Tsukushi Koto - Tsukushigoto

Japanese: 筑紫箏 - つくしごと

The name of a genre of Japanese music and the instrument that accompanies it. The koto was apparently used as the main accompaniment for temple songs such as "Etenraku Utaimono," which developed from temple gagaku in the Muromachi period. In particular, at Zendo-ji Temple in Kurume, Kyushu, the monk Kenjun created a song with koto accompaniment from the gagaku music that was performed at Zendo-ji Temple, called Zendo-ji-gaku or Tsukushi-gaku, after the Tenbun era (1532-1555), and created a koto piece in the form of a group song. This was later called "Tsukushi-goto" or "Tsukushi-ryu koto music," and Kenjun's disciple Hosui went to Edo to teach it to Yatsuhashi Kengyo, who revised it, and it was distinguished from the modern koto music of the Ikuta school, Yamada school, and other schools that were passed down mainly by blind musicians. The "Tsukushi Koto" was played mainly in the Saga Domain and its Edo residence as music for enthusiasts who were not professional musicians. In Edo, Murashima Masakata and Inozaki Ritsusai were well known. In Saga, it was passed down from Imaizumi Chiharu and Imaizumi Chiaki to Noda Chosho and to the present day, with Murai Rei (1887-1958) of Karatsu and Inoue Mina (1895-1995) of Osaka being the main transmitters. The compositions are mainly songs in the form of group songs known as "Jikyoku" since Kenjun, and some other secret pieces have also been passed down, but all of them are songs except for "Rin Setsu," and the tuning is modeled after the Taishiki tuning of gagaku, and it is thought to have been transferred from the tuning of the Oushiki tuning of the Lusen tuning.

Source: Encyclopaedia Britannica Concise Encyclopedia About Encyclopaedia Britannica Concise Encyclopedia Information

Japanese:

日本音楽の種目名，およびその楽器。室町時代の寺院雅楽から発展した「越天楽謡物 (えてんらくうたいもの) 」などの寺院歌謡には，おもな伴奏楽器として箏が用いられていたらしい。特に九州久留米の善導寺では，僧賢順が天文年間 (1532～55) 以降に，善導寺に行なわれていた雅楽の善導寺楽または筑紫楽と呼ばれていたもののなかから，箏伴奏の歌曲を独立させ，組歌形式の箏曲として創始した。これを，後世「筑紫箏」または「筑紫流箏曲」と呼び，賢順の弟子法水が江戸へ出て八橋検校に伝え，八橋によって改訂が加えられて以後，目の不自由な音楽家を中心に伝承された生田流，山田流などの近世箏曲と区別した。「筑紫箏」は，佐賀藩およびその江戸屋敷を中心に，職業的演奏家の専業ではない同好者の音楽として行なわれ，江戸では村島政方，猪崎律斎などが知られた。佐賀では今泉千春，今泉千秋から野田聴松を経て現代に伝えられ，唐津の村井れい (1887～1958) ，大阪の井上ミナ (1895～1995) が伝承者であった。楽曲は，賢順以来の「十曲」といわれる組歌形式の歌曲を中心として，その他の秘伝曲も一部伝えられているが，『輪 (倫) 説』を除いてすべて歌曲であり，調弦法は雅楽の太食 (たいしき) 調を模したもので，黄鐘 (おうしき) 調呂旋の調弦を移したものとも考えられる。

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