The style of gagaku performances in the Edo period.

研究报告由两部分组成：第一部分和第二部分。第一部分通过对涉及加加库音乐的技术术语的文献学研究，论述了江户时期加加库表演风格的变化。研究结果表明，江户时代由于礼乐的缘故，为了给音乐以庄严的印象以契合礼乐的观念，使得歌乐的演奏节奏变得缓慢；演奏歌乐是为了修心。然后，通过对歌乐书籍的调查，通过在电脑上使用音乐软件进行表演和试演，我们试图展示这些变化是如何发生在歌剧音乐表演中的。试奏表明，老式的Gagaku演奏的音乐相当有节奏，而18世纪以后的音乐则变得庄严而静态，这与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)对京都大学收藏的Gagaku音乐书籍和位于岛根市的Yakumo Honjin的研究结果；2)对活跃在江户晚期的三浦市Gakuso的Gagaku音乐家Togi Fumari的日记调查发现的研究结果。第一项研究表明，现在被选为明治先锋府的gagaku音乐作品与江户晚期演奏的曲目一样。通过对Togi Fumari的日记的考察，我们发现Gagaku音乐家认真地教授远离京都的业余Gagaku音乐家，而Jyodo-Shinshu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，武士们也热衷于学习和演奏gagaku音乐。

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.