日本の「拍子」と西洋の"拍子" : 雅楽を中心として
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概要
- 論文の詳細を見る
Since the early years of the Meiji era, when a great deal of Western music was introduced into Japan for the first time, it has been customary for us to translate the Western musical term "time" or "measure" into the Japanese term "Hyoshi", However, on examination of the meanings of "Hyoshi", much used in Japanese traditional music, it seems doubtful to me whether these are quite the same as the meaning of the Western term. Here in this essay I try to clarify the meanings of "Hyoshi" and the differences between Japanese musical time patterns and those of Western music. In Western music, the whole rythmic construction of the music, except in some modern works, mainly depends upon those time patterns which have periodical accents and regular beats, for example, two-four time, three-four time and so on. Such time patterns have been formed by means of dividing a certain time duration, say, a bar, into equal parts. Quadruple time is made from dividing a bar into quarters and therefore each beat is regular. In western music, free rythmic beats are regarded as exceptions. On the other hand, in Japanese traditional music there exist irregular time patterns as much as regular ones. Both of them have the same value and neither has any more importance than the other. Quadruple time in Japanese music doesn't always mean that the beats are regular. Japanese quadruple time, we call it "Yo-Hyoshi", simply means beating four-time and it doesn't have regular accents which recur periodically like in Western music. From what I have said above, I draw the conclusion that while western musical time patterns are based upon the principle of division, Japanese ones are based upon that of addition, for "Yo-Hyoshi" doesn't mean that basic values are quater notes, but that four beats are to be struck one after the other whether regularly or not.
- 東京芸術大学の論文