Drum - Tsuzumi

Japanese: 鼓 - つづみ

In Japan, this is the general term for an hourglass-shaped, double-sided drum with a narrowed body. In the past, all membranous instruments were called tsuzumi in Japan, but kakko (kakko), which does not have a narrowed body, came to be classified as taiko drums and are distinguished from tsuzumi. In the narrowest sense, it refers to the small drums used in Noh theatre. There are several theories about the origin of the word tsuzumi, including that it comes from the ancient Indian percussion instrument dudubhi or dundubhi, and that it originates from the Chinese percussion instrument tsudonko, which was imported to Japan and written as mamemume.

[Takanori Fujita]

structure

Structurally, the drum is made up of three parts: leather (membrane), string, and body. Animal (horse) leather is stretched over a circular iron frame, and several holes are drilled around the perimeter. Two pieces are placed on either side of the wooden body, and strings called shirabeo are passed between the holes to apply tension. As the leather and body are not glued together, the drum can be disassembled and carried around. The surface of the body is often decorated with makie (lacquerware), making it a valuable work of art.

[Takanori Fujita]

Gagaku drum

In Japan during the Nara period, thin waist drums (saiyoko) for Tang music were introduced. These were called Ikko (Ichiko), Nikko, Sanko (Sannotsuzumi), and Shiko, from smallest to largest. Today, only Ikko (as a dance instrument) and Sannotsuzumi remain. The Ikko has a leather diameter of about 24 cm, is attached to the body with a string and hung from the neck, and is struck with a stick in the right hand while dancing. In addition to Bugaku, it was also used in Tang music (kangen), but is now replaced by the kakko. The Sannotsuzumi has a leather diameter of about 42 cm, is placed on the floor or a stand, and is struck with a stick in the right hand. Since the Heian period, it has been used in Komagaku, and like the kakko of Tang music, it plays a role in overseeing the entire ensemble, such as determining the tempo of the performance.

[Takanori Fujita]

Small drum

The kotsuzumi drums used in Noh, Kabuki music, and folk performing arts are said to have originated from the ichiko drum. They were originally instruments that were struck while swinging them about in an acrobatic way, but gradually the current style of holding the tuning string with the left hand, fixing it on the right shoulder, and striking it with the fingers of the right hand was established, and the instrument itself was refined. The diameter of the leather of a modern kotsuzumi is about 20 centimeters, and the length of the body is about 25 centimeters. The strength and position of the strike with the right hand fingers and the way the tuning string is grasped can change the tone and pitch of the strike, and several different playing styles are specified as having different strike sounds (grains). Just before a specific strike, a call such as "you" or "ho" is made. The rhythmic form consisting of this call and a certain group of grains is called tegumi. Tegumi has names such as mitsuji and tsuduke, and the arrangement of these tegumi determines the way the entire piece is struck. To get a good tone, the leather of the kotsuzumi needs to be moist, so a small piece of washi paper called gami is moistened and attached to the center of the surface of the leather on the side that is not being played. During the performance, the player takes time to moisten the gami with saliva or to breathe on it. There are three schools of kotsuzumi in Noh: Okura-ryu, Kanze-ryu, Ko-ryu, and Kosei-ryu.

[Takanori Fujita]

Taiko drum

Also called "okawa," it is used in opposition to the kotsuzumi. The leather is about 23 centimeters in diameter, and the length of the body is about 29 centimeters, making it somewhat larger than the kotsuzumi. In contrast to the kotsuzumi, the leather is roasted and dried over charcoal just before playing, and then tightly tightened with a string to obtain a hard tone. It is not possible to produce changes in tone or pitch. Rather, in Noh, the emphasis is on changes in the calls, and there are many types of calls. Also, because there are fewer grains, the calls tend to be longer. The otsuzumi usually sits to the right of the kotsuzumi. The string is held in the left hand, held on the left knee, and struck with the right hand. Paper finger skins and atekawa are usually attached to the fingers of the right hand. There are various schools of Noh, such as the Ishii school, the Okura school, the Kadono school, the Takayasu school, and the Kanze school, and the work is divided between the kotsuzumi school and the kotsuzumi school. In Kabuki music, families such as Katada, Tanaka, Tosha, and Mochizuki are responsible for not only the large and small drums but also other percussion instruments.

[Takanori Fujita]

Notation

There are various ways to notate drums, such as gagaku, where the striking sounds are indicated by a circle, or in noh, where the name of the hand-held technique is simply written. However, in all drums, onomatopoeia is assigned to each drum that roughly corresponds to the playing technique. For small drums, there is "chi-pu-ta-po," which is effective in memorizing the rhythm of the hand-held technique and taking pauses during a performance. For the large and small drums of kabuki music, onomatopoeia such as "chiri kara chiri toto" are learned, in other words, oral songs, and the rhythm is played while chanting in one's head. Another example of an onomatopoeia that has itself become the name of a drum is the small drum "shitei," used in dengaku and furyu. This name comes from the oral songs of the third drum, "shi" (strike with the left drumstick) and "tei" (strike with the right drumstick).

