The style of gagaku performances in the Edo period.

研究报告由两部分组成;第1部分和第2部分。第一节通过对与雅乐音乐相关的专门术语的文献学研究，探讨江户时代雅乐演奏风格的变化。研究结果表明，江户时代由于礼乐的影响，雅乐的演奏克里思被放慢，以给人以庄重的音乐印象，以符合礼乐的观念;演奏雅乐的音乐是为了修身养性，然后我们试图通过对雅乐音乐书籍的调查，来展示雅乐音乐演奏中的这些变化是如何发生的，在电脑上用音乐软件进行数据和试演。试演表明，雅乐的音乐演奏在旧的风格，原来是相当有节奏的，而音乐后，18世纪世纪变得庄严和静态，这正是我们今天听到的音乐一样。这些试验表明，克里思和节奏对音乐的性格和形象有很大的影响。报告的第二部分包括1）对位于京都大学和位于岛根新治的八云本镇的雅乐音乐书籍进行调查的研究结果，2）对Togi Fuminari日记进行调查的研究结果，活跃于江户后期的三浦学园的雅乐家。第一项研究表明，现在被选作明治仙台府的雅乐作品与江户晚期演奏的曲目一样。通过对东木文成日记的调查，我们发现，在远离京都的地方，雅乐乐师们对业余雅乐乐师们进行了认真的教学，而京都信州派的佛教僧侣在音乐的传播中发挥了重要作用。我们还发现武士阶层也热衷于学习和演奏雅乐。

The research report consists of two sections ; Section 1, and section 2. Section 1 refers to the changes in the style of gagaku performance during the Edo period through philological researches of the technical terms refering to the music of gagaku. The result of our research shows that because of liyue, the tempo of gagaku performance was made slow during the Edo period to give a solemn impression to the music to fit the idea of liyue ; to perform the music of gagaku is to cultivate one's mind.Then we tried to show how these changes in the performances of gagaku music was made by investigating through gagaku music books, performing deta and trial performances by using a music soft on a computer. Trial performances showed that the music of gagaku played in older style turned out to be fairly rhythmical whereas the music after the 18th century became solemn and static which is just as same as the music we listen today. These trial reveald that tempo and rhythm affect very heavily on the character and the image of the music.The second part of the report consists of 1) research results upon inquiry of the gagaku music books housed in the University of Kyoto and the Yakumo Honjin located in Shinji, Shimane, 2) research results found from the investigation of the diary of Togi Fuminari, a gagaku musician of the Sanpo-gakuso who was active in the late Edo period. The first research revealed that the pieces of gagaku music now selected as the Meiji-sentei-fu are just as same as the repertoire played during the late Edo period. By investigating the diary of Togi Fuminari, we found out that gagaku musicians earnestly taught amateur gagaku musicians living far from Kyoto, and the Buddhist priests of the Jyodo-Shinshu sect played an important role in distributing the music. We also found that the samurai calss were also eager in learning and playing the gagaku music.