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Nagauta is a vocal genre normally classified as utaimono or lyric music. There are however many nagauta pieces which incorporate substantial parts of katarimono or narrative music, one example of which is the melody labelled sekkyo. The sekkyo concerned is the sekkyo musical narrative which flourished in the 17th century and into the 18th century in the puppet theatre with shamisen accompaniment, similar to joruri. However, it should be noted that sekkyo had quite different origins from joruri and was a completely different musical genre. Nagauta was still in its formative stage around the mid-eighteenth century, when on many occasions nagauta musicians created pieces in sekkyo style and called them sekkyo or utazekkyo. Unfortunately, the music of almost all these pieces has been lost; only their texts remain. One exception that is transmitted today is Yoru no tsuru tsunadeguruma (first performed 1765), which can provide, admittedly on a limited scale, a clue as to the nature of sekkyo at that time. Using a number of melodic patterns which are hardly ever encountered in other nagauta pieces (see Figures 1 amd 2), this piece can be treated as a representative example of sekkyo as adapted to nagauta. The year 1765 is actually after sekkyo as a genre had died out, and 20 years before it was revived again in a different form. If it indeed does provide a glimpse of sekkyo at that time, it is of a sekkyo which was no longer being performed. Another clue is this. The unusual melodic patterns in Yoru no tsuru tsunadeguruma do occasionally appear in some later nagauta pieces, which therefore can also be said to have incorporated sekkyo. The best known example is found in the famous Kanjincho (first performed 1840), in the first half of the niagari tuned section, beginning with the text Ge ni, ge ni.... Although not marked in the published texts, the basis for taking this as a sekkyo quotation is that the melody for this part is the same as in Figure 2. There can be little doubt then that it was based on sekkyo. We must of course remember that the image of sekkyo held by nagauta musicians at this time would have been rather different from the image held nearly a century before. Incidentally, the hayashi part accompanying sekkyo quotations is not consistent as the voice and shamisen parts are but uses a variety of different settings.
東京芸術大学の論文

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蒲生郷昭
東京芸術大学音楽学部

長唄が摂取した説経

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