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公開講演 王朝の楽人達 ―音楽史の一断面―
https://doi.org/10.24619/00002160
https://doi.org/10.24619/000021608d00b827-5ec8-4f1c-b1e1-18b432fc1a05
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
公開講演 王朝の楽人達 ―音楽史の一断面― (10.0 MB)
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| Item type | 会議発表論文 / Conference Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2016-09-02 | |||||
| タイトル | ||||||
| タイトル | 公開講演 王朝の楽人達 ―音楽史の一断面― | |||||
| タイトル | ||||||
| タイトル | MUSICIANS OF THE IMPERIAL COURT\nA CROSS SECTION OF MUSIC HISTORY | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_5794 | |||||
| 資源タイプ | conference paper | |||||
| ID登録 | ||||||
| ID登録 | 10.24619/00002160 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
福島, 和夫
× 福島, 和夫× FUKUSIMA, KAZUO |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | The performance of music at court during the Heian and Kamakura periods was largely in the hands of the court nobles, and supported from below by a class of professional musicians known as jigegakunin. Ability in shiika-kangen, the composition of Chinese and Japanese poetry and performance on the musical instruments of gagaku, was indispensable for the nobles of the time. Along with poetry, music was not simply a part of their social cultivation or recreation, but rather a prerequisite for the performance of their official court duties. Illustrations of this are cited from entries in such sources as Kokon Chomon-ju. Mention is made of a number of individuals prominent in the field of literature who are also important in music history, such as Fujiwara no Suemichi (1094?-1159-?) ,the priest Henjō(Yoshimine no Munesada, 816-890), Fujiwara no Kinto (966-1041), Minamoto no Tsunenobu (1016-1097), Fujiwara no Tadazane (1078-1162), etc. Other figures known primarily for their significance in music history are mentioned; these include Fujiwara no Moronaga (1138-1192), Fujiwara no Takamichi (1166-1237), and his descendants, which at the time formed one of the hereditary family groups responsible for performance on the biwa(lute). Next, mention is made of the necessity of viewing gagaku and shōmyō(Buddhist chant) as a single entity during this period, as well as of the nature of the class of professional musicians, jigegakunin, mentioned above. Examination is also made of the opportunities for the performance of hangen (instrumental gagaku performance without dance), such as gyoyū, at which the nobles took the central place in performance. The paper concludes with an introduction to the performance style called nokorigaku, which is a distinctive method of performing kangen that developed at these performances. |
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| 書誌情報 |
国際日本文学研究集会会議録 en : PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE 号 14, p. 170-184, 発行日 1991-03-01 |
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| 出版者 | ||||||
| 出版者 | 国文学研究資料館 | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 0387-7280 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | ||||||
