Danmono - Danmono

A classification name for Japanese music. In principle, it is used as a general term for a group of pieces with a dan structure, but its usage differs depending on the genre. (1) In Noh, it is sometimes used as a general term for danka that have a specific dan name within a piece, such as "Fumi no dan" in "Yuya" and "Tama no dan" in "Ama". These are the main parts of the piece and have strong independence, so they are often performed alone as shimai, hayashi, solo singing, or rengin. (2) In koto music, it is used as a general term for pieces with a dan structure such as "Rokudan", "Hachidan", and "Midare Rinzetsu", which have been treated as tsukemono (attachment) in the traditional teaching of koto kumiuta. These are called "Rokudan Sugagaki" and "Hachidan no Shirabe" depending on the school, so they are also called "Sugagakimono" and "Shirabemono". In principle, each section of each piece, except for the opening of the first section, is composed of 52 beats (104 beats), and can be performed in a danawase (104 beats) or dangaeshi (12-step) style. However, "Ranrinji" is also called "Judan no cho" or "Judan sugagaki" and the beats of each section are not fixed, and the way the sections are cut varies depending on the style. Danmono have been performed not only as koto solo pieces, but also as shamisen and hitoyogiri solo pieces and ensemble pieces for these three types of pieces since their creation, and various kaite (alternatives) were also composed at the same time. (3) In joruri, it refers to a specific section that is the highlight of the story, such as a michiyuki or keigoto, and is often performed by itself. In contrast to the Shohon and Maruhon, which contain the entire text, those that contain only danmono are called "danmono collections," and their prefaces and postscripts often constitute a kind of artistic treatise. (4) In Bungo-style Joruri, the term does not necessarily refer to works that partially borrow lyrics and melodies from Gidayu-bushi and other genres, although they do not necessarily have a clear dan structure. In contrast to the Hamono, which tend to be lyrical, long pieces with a strong dramatic character are also called "danmono." The latter usage is also used in Nagauta and Hauta, and "Kanjincho" is also treated as a danmono. In dance based on such musical pieces, all Joruri Shosagoto are sometimes called danmono. (5) In biwa music, large pieces with a danmono structure are called danmono, as opposed to hautamono. These include "Shichiki Otoshi" for the Chikuzen biwa and "Atsumori" for the Satsuma biwa.

[Kazuko Tanigakiuchi]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

日本音楽の楽曲分類名称。原則として段構成をもつ楽曲群の総称として用いられるが、種目によってその用法が異なる。（1）能では『熊野(ゆや)』の「文ノ段」、『海士(あま)』の「玉ノ段」などのように、一曲のなかで特定の段名称をもつ段歌の総称として用いられることがある。これらはその曲のなかで眼目となる部分であり、独立性が強く、仕舞や囃子(はやし)、あるいは独吟・連吟などとして単独で上演されることも多い。（2）箏曲(そうきょく)では、箏組歌の伝承教習上、付物(つけもの)として扱われてきた器楽曲のうち、『六段』『八段』『乱輪舌(みだれりんぜつ)』などの段構造をもつ曲の総称として用いられる。これらは流儀によって『六段すががき』『八段の調(しらべ)』と称するので「すががき物」「調物(しらべもの)」ともいわれる。各曲とも、原則として初段の冒頭部を除き、各段が52拍子（104拍）で構成されて、「段合せ」「段返し」などの演奏が可能である。ただし、『乱輪舌』は『十段の調』または『十二段すががき』ともいわれ、各段の拍子が一定でなく、流儀によって段のくぎりに相違がみられる。段物は、箏独奏曲としてだけでなく、成立当初から三味線・一節切(ひとよぎり)の独奏曲、それら3種の合奏曲として奏され、同時に各種の替手も作曲された。（3）浄瑠璃(じょうるり)では、道行(みちゆき)・景事(けいごと)などの聞かせどころとなる特定の段をさし、その段だけの上演もよく行われる。詞章全般を収めた正本(しょうほん)・院本(まるほん)に対し、段物のみ収めたものを「段物集」といい、その序跋(じょばつ)は一種の芸術論をなすことが多い。（4）豊後(ぶんご)系浄瑠璃では、かならずしも明確な段構造をもつわけではないが、義太夫(ぎだゆう)節などの詞章や曲節を一部借用したものをさすことがある。また叙情的傾向の強い「端物(はもの)」に対して、劇的性格の濃い長編の曲を「段物」とも称する。後者の用法は長唄(ながうた)や端唄(はうた)などにも転用され、『勧進帳(かんじんちょう)』なども段物として扱われる。なお、こうした楽曲を地とする舞踊においては、浄瑠璃所作事すべてを段物という場合がある。（5）琵琶(びわ)楽では、「端歌物」に対して段構造をもつ大曲を段物という。筑前(ちくぜん)琵琶の『七騎落』、薩摩(さつま)琵琶の『敦盛(あつもり)』など。

［谷垣内和子］

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