The style of gagaku performances in the Edo period.

研究报告由两部分组成；第一节和第二节。第一节通过对雅乐音乐专业术语的语言学研究，论述了江户时期雅乐演奏风格的变化。研究结果表明，江户时期乐乐演奏的节奏因乐乐的存在而变慢，使乐风显得庄重，符合乐乐的理念；演奏乐乐就是修身养性。然后，我们试图通过调查乐书，用电脑上的音乐软件进行数据和试唱，来展示乐音乐表演的这些变化是如何产生的。试演奏表明，古典乐演奏的音乐是相当有节奏的，而18世纪以后的音乐变得庄严而静态，就像我们今天听到的音乐一样。这些试验表明，节奏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)对京都大学和岛根县新治的屋云本津的雅乐书进行调查的研究结果；2)对江户晚期活跃在三浦学社的雅乐音乐家富成的日记进行调查的研究结果。第一项研究表明，现在被选为明治sentei-fu的雅乐作品与江户晚期演奏的曲目完全相同。通过调查东木文成的日记，我们发现乐手们在远离京都的地方认真地教导业余乐手，而禅宗宗的僧侣们在音乐的传播中发挥了重要的作用。我们还发现，武士阶层也热衷于学习和演奏歌乐。

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.