Bungo Bushi

The name of a school of joruri. Joruri that was first performed by Miyakoji Bungo no Jo (?-1740). Bungo no Jo was a disciple of Miyakodayu Itchu in Kyoto and was called Kunitayu Hanchu, but around 1721 (Kyoho 6) he became independent and took the name Miyakoji Kunitayu Hanchu, and at the time his style of music was called Hanchu-bushi and Kunitayu-bushi and was highly praised. Hanchu later changed his name to Miyakoji Bungo, and in 1701 he went to Nagoya, and in the same year he also advanced to Edo, where his style was well received under the name Bungo-bushi. Therefore, Bungo-bushi in the narrow sense refers to Bungo no Jo's joruri in Nagoya and Edo. Bungo-bushi is said to have been a very erotic style of performance that combined Icchu-bushi with Bun'ya-bushi. In particular, there were many cases of double suicides and love suicides around this time, and since it was believed that all of this impropriety between men and women was due to Bungo-bushi, the Edo Shogunate imposed harsh suppression that was almost equivalent to a ban in 1739 (Genbun 4). From around 1743 (Kanpo 3), the restrictions were gradually relaxed, and the disciples who remained in Edo gave birth to Tokiwazu-bushi by Mojidayu, Tomimoto-bushi by Komojidayu which became independent from the group, and Kiyomoto-bushi by Enjudayu which became an independent branch. These are sometimes referred to as Bungo-bushi, but nowadays these three are usually referred to as the three Bungo schools. There is also the Shinnai-bushi, a collective name for the schools of Fujimatsu Satsuma no Jo, who changed his name from Kaga Tayu, a disciple of the same school, and Tsuruga Wakasa no Jo and Toyoshima Kunidayu, who branched off from him. In addition, the schools of Toyomi Shige Tayu, who grew up in Kamigata and formed their own schools, Harufuji Shoden and Miyazono Ranpouken, who branched off from Miyakoji Sonohachi and his disciples, are collectively called Kunidayu-bushi. All of the above schools are also collectively called Bungo-kei Joruri.

[Kiyohiro Hayashi and Yukinori Moriya]

"Appreciation of Japanese Music on the Radio" by Machida Yoshiaki (1950, Japan Broadcasting Publishing Association)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

浄瑠璃(じょうるり)の流派名。宮古路豊後掾(みやこじぶんごのじょう)（？―1740）が語り出した浄瑠璃。豊後掾は京都の都太夫一中(みやこだゆういっちゅう)の門弟で都国太夫半中(くにたゆうはんちゅう)といったが、1721年（享保6）ごろ独立して宮古路国太夫半中を名のり、当時その曲風は半中節、国太夫節とよばれてもてはやされた。半中はのちに宮古路豊後と改名し、34年名古屋へ赴き、同年中に江戸へも進出するに及んで、両地では豊後節という名で好評を博した。したがって、狭義の豊後節は、名古屋と江戸におけるこの豊後掾の浄瑠璃をさす。豊後節は一中節に文弥節を加えたような芸風で、きわめて扇情的であったと伝えられる。ことにこのころ心中沙汰(ざた)、情死などが多発し、この男女間の風儀の乱れはすべて豊後節によると思われたため、江戸幕府により1739年（元文4）禁止にも等しい過酷な弾圧が加えられた。43年（寛保3）あたりからしだいに緩和され、江戸に残った門弟によって文字(もじ)太夫の常磐津(ときわず)節、その社中から独立した小文字(こもじ)太夫の富本(とみもと)節、さらに分派独立した延寿(えんじゅ)太夫の清元(きよもと)節が生まれる。これをも包含して豊後節とよぶこともあるが、現今では通常この三つを豊後三流とよんでいる。また同じ門弟の加賀太夫から改名した富士松薩摩掾(ふじまつさつまのじょう)、さらに分流した鶴賀若狭掾(つるがわかさのじょう)や豊島国太夫らの諸流を総称した新内節があり、また上方(かみがた)で育ちそれぞれ一派をなした豊美繁(とよみしげ)太夫、宮古路薗八(そのはち)とその門弟から分かれた春富士正伝(はるふじしょうでん)や宮薗鸞鳳軒(みやぞのらんぽうけん)などの諸流は国太夫節の名で総称された。なお、以上の流派をすべて包括して豊後系浄瑠璃とも呼称している。

［林喜代弘・守谷幸則］

『町田佳聲著『ラジオ邦楽の鑑賞』（1950・日本放送出版協会）』

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