[Takanori Fujita]

[Reference item] | Kariko | Sannokozumi

Small drum
Edo period (17th century), gold lacquer and black lacquer, length 25.2 cm, owned by the Metropolitan Museum of Art

Small drum

Names of the parts of the small drum
©Katsuya Nishikawa ">

Names of the parts of the small drum

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

胴の中央部がくびれた、砂時計形両面太鼓の日本における総称。日本では、古くは膜鳴楽器全般を鼓とよんだが、胴にくびれのない鞨鼓(かっこ)（羯鼓）などは太鼓に類別されるようになり、鼓とは区別されている。もっとも狭義には、能楽などで用いられる小鼓(こつづみ)をさす。鼓の語は、古代インドの打楽器dudubhiまたはdundubhiを語源とする説、中国の打楽器、都曇鼓(つどんこ)が日本に輸入されて豆豆美と表記されたのに由来する、などの説がある。

［藤田隆則］

構造

鼓は構造上、革（膜）、紐(ひも)、胴の三部分からなる。円型の鉄枠に張られた動物（馬）の革の周囲数か所に穴をあける。2枚を木製の胴の両面に当てて、調緒(しらべお)とよばれる紐を穴と穴に渡して張力を加える。革と胴を糊(のり)付けしないので、分解して持ち歩くことが可能である。胴の表面には蒔絵(まきえ)が施されることも多く、工芸品としての価値ももっている。

［藤田隆則］

雅楽の鼓

日本には奈良時代、唐楽用の細腰鼓(さいようこ)が伝わった。これは小さいものから一鼓(いっこ)（壱鼓）、二鼓、三鼓（三(さん)ノ鼓(つづみ)）、四鼓とよばれた。現在では壱鼓（舞具として）と三ノ鼓が残っている。壱鼓は革の直径約24センチメートル、胴に紐をつけて首から下げて、舞いながら右手の桴(ばち)で打つ。舞楽以外に唐楽の管絃(かんげん)でも使われていたが、現在では鞨鼓で代用することになっている。三ノ鼓は革の直径約42センチで、床や台の上に置いて右手の桴で打つ。平安期以降は高麗楽(こまがく)に用いられ、唐楽の鞨鼓のように、演奏のテンポを決定するなど、合奏全体を統括する役割を担っている。

［藤田隆則］

小鼓

能楽、歌舞伎囃子(かぶきばやし)、民俗芸能の小鼓は、壱鼓を祖とするといわれる。曲芸的に振り回しながら打つ楽器であったが、しだいに左手で調緒を握り右肩で固定させ、右手指で打つ現在のスタイルが定まり、楽器そのものも洗練された。現在の小鼓は革の直径約20センチメートル、胴の長さ約25センチメートルである。右手指の打ち方の強さと位置、調緒のつかみぐあいで、打音の音色や音高を変化させることが可能であり、数種類の異なる奏法がそれぞれ異なる打音（粒(つぶ)）をもつものとして規定されている。決まった打音の直前には、ヨゥ・ホゥなどの掛け声をかける。この掛け声と粒の一定のまとまりからなるリズム型を手組(てぐみ)という。手組には三ツ地(みつじ)、ツヅケなどの名称があり、これらの手組の配列で一曲全体の打ち方が規定されている。よい音色を得るために、小鼓の革は湿り気を必要とし、調子紙(がみ)とよばれる小さな和紙を打奏しないほうの革の表面中央部にぬらして張り付ける。演奏中にも合間をみて、唾(つば)で調子紙をぬらしたり、息を吐きかけたりする。能楽の小鼓の流儀には、大倉流、観世(かんぜ)流、幸(こう)流、幸清(こうせい)流がある。

［藤田隆則］

大鼓

「おおかわ」ともよび、小鼓と対(つい)にして用いられる。革の直径約23センチメートル、胴の長さ約29センチメートルで、小鼓よりいくぶん大きい。小鼓とは逆に、演奏直前に革を炭火で焙(ほう)じて乾燥させ、調緒で強く締め付けて硬質の音色を得る。音色や音高の変化は出せない。むしろ能楽では掛け声の変化に重点が置かれ、掛け声の種類も多い。また粒が少ない分、掛け声は長いものが多い。大鼓は普通、小鼓の右に座る。左手で調緒を持ち、左膝(ひだりひざ)上に抱えて右手で打つ。右手指には紙製の指皮(ゆびかわ)、当て皮をはめるのが普通である。能楽では石井流、大倉流、葛野(かどの)流、高安(たかやす)流、観世流などの流儀があり、小鼓の流儀と分業している。歌舞伎囃子では、堅田(かただ)、田中、藤舎(とうしゃ)、望月(もちづき)などの家系が、大鼓や小鼓だけでなく他の打楽器も一手に引き受けている。

［藤田隆則］

記譜法

鼓の記譜法はさまざまで、雅楽のように打音を丸印で表記する場合や、能楽のように手組の名称の記載ですます場合もある。しかし、いずれの鼓においても、奏法にほぼ対応してそれぞれ擬音語があてられている。小鼓では「チ・プ・タ・ポ」などがあり、手組のリズムの記憶や演奏中の間(ま)のとり方において効果を発揮している。歌舞伎囃子の大鼓と小鼓では「チリ・カラ・チリ・トト」のような擬音、つまり口唱歌(くちしょうが)を覚え、頭で唱えながらリズムを打ち出す。また擬音がそのまま鼓の名称になった例としては、田楽(でんがく)・風流(ふりゅう)などで用いられた小鼓「しててい」がある。この名は、三ノ鼓の口唱歌「志(シ)」（左桴で打つ）と「帝(テイ)」（右桴で打つ）に由来する。

［藤田隆則］

[参照項目] | 鞨鼓 | 三ノ鼓

小鼓
江戸時代（17世紀）　金蒔絵・黒漆　胴長25.2cmメトロポリタン美術館所蔵">

小鼓

小鼓の各部名称

出典　小学館　日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について　情報 | 凡例

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