TB(Toke) 15

JY2(Toke) 15

JYl R(Prlmary Genke) 15

L(New Genke) 16

SR(New Genke) 16

@ 6seri:*lr

NB TB JY2 JYI-R JY1-L SR

III 31 III 34 III 34 III 34 III 34 III 34

Text 0 ose ri ha ku ni no sa ta mo no ko se ri


TB(Toke) 1 2 3 4 5

JY2(T6ke) 1 2 3 4 5

JYl R(Primary Genke) 1 2 3 4 5




Text ko so yu te te mo mu ma shi ko re


TB(Toke) 6 7 8 9 10

IY2(Toke) 6 7 8 9 10

IYl R(Prlmary Genke) 6 7 8 9 10



Text ya ko no se n ha n sa mu ta no ki no yu


TB(Toke) 11 12 13 14

JY2(Toke) 11 12 13 14


L(New Genke) 10 11 12 13 14

SR(New Genke) 10 11 12 13 14

Text shi no ki no ha n mu shi ka me no to u sa i kaku


TB(Toke) 15 16 17 18 19

IY2(Toke) 15 16 17 18 19

IYl R(Primary Genke) 15 16 17 18 19

L(New Genke) 15 16 17 18 19

SR(New Genke) 15 16 17 18 19

Text no sa i byo sa i to sa i ryo me n ka su


TB(Toke) 20 21 22 23 24

JY2(Toke) 20 21 22 23 24


L(New Genke) 20 21 22 23


198

Text me u ke ta ru kiri toho shi ka na ha me ha n ki go


TB(T6ke) 25 26 27 28 29

JY2(T6ke) 25 26 27 28 29

JY1 R(Primary Genke) 25 26 27 28 29

L(New Genke) 24 25 26 27 28

SR(New Genke) 24 25 26 27 28

Text rokuka he shi no i chi ro ku no sa i ya shisamusa


TB(T6ke) 30 31 32 33 34

JY2(T6ke) 30 31 32 33

JY1 R(primary Genke) 30 31 32 33

L(New Genke) 29 30 31 32 33

SR(New Genke) 29 30 31 32 33

Text i ya

NB(Primary Genke) 31

TB(T6ke)

JY2(T6ke) 34

JY1 R(Prlmary Genke) 34

L(New Genke) 34

SR(New Genke) 34

Asanzunohashi ?~JM~

NB TB JY2 JY1-R JY1-L SR

III 21 III 21 III 21 III 21 III 21 III 21


Text A san tsu no ha shi no to toro to toro to fu ri sha


TB(Toke) 1 2 3 4 5

JY2(Toke) 1 2 3 4 5




Text me no fu ri ni shi ni re 0 ta re


TB(Toke) 6 7 8 9 10

JY2(Toke) 6 7 8 9 10




Text so ko no na ka hi to ta te te rni mo to no


TB(Toke) 11 12 13 14

JY2(Toke) 11 12 13 14


L(New Genke) 10 11 12 13 14

SR(New Genke) 10 11 12 13 14

Text ka ta chi se u so ko shi to fu ra i ni ku ru ya


TB(Toke) 15 16 17 18 19

JY2(Toke) 15 16 17 18 19


L(New Genke) 15 16 17 18 19

SR(New Genke) 15 16 17 18 19

200

Text sakimu ta chi ya


TB(Toke) 20 21

JY2(Toke) 20 21


L(New Genke) 20 21

SR(New Genke) 20 21

Koromogae l!:t{

NB NB JY1-R JY1-L SR


Text Koromoka e se mu ya sakimu ta chi wa ka ki

NB(Prirnary Genke) 1 2 3 4 5

TB(Toke) 1 2 3 4 5




Text nu ha no ha ra shi no ha ra ha ki


TB(Toke) 6 7 8 9 10





Text no ha no su ri ya sakimu ta chi ya

NB(Prirnary Genke) 11 12 13

TB(Toke) 11 12 13

JYl R(Primary Genke) 11 12 13

L(New Genke) 10 11 12 13


(j) lkanisen W;w.;

NB TB JY1-R JY1-L SR


Text I kani se rnu se rnu ya o shino ka rno to ri i te te


TB(Toke) 1 2 3 4 5




Text yu ka ha 0 ya ha ari kuto sainarne to ytsurna


TB(Toke) 6 7 8 9 10




202

Text ha sa ta me tsu ya sakimu ta chi ya


TB(Toke) 11 12 13

JYl R(Primary Genke) 11 12 13

L(New Genke) 10 11 12 13


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Documents

Musical Change in Family Traditions of Saibaras-space.snu.ac.kr/bitstream/10371/87412/1/9. 최마악 ( 사이... · As most of the musical scores of saibara have originally been compiled