A Study on the Pitch Accent of Early Modern Kyoto Japanese Based on the Musical Scores of Heike Mabushi

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The present study tries to reconstruct the pitch accent system of the Kyoto Japanese of the middle Early-Modern Era, based on examination of the two types of melodies-Kudoki and Shirakoe-in Heike Mabushi . One of the main findings is that Sino-Japanese words and the compound nouns made of native Japanese morphemes retain traditional characteristics in their word accent. The accentuation of Sino-Japanese words can be explained in relation to the tone of the original Chinese morpheme, especially in the case of Go'on word forms. Compound nouns with native morphemes, on the other hand, tend to show the accent patterns of the Heian or Kamakura Eras, or their regular derived patterns.One should be cautious in thinking that these features are the reflex of the actual state of the accent system of Kyoto Japanese in the middle Early-Modern Era ; the observed patterns may be due to the conservativeness of the Heikyoku epic musical scores. However, it is still worth noting that the following tendencies are recognized in Heike Mabushi .(i) 2-mora Sino-Japanese words written as a single Chinese character are observed to have accent patterns reflecting the tone of the original Chinese morpheme, or their regular derived patterns.(ii) 3-mora Sino-Japanese words written as two Chinese characters are observed to have a HLL pattern if they have{1+2} morphological structure, while the words with {2+1} structure have a LHL pattern in which the first component bears Qu-tone, in addition to the default HLL pattern.(iii) As for 4-mora Sino-Japanese words with{2+2} morphological structure, Go'on word forms bear accentuations that reflect the tone of the original Chinese morpheme faithfully.(iv) Most of the compounds with native morphemes and {2+2} or{2+3/3+3} morphological structures retain the accent patterns observed in the Heian and Kamakura Eras, or their regular derived patterns.