Osatsuma-bushi - Osatsuma-bushi

The name of a genre of Edo joruri. There are various theories about who first used the name Osatsuma, but it is generally believed to have been founded around 1716 (Kyoho 1) by Osatsuma Shuzendayu I (1695-1759), a descendant of the joruri storyteller Satsuma Jyoun. Characterized by dynamic melodies, it accompanied the aragoto (rough plays) of the Ichikawa school of Edo kabuki, and reached its heyday around the Kyoho to Horeki periods (1716-1764) along with the aragoto of Ichikawa Danjūrō ​​II and IV. It is particularly well known that Shuzendayu I accompanied Ichikawa Danjūrō ​​II on "Ya no Ne" (Arrow Root), which was well received. However, as Aragoto gradually lost popularity and Bungo-bushi style Joruri (Tokiwazu-bushi, Tomimoto-bushi, etc.) and Nagauta became popular, Osatsuma-bushi declined. In addition, since the shamisen was used by the shamisen players of Nagauta, Osatsuma-bushi was absorbed into Nagauta at the end of the Edo period, and in 1868 (Meiji 1), the head of the school was officially transferred to Kineya Kangoro III, the third head of Nagauta. After that, many pieces called Osatsuma-mono, which actively incorporated the melodies of Osatsuma-bushi into Nagauta, were composed.

In addition, at the opening of Kabuki scenes such as "Jidai Danmari" and scenes depicting large temples and deep mountain valleys, a Nagauta singer and shamisen player appear from behind a light yellow curtain and perform a dynamic performance, which is called O-Satsuma. However, this is a Nagauta that borrows the melody from O-Satsuma-bushi and has no direct relation to the O-Satsuma-bushi as a form of Joruri.

[Ueda Ryunosuke]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

江戸浄瑠璃(じょうるり)の種目名。最初に大薩摩を名のった人物については諸説あるが、一般には浄瑠璃語り薩摩浄雲の流れをくむ初世大薩摩主膳太夫(しゅぜんだゆう)（1695―1759）が、1716年（享保1）ごろ創始した流派といわれている。豪快な曲節を特色とし、江戸歌舞伎(かぶき)の市川流荒事(あらごと)の伴奏を勤め、2世および4世市川団十郎の荒事とともに、享保(きょうほう)～宝暦(ほうれき)（1716～64）ごろその全盛期を迎えた。とくに初世主膳太夫が2世市川団十郎の『矢の根』の伴奏を勤めて大好評を博したことは名高い。しかし、荒事がしだいに人気を失い、豊後節(ぶんごぶし)系浄瑠璃（常磐津節(ときわずぶし)、富本節(とみもとぶし)など）や長唄(ながうた)が盛んになると大薩摩節は衰退。加えて、その三味線は長唄の三味線方が勤めていた関係もあって、幕末には長唄に吸収され、1868年（明治1）正式にその家元権が長唄の3世杵屋勘五郎に譲渡された。それ以後、長唄に大薩摩節の旋律を積極的に取り入れた大薩摩物とよばれる曲が数多く作曲されるようになった。

　なお、歌舞伎の「時代だんまり」や、大寺院、深山幽谷の場面の幕開きに、浅黄幕の外に長唄の唄方と三味線方が現れて豪快な演奏を行うのを大薩摩とよんでいるが、これは大薩摩節の旋律を借用した長唄であって、浄瑠璃としての大薩摩節とは直接の関係はない。

［植田隆之助］

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