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【ジャンル別一覧】 Min'yo

Traditional Folk Songs

古典からコンテンポラリーまで和楽器のための作曲

About Min'yo Music...

Folk Songs and Folk Music

Despite the fact that contemporary life in Japan is modernized to a great extent both in the cities and country, much traditional folk song, music and drama has been preserved. Even work songs which are easily lost because of changing conditions have been kept alive as entertainment for feasts or parties.

Numerous religious rituals, festivals, and feasts are the background for such songs, music and drama. Some of them survive in the original primitive style based upon shamanism, animism, totemism and magic. Many of them have undergone a change because of historical development and because of the influence of art music -especially Shamisen music.

Folk songs in Japan can be classified according to their categories as follows.
a. Work songs. For example, fishing songs, boatmen songs, pack-horse drivers' songs, rice planting songs, wine (sake) makers' songs, etc.
b. Bon Dance Songs. Most common throughout Japan as a Buddhist event in summer (urabon).
c. Songs for entertainment at feasts or parties.
d. Songs for weddings and funerals.
e. Children's songs and cradle songs.

As to the musical style, the most primitive style is in "Enge Meiodik" (narrow melody), the compass of which does not reach an octave, and is often based upon a nuclear tone system. In-mode and Yo-mode are the dominate modes. Yo-mode (a five-tone system without semi-tone) is most characteristic of the more naive songs, while In-mode (a fivetone system with a semitone) is common among folk songs which have been influenced by Shamisen music, although it should be stated that songs of both types are often accompanied by the Shamisen.

As to rhythm, there are two types, free and fitted. Fitted rhythm (usual mechanical rhythm) is common in rhythmic work songs, dance music and songs, and children's play songs. Free rhythm occurs at times in work songs, entertainment songs unaccompanied or accompanied by the Shakuhachi instead of the Shamisen and drums. Drums of various kinds, huge and small, barrel and hour-glass shaped, played with sticks or without sticks, etc., are another important element. Often a transverse bamboo flute, as well as gong, bell and clapper make up the ensemble with the drums. This kind of ensemble is generally called Hayashi, which is the name of the instrumental ensemble of Noh and Kabuki previously mentioned. The Hayashi (hayasu as a verb) primarily means to play and cheer up. Among the numerous kinds of folk music, the largest genre is called Kagura (God music). This folkloric Kagura, called O-Kagura, is completely different from the Kagura of Gagaku which is called Mikagura. O-Kagura occurs often at country shrines and is called Sato-Kagura (country Kagura). Although it varies to a great extent in style, the basic instrumentation of the ensemble is a transverse bamboo flute, drum of medium size, and often a big barrel drum.

Some folk songs of a certain locale have found their way to neighboring villages, towns, provinces, at times far from the place of origination. In this case the style is changed to some extent. Folk songs have rapidly spread all over Japan because of records, radio and TV. In this spread through the mass media, the music has become commercial and the style of the music has changed to one of more artistry and refinement being performed by professionals. At any rate folk music or songs brings nostalgia to the man whose province or
village has produced the particular music or song. For example, the author feels strong a nostalgia in Kandabayashi, since he was born and raised in Kanda of Tokyo.

By Dr. Shigeo Kishibe

S
Sa no Sa
さのさ
Sado Jinku
佐渡甚句
Sado Okesa
佐渡おけさ
Saitaro Bushi
斉太郎節
Sakata Jinku
酒田甚句
Sakaya Kome Togi-uta
酒屋米とぎ唄
Sakaya Uta
酒屋唄
Sakura Sakura

さくらさくら
San Gai Bushi
三階節
Sansa Odori
さんさ踊り
Sansa Shigure
さんさ時雨
Sawauchi Jinku
沢内甚句
Seichō Hakata Bushi
正調博多節
Seichō Kariboshi Kiri Uta
正調刈干切唄
Seichō Oiwake
正調追分節 (Seichō Oiwake Bushi)
正調追分
Seki no Gohon Matsu
関の五本松
Sekigami tairyō-bushi
関上大漁節
Sekurabe
Comparing Statures
背くらべ
Senboku Oyamako Sanrin
仙北お山コ三里
Sendai-bushi
仙台節
Sendō-san
Boatman
船頭さん
Senkōba Okesa
選鉱場おけさ
Shanshan'uma Dōchū Uta
シャンシャン馬道中唄
しゃんしゃん馬道中唄
Shibanba
しばんば
Shigesa Bushi
しげさ節
Shikararete
叱られて
Shimabara no Komori Uta
島原の子守唄
Shimotsui Bushi
下津井節
Shin Sansa-Shigure
新さんさ時雨
Shin Sōma Bushi
新相馬節
Shin Tosa Bushi
新土佐節
Shinano Oiwake
信濃追分
Shinjō Bushi
新庄節
Shiogama Jinku
塩釜甚句
Shirahama Ondo
白浜音頭
Shōnai Obako
庄内おばこ
Shōnai Tsuchizuki-uta
庄内土づき唄
Sondeko Bushi
そんでこ節
Sumikō Bushi
炭抗節
Sunayama
砂山
Suzuka Magouta
鈴鹿馬子唄
Sōma Bon Odori
相馬盆踊り
Sōma Bon Uta
相馬盆唄
Sōma Bushi
相馬節
Sōma Dōtsuki Uta
相馬胴搗唄
Sōma Kobiki Uta
相馬木挽唄
Sōma Mago Uta
相馬馬子の唄 (Sōma Mago no Uta)
相馬馬子唄
Sōma Nagamochi Uta
相馬長持唄
Sōma Nagare Yama
相馬流れ山
Sōma Nihengaeshi
相馬二遍返し
Sōma Sansa Shigure
相馬さんさ時雨
Sōran Bushi
そうらん節
ソラン節
96 曲