Ogiebushi

A type of shamisen music. It was originally a school of Nagauta, but with the arrival of the first generation, it was established as Ogie-bushi. Currently, Ogie-bushi, Kato-bushi, Itchu-bushi, and Miyazono-bushi are collectively called Kokyoku. Its founder was Ogie Royu (?-1787), who is said to have become famous as a Nagauta tateuta (standing singer) at the Ichimura-za in Edo from 1766 to 1768 (Meiwa 3 to 5), rivaling Fujita Kichiji. He stopped performing at theaters because he had a beautiful but soft voice, or perhaps because of the rise of Fujita Yoshiharu, but his unique style was welcomed in the Yoshiwara pleasure quarters, passed down to his male geisha disciples, refined in the pleasure quarters, and became a stylish parlor song that came to be called Ogie-bushi in later times. However, the identity of the second and third generations, who called themselves Royu, is not yet clear. It declined after the Bunsei era (1818-1830), and at the end of the Edo period Tamaya Yamasaburo, the owner of a Yoshiwara ageya and a music connoisseur, devoted himself to forming the distinctive style of the Ogie school by incorporating the elegant mood of jiuta in addition to the traditional nagauta and meriyasu songs. Next, Iijima Kizaemon, a man of influence from Fukagawa who was popularly known as Omiya, made an effort to revive the style as Ogie-bushi, and in 1876 (Meiji 9) or, according to some sources, in 1879, he succeeded Royu as the 4th generation, creating a unique style that broke away from the Nagauta style. After the death of the 4th generation, his widow Iku became the head of the school, and after her death in 1904 (Meiji 37), the style was only learned by a few close relatives, and among the successors who were taught by Yanagiwara Hisa and Ume, such masters as Sabashi Sho, Katayama Fusae, Okada Yone, Takemura Suzu, and Yarita Yuki appeared. In 1956 (Showa 31), the Ogie Setsu Mamoru Society was founded with the aim of researching, preserving and nurturing. However, in the same year, the Ogie Society split over the issue of the name when Maeda Sue, the younger sister of Sahashi Akira (Ogie Rosho), took on the title of 5th generation Royu. The Society still exists as two factions.

[Kiyohiro Hayashi and Yukinori Moriya]

"Ogie-bushiko" by Michitaka Takeuchi (included in "Shamisen and its Music"; Ongaku No Tomosha, 1978)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

三味線音楽の種目。もとは長唄(ながうた)の一流派であったが初世の出現により荻江節として確立した。現在は荻江節、河東(かとう)節、一中(いっちゅう)節、宮薗(みやぞの)節を総括して古曲とよばれている。1766～68年（明和3～5）に江戸・市村座で長唄の立唄(たてうた)として富士田吉治(ふじたきちじ)と拮抗(きっこう)して名をはせたといわれる荻江露友(ろゆう)（？―1787）を始祖とする。美声だが小音であったため、あるいは富士田吉治の台頭があったため劇場への出勤をやめたが、その独得の芸風は吉原の廓(くるわ)内で迎えられ、男芸者の門弟たちに歌い継がれ、遊里で練り上げられて、粋(いき)な座敷芸の歌曲となり後世荻江節とよばれるようになった。ただ2世と3世を名のった露友についてはいまのところ明らかでない。文政(ぶんせい)（1818～30）以後は衰退し、幕末になって吉原揚屋の主人で音曲通であった玉屋山三郎が、従来の長唄物、めりやす物のほかに、地歌の典麗な情調のものを取り入れたりして、荻江一流の特色の形成に意を注いだ。ついで深川の分限者、通称近江屋(おうみや)こと飯島喜左衛門が荻江節としての復興に尽力し、1876年（明治9）、一説には79年に、露友の名跡を継いで4世を名のり、ここに長唄の曲風から脱した独流の味をつくりあげた。4世没後は未亡人のいくが家元格となり、1904年（明治37）いくの没後は近親縁者によってわずかに習得継承されたなかで、柳原ひさ、梅の教えを受けた後継者には、佐橋章(さばししょう)、片山房枝、岡田よね、竹村すず、鎗田(やりた)ゆきらの名手が現れた。1956年（昭和31）研究保存育成の主旨のもとに荻江節真茂留(まもる)会が創立発足する一方、同年佐橋章（荻江露章(ろしょう)）の妹前田すゑが5世露友を名のったことによる名跡をめぐり荻江会が分裂、2派に別れて存続している。

［林喜代弘・守谷幸則］

『竹内道敬著「荻江節考」（『三味線とその音楽』所収・1978・音楽之友社）』

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