Musicians - Hayashikata

A Japanese musical term that refers to the musicians who play the accompaniment in Noh and Kabuki theatre.

The Nohgaku musicians are made up of the flute players, kotsuzumi players, otsuzumi players, and taiko players, who play each of the four rhythms. They maintain a system of one artist per person and do not play other instruments at the same time. The flute players play the noh flute. Currently, there are three schools of flute players: the Isso, Morita, and Fujita schools; four schools of kotsuzumi players: the Ko, Kosei, Okura, and Kanze schools; five schools of otsuzumi players: the Kadono, Takayasu, Ishii, Okura, and Kanze schools; and two schools of taiko players: the Kanze and Konparu schools. Each school has its own style and techniques, but he performs as a hayashi for five Noh schools and two Kyogen schools.

In Kabuki, the term "hayashigata" (musician) used to refer collectively to the singers of Nagauta (long-song), the shamisen players, and the players of percussion and wind instruments, and the person in charge of all three was called "hayashigashira (head of the musical instrument)". However, in recent years, there has been a growing tendency to separate Nagauta (singing and shamisen) and musical instruments organizationally, and the heads of the departments in charge have come from both Nagauta and musical instruments, so the term "hayashigata" often refers to musical instruments alone. Kabuki musical instruments (musicians) do not specialize in one instrument as in Noh, but must be able to play all instruments except the flute, namely the small drum, large drum, and large drum, as well as the large drum used in the kage-hayashi (backstage music) and many other percussion instruments. However, in the entrance accompaniment, the kotsuzumi drum takes the lead, and the head of the school or the leader of the performing group generally plays the kotsuzumi drum. The flute players specialize in the Noh flute and the bamboo flute (also called the shinobue), but apart from special schools, they do not form their own schools and usually belong to a percussion school. In general, there is no rigid organization of schools by instrument like the Noh flute players, and it is relatively easy to switch schools. There are more than 10 schools, and the Tanaka school and Mochizuki school are currently active in the Kabuki world, while the Kashiwa school is a school that includes Nagauta singing and shamisen, while the Sumita school Matabee school and the Housei school are distinctive as flute schools.

[Kobayashi, Responsible]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

日本音楽用語。能楽や歌舞伎(かぶき)などで囃子の演奏にあたる者をいう。

　能楽の囃子方は、四拍子(しびょうし)それぞれの演奏者である笛方(ふえかた)、小鼓方(こつづみかた)、大鼓方(おおつづみかた)、太鼓方(たいこかた)よりなり、一人一芸の分業制度が守られ、他楽器を兼ねることはない。笛方が演奏するのは能管(のうかん)である。現在、流儀は、笛方に一噌(いっそう)流・森田流・藤田流の3流、小鼓方に幸(こう)流・幸清(こうせい)流・大倉流・観世(かんぜ)流の4流、大鼓方に葛野(かどの)流・高安(たかやす)流・石井流・大倉流・観世流の5流、太鼓方に観世流・金春(こんぱる)流の2流がある。流儀はおのおのの主張と手法をもっているが、能5流・狂言2流のいずれの囃子も勤める。

　歌舞伎では、古くは囃子方という語は長唄(ながうた)の唄方、三味線方および打楽器や管楽器の演奏者である鳴物師の総称で、この三者の統括責任者を「囃子頭(はやしがしら)」とよんだ。しかし、近年は、長唄（唄・三味線）と鳴物は組織上分離の傾向が強まり、責任者である部長も長唄と鳴物のそれぞれから出るようになり、したがって囃子方という語は鳴物師だけをさす場合が多くなっている。歌舞伎の囃子方（鳴物師）は、能楽の場合のように一つの楽器に専従するのではなく、笛以外のいっさいの楽器、つまり小鼓、大鼓、太鼓のほか陰(かげ)囃子（下座(げざ)音楽）に用いる大太鼓そのほか数多くの打楽器を演奏できなければならない。しかし、出(で)囃子においては小鼓が主導性をもち、流儀の家元や演奏グループの統率者はおおむね小鼓を打っている。なお、笛方は能管、竹笛（篠笛(しのぶえ)ともいう）を扱い専業化しているが、特殊な流派を除いては独自の流儀を形成しておらず、打楽器の家元に属しているのが常である。概して、能楽の囃子方のような楽器別による流儀組織の堅固さはなく、転流も比較的容易である。流儀は10流以上あり、現在歌舞伎界で活躍しているのは田中流、望月(もちづき)流などで、また柏(かしわ)流は長唄の唄・三味線を含む流儀として、住田(すみた)流又兵衛(またべえ)派、鳳声(ほうせい)流は笛方の流派として特色がある。

［小林　責］

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