Festival music - Matsuribayashi

Also called festival music. This refers to the music played on floats (yama, hoko, danjiri, floats, etc. with wheels, yamagasa, kirikoshi, etc., and boats on the water, etc.) carried by parishioners in what is called Shinkou Festival, when the mikoshi (portable shrine) is paraded to the Otabisho (temple), or on foot. It is mainly made up of flutes, drums, and gongs, but varies from place to place. In a broad sense, other music such as the music for the lion dance that appears in the Shinkou Festival and the music for the Kagura dance at the Kaguraden are also considered to be festival music.

It was from the mid-Heian period that festivals began to be held in a grand manner, when there were no floats yet and people carried drums and gongs on poles and walked around to accompany them. At that time, the dancing music of Dengaku was more mainstream. It is believed that floats began to be used on a permanent basis with the Gion Festival in the early Muromachi period (first seen in the Gogumaiki, June 14, 1376, Eiwa 2, entry that reads "The hoko are as usual"), but the hoko floats used in today's Gion Festival are almost the same as those that were revived in 1500 (Meio 9) after the Onin War, and the initial form of Gion bayashi can already be seen (1561, Eiroku 4, Yasokaishi Nippon Tsuushin, Vol. 1). The development of this Gion bayashi prompted the development of festival music in other regions. The current Gion bayashi is performed by 7-8 gong players, 7-8 flute players (Noh flute players), and 2-3 shime-daiko drum players. As each float has a different tune, there are more than 300 songs in total, and the tunes are sophisticated. In the Osaka region, the danjiri bayashi of the Tenjin Festival is very lively, with no flutes, but with large drums and soban. In the Kanto region, the Sanno Festival, also known as the Tenka Festival, and the so-called Edo Festival bayashi (Kanda bayashi) of the Kanda Festival are popular. The bayashi consists of large drums, shime-daiko drums (2), bamboo flutes, and atari-gane gongs, and the songs stand out as being stylish and technical. Its origins lie in Kasai-bayashi, which began in the Kyoho era (1716-36) in the mid-Edo period, and it is also called baka-bayashi because it was later accompanied by the addition of the Bakamen dance, a clown mask. A similar arrangement is the Chichibu Yatai-bayashi of Chichibu City, Saitama Prefecture, which is unique, but shamisen is also added in the Kazariyama-bayashi of Kakunodate Town, Senboku City, Akita Prefecture, and the Hidaka-bayashi of Oshu City, Iwate Prefecture. The Sawara-bayashi of Katori City, Chiba Prefecture, adds small and large drums, and the Enoshima-bayashi of Fujisawa City, Kanagawa Prefecture, even includes a charumera. However, there are also examples of smaller arrangements. The Kokura Gion bayashi in Kitakyushu City does not use flutes, but is played lightly with drums and bells. The Ojinnori (ritual) drums in Wajima City, Ishikawa Prefecture are played only with drums. As an exception, Mikurumayama in Takaoka City, Toyama Prefecture plays simple but elegant music.

[Masahiro Nishikado]

"Music of the Gods" edited by Hidefumi Yoshikawa and composed by Toshikazu Fujimoto (1976, Toshiba EMI) " ▽ "Festivals and Elegance" by Masahiro Nishikado (1985, Iwasaki Bijutsusha)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

祭礼囃子ともいう。神輿(みこし)が御旅所(おたびしょ)に渡御(とぎょ)するいわゆる神幸(しんこう)祭に、付祭(つけまつり)と称して氏子たちが出す山車(だし)（山、鉾(ほこ)、だんじり、屋台など車付きのもの、山笠(やまがさ)、きりこのように担ぐもの、水上では船など諸種の形態がある）、邌物(ねりもの)、底抜け屋台、踊屋台などの運行に、山車上であるいは徒歩で奏する奏楽をいう。おもに笛、太鼓、鉦(かね)からなるが、土地土地によってさまざまである。広義には、そのほか付祭の神賑(にぎわい)に出る獅子(しし)舞の囃子や、神楽(かぐら)殿での神楽囃子なども祭囃子と解されている。

　祭礼が華々しく催されるようになったのは平安中期からで、まだ山車もなく、太鼓と鉦鼓(しょうこ)を棒で担いで囃して歩いた。このころはむしろ田楽(でんがく)の躍(おどり)囃子のほうが主流であった。山車の類(たぐい)が永続的に出るようになるのは室町初期の祇園(ぎおん)祭からと推量されるが（『後愚昧記(ごぐまいき)』永和(えいわ)2年〈1376〉6月14日の条の「鉾(ほこ)は常(つね)の如(ごと)し」が初見）、今日の祇園祭の山鉾は応仁(おうにん)の乱後の1500年（明応9）に復興をみたものとほぼ同じで、すでに祇園囃子の初態はうかがえる（1561年〈永禄四〉『耶蘇会士(やそかいし)日本通信』上）。この祇園囃子の発展が各地の祭囃子の展開を促したのである。現行の祇園囃子は、鉦7～8名、笛（能管(のうかん)）7～8名、締(しめ)太鼓2～3名で、鉾ごとに曲が異なるため全部で300曲以上にもなり、曲調は洗練されている。大阪地方は天神祭(てんじんまつり)系の地車(だんじり)囃子で笛はないが大太鼓と双盤(そうばん)ですこぶるにぎやかである。関東は天下祭(てんかまつり)とよばれた山王(さんのう)祭、神田(かんだ)祭のいわゆる江戸祭囃子（神田囃子）が普及している。大太鼓、締太鼓（2）、篠笛(しのぶえ)、当(あた)り鉦(がね)からなり、粋(いき)で技巧的な曲が目だつ。江戸中期の享保(きょうほう)（1716～36）に始まった葛西(かさい)囃子が源流で、のちに道化の馬鹿面(ばかめん)踊りがついたため馬鹿囃子ともよばれる。似た編成では埼玉県秩父(ちちぶ)市の秩父屋台囃子が異色であるが、秋田県仙北市角館(かくのだて)町の飾山(おやま)囃子、岩手県奥州(おうしゅう)市の日高囃子などでは三味線が加わる。千葉県香取(かとり)市の佐原囃子では小鼓(こつづみ)、大鼓(おおつづみ)が加わり、神奈川県藤沢市の江の島囃子にはチャルメラさえ加わる。しかし、小編成の例もある。北九州市の小倉(こくら)祇園囃子では笛がなく、太鼓と摺鉦(すりがね)で軽快に奏でる。石川県輪島市の御陣乗（御神事）太鼓は太鼓だけである。なお、例外的であるが、富山県高岡市の御車山(みくるまやま)では素朴ながら雅楽曲になぞらえた曲を奏している。

［西角井正大］

『吉川英史監修・藤本寿一構成『神々の音楽』（1976・東芝EMI）』▽『西角井正大著『祭礼と風流』（1985・岩崎美術社）』

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