It is said that the traditional music of Japan reflects the accent in Japanese which is realized by pitch. Research until now has shown that the scores of such genres of music as shomyo (Buddhist sutra music), heikyoku (chanting of the Tale of Heike played to the accompaniment of heike biwa ), and gidayubushi (narrative accompanied by a shamisen in bunraku puppet theater) reflect the accent used at the time of their composition. The purpose of the present paper is to show, using the noh chant “Matsukaze” as an example, how noh chants of the Muromachi era are used to investigate the accent system of Kyoto in the same period. The paper will also explain how accent is assumed for words lacking descriptive evidence by extrapolating from their structure and their accentual classes. By comparing the goma marks for “Matsukaze” in Go-on san-gyoku shu , a text on noh chants by KOMPARU Zenchiku, and those by KOMPARU Yoshikatsu, this paper attempts to clarify how goma marks found in books of noh chants for the Muromachi era reflect the accent of the time.