A term used in Japanese music. It is the name of the shamisen music melody style that is played in the central part of the dynamic dance, called "Odori-chi" or "Te-odori", which is mainly unrelated to the overall plot of Japanese dance, and the name of the standard technique of the accompaniment that is played along with it. The shamisen changes its mood by changing from honcho to ni-agari or san-ga-ri, and the accompaniment is centered on rhythmic performance of shime-daiko, which is different from the technique of Noh, and the shinobue is played to accompany the vocals and shamisen melody. Other instruments such as surigane (a Japanese gong), odaiko (a large drum) and other instruments such as kage-bayashi are also used as support. It is mainly found in Nagauta music, and examples of this are "Nantaraguchidae..." from "Echigojishi" and "Ume to San-san..." from "Musume Dojoji". It is also found in Tokiwazu and Kiyomoto, but is not as standardized as Nagauta. (→ Chi ) Source: Encyclopaedia Britannica Concise Encyclopedia About Encyclopaedia Britannica Concise Encyclopedia Information |
日本音楽の用語。おもに日本舞踊の「踊り地」または「手踊り」といわれる全体の筋に無関係ではあるが,躍動的な舞踊としての中心をなす部分に奏される三味線音楽の旋律様式の名称,およびそれに合せて奏される囃子の定型手法の名称。三味線は,本調子から二上り,三下りなどに転調して気分を変え,囃子は能の手法とは離れた締太鼓の律動的な演奏を中心に,篠笛が唄,三味線の旋律に吹き合され,ほかに摺鉦 (すりがね) ,大太鼓その他の陰囃子の鳴り物も助奏される。おもに長唄の楽曲にあり,『越後獅子』の「なんたらぐちだえ…」,『娘道成寺』の「梅とさんさん…」などが代表的。常磐津,清元などにもあるが,長唄ほど定型化していない。 (→地 )
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