The reevaluation of traditional music in modern Japan: focusing on transcriptions of gagaku into western notation

本研究旨在厘清日本在19世纪末至20世纪初新传入的西方音乐中对日本传统音乐的认知，并著重于用西方乐谱转述歌乐。具体而言，首先，我分析了KONOE Naomaro（1900-1932）对歌乐作品的抄写，并将其与他所写的关于抄写和传统保存的问题进行了比较。分析表明，他的抄本是他从历史研究和分析研究中推断出来的，以理想形式实现歌赋复兴的场所。其次，对东京都学社（Tokyo Ongaku gaku, Hogaku Chosa Gagari）（1916-1927）所作的歌曲集的抄本进行了考察，明确了这些抄本在完成之前经过多次润色，并且抄写员在抄本上编辑了注释“gagaku kifuho hikae”，以指导读者对歌曲集有一个全面的了解。第三，HCG对gagaku的抄本与1903年的录音材料的比较表明，20世纪初的gagaku的节奏比现在快，短语也没有像今天这样被切成更小的片段。根据当时报纸和期刊上关于西方乐谱的各种论述，乐谱对他们来说意味着“普遍化”，记录，保存或创造日本传统音乐。

This study aims at clarifying the recognition of traditional Japanese music in relation with newly introduced western music in the late 19^<th> to early 20^<th> centuries Japan, focusing on endeavor to transcribe gagaku in western notation. In concrete terms, first, I analyzed KONOE Naomaro's (1900-1932) transcriptions of gagaku pieces in comparison with what he wrote about the issues of transcription and the preservation of tradition. The analysis has revealed that his transcriptions were a place for him to realize a revival of gagaku in its ideal form, which he deduced from his historical and analytical research. Secondly, an investigation of the transcriptions of gagaku by Tokyo Ongaku Gakko, Hogaku Chosa Gagari (HCG) (1916-1927) was carried out, which has clarified that the transcriptions were polished several times until the completion and that transcribers edited the notes on the transcription, "Gagaku kifuho hikae" to guide readers to a comprehensive understanding of gagaku. Thirdly, a comparison of the gagaku transcriptions by HCG with a recorded material made in 1903 has showed that the tempo of gagaku in the early 20^<th> century was faster than it is today and phrases were not cut into smaller pieces as they are today.According to the various discourses on transcription in western notation found in newspapers and journals of the time, transcriptions meant to them 'universalization', documentation, preservation or creation of Japanese traditional music.