Departmental Bulletin Paper 〔資料紹介〕東京文化財研究所所蔵 フランス・パテ社製SPレコード 長唄『新浦島』を中心に

星野, 厚子

A report on the recording of the nagauta “Yoshiwara Suzume” was made in Research and Reports on Intangible Cultural Heritage No. 9 published in March 2015. The present report is on the recording of “Shin Urashima” among the SP records made by Pathé in the collection of the Tokyo National Research Institute for Cultural Properties (manufacture number: 34625 - 34631; Institute’s inventory number: 17-216A – 17-218B). This piece was composed in 1906 by Kineya Kangoro V, who was involved in the recording by Pathé, when he was at the time of maturity. It is thought that Kineya Chiyo, the wife of Kangoro’s elder brother, Kineya Rokuzaemon XIII, is the singer and Kineya Eiko, Kangoro’s wife, is the shamisen player. Since the Pathé recording is thought to have been made in October 1911, a few years after the first performance of the piece, it may be said that the original is preserved in the recording of “Shin Urashima.” “Shin Urashima” has become one of the very popular repertories of nagauta since its first performance. That several versions of its score have been published and that Matsunaga Wafu IV, known as a nagauta expert, was fond of it and the audience liked his performance may be given as factors for such popularity. On the other hand, the fact that many performers were fond of this piece meant that singers felt free to change the melody of parts which were not accompanied by shamisen (for instance, issei at the beginning and funauta at the end of the piece), making authentic transmission of the piece unclear. In this report, analysis is made particularly of the melody of those two parts as sung by Kineya Chiyo to see how it is different from the melody in today’s performances and published scores. The present author had the opportunity to interview the family of Kineya Kyosen, the daughter of Kineya Kangoro V and Kineya Eiko. Based on this interview, report is also made about Kyosen’s father who was known as a famous composer and how he introduced methodology of western music into his compositions as well as about the activities of her mother and of her aunt, Kineya Chiyo, as female performers.

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