Throwing - Throwing

Japanese: 投節 - なげぶし

A type of Japanese music and the name of a melody. The content varies depending on the era and the occasion. (1) A popular song in the pleasure quarters that was popular in the early Edo period. It is said to have been created by Kawachi, a prostitute in Shimabara, Kyoto, around the Meireki and Manji eras (1655-61), and is also said to be a variation of "Edo Nosai." It is also said to have been named after the way the song is sung with a "throw" sound at the end of the verse. It is said to have originally been a reworking of the Nagibushi song, and there is also a theory that it was written with the characters "nagebushi" (lamentation). It was one of the three famous songs that represented the pleasure quarters of the three capitals, along with "Magakibushi" from Osaka Shinmachi and "Tsugibushi" from Edo Yoshiwara. However, around the Genroku era (1688-1704), the melody, tempo, and other aspects of the song changed, as recorded in "Matsu no Ha," and around the Bunsei era (1818-1830), "Sosoribushi" was also called "Tobushi." The lyrics are in principle in 3-4, 4-3, 3-4, or 5 syllables, with the interjections "na" and "yan" and interjections. Shamisen notation is given in works such as "Ōnusa" and "Himekomatsu". (2) A melody name used in various shamisen music pieces, mainly in the parts that express the scenery of pleasure quarters. It is used frequently in Asama joruri such as Handayu-bushi, Sukeroku joruri of Kawato-bushi, Itchu-bushi, and Tomimoto-bushi, and is also famous for its use in Nagauta's "Yoshiwara Suzume" and Tokiwazu-bushi's "Seki no Tobira", "Koyama Uba", and "Moriga". It is often attached to phrases such as "familiar enclosure...". It is called "Ōtsu-nage-bushi". It is also used to refer to the parts in "soso-bushi" in Kiyomoto-bushi's "Gonpachi" and "Kanda Matsuri", Tokiwazu-bushi, and Nagauta's "Kakubei". In Kabuki geza, it is used for silent scenes in domestic dramas and sad farewells.

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

Japanese:

日本音楽の種目および旋律名称。時代，場合によってその内容が異なる。 (1) 江戸時代初期に流行した遊里流行歌謡。明暦，万治 (1655～61) 頃，京都島原の遊女河内が創始したものともいわれ，「江戸弄斎」を変化させたものともいい，また節尻を「ヤン」と投げるように歌うことから，この名義となったともいわれる。本来，梛節 (なぎぶし) の唱歌を作りかえたものともいい，また，歎 (なげ) 節の字をあてる説もあった。大坂新町の「まがき節」，江戸吉原の「つぎ節」とともに3都の遊里のそれぞれを代表する3名物の一つとされた。ただし，元禄 (88～1704) 頃には，その旋律，テンポその他に変化を生じたことが『松の葉』に記され，文政 (1818～30) 頃には，「そそり節」を投節ともいっている。歌詞は，3・4，4・3，3・4，5調を原則とし，間に間投語の「ナ」「ヤン」が入り，合の手も入る。『大ぬさ』『姫小松』などに，その三味線の記譜が示される。 (2) 三味線音楽の各種目において，おもに遊里の情景を表わす部分に用いられる旋律名称。半太夫節，河東節の助六浄瑠璃，一中節，富本節などの浅間浄瑠璃などに多用され，そのほか，長唄の『吉原雀』，常磐津節の『関の扉』『古山姥』『戻駕』などに用いられていることが有名。「馴れし郭…」などという句につくことが多い。「大津投節」といわれるもの。ほかに「そそり節」による部分をいう場合が，清元節の『権八』『神田祭』，常磐津節，長唄の『角兵衛』などにある。歌舞伎下座では，世話物のだんまり場，悲しい別れの場などに利用されている。

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