Jiuta ( 地 歌 / 地 唄 ) is a genre of chamber Japanese music performed on the shamisen as an accompaniment to jeruri performances and dances . The name literally means “local songs” [1] . Jiuta is included in the obligatory repertoire of geishas , they also make up the bulk of the specialists of this genre in Kyoto; It is also performed on a large stage in other cities of Kansai and Tokyo [2] .
Jiuta was originally a chamber genre; it is performed quietly, at a slow pace and without percussion instruments [3] . There are always a lot of melismas in vocal parts [3] .
Before the Meiji period, only blind guild members could study jiuta according to the iemoto system , which is still preserved in Japanese art; in the 21st century, this genre is taught at Tokyo University of the Arts [4] . Geishas study jiuta at a specialized institution called kemban or kaburenjo [5] . Due to the iemoto system, borrowing from other genres is limited (for example, jiutsa performers never even use shouts of the Nauthout genre) [6] . The exception is the music of chamber trio sanseku , which was often performed by the same people as jiutu [7] .
Shamisen
Shamisen came to Japan in the 16th century from the then independent Ryukyu state; The Ryukyus variety, called sanshin , is smaller and is covered in snake skin. The shamisen musicians were the first to notice the biwa musicians , they adapted the shamisen for themselves, increasing its body, as well as replacing the inaccessible snake skin with cat skin [8] .
The thickness of the shamisen neck for the performance of jiuta is average between the thick “shamisen guide” and the thin nagauta- shamisen. Jiutsa performers carefully avoid the influence of the theater school of playing the shamisen: dynamic melodies are not appreciated, the clear sound of an interesting timbre is considered the best; when playing, professional jiuts never touch the body with a plectrum , as do musicians playing the genre of edo- nautauta [1] [3] [9] .
A large tsuyama-bati plectrum is used ( 津 山 撥 ) [3] [10] . Unlike other genres of music for shamisen (except sanshekou), the plectrum for playing in the jiuta genre is not made from ivory or ivory wood, but from a tortoise shell or buffalo horn [1] . Performers sometimes suspend small weights to the shamisen’s small nut to reduce vibration [1] .
History
The first genre of chamber music for the shamisen was the Kansai shamisen-kumiuta, later it joined the jiuta [11] [12] . The earliest collection containing jiuta works, Pine Needles ( 松 の 葉 Matsu no ha ) , was published in 1703 [1] . Due to government restrictions on the work of musicians, all of the first professional jiuts were blind men from the guild. The guild system was abolished in 1871 by the Meiji government, after which all comers began to execute jiuta [8] . During the Taisho period, jiuta experienced a surge in popularity [12] . The latest new works in the jiuta genre were created at the beginning of the 19th century, after which the increased popularity overshadowed jiutu [3] .
Varieties
One or several shamisens can accompany a vocal part in jiuta, koto can also be added to them; in addition, there is a sanseku accompaniment consisting of a shamisen, koto and shakuhachi or kokyu [3] [9] . The choice of instruments depends on the jiuta subgenre: tagoto-mono and several hauts are accompanied by shamisen with koto or sansheku, other genres require the use of exclusively voice and shamisen [9] . The music of the jiuta genre is also performed in the koto school “Ikuta-ryu”, where the role of the shamisen is played by koto [1] .
“Shamisen-kumiuta” ( 三味 線 組 歌 ) is the oldest and largest type of jiuta; the earliest known work of kumiuta is ryukyu-gumi ( 琉球 組 ю ryu: kyumi : gumi ) by Ishimura Kangyo ( 石村 検 検 ?,? —1642) or Savazumi Kengyo ( 沢 住 検 校 ) [1] .
The works of this variety of jiuts consist of numerous short poems, often not related either to the theme or to the melody [3] [9] . Novice musicians who planned to specialize in jiuta studied works of this kind in a certain order from simple to complex, but this practice is not used in the XXI century. Two schools survived: Yanagawa in Kyoto and Nogawa in Osaka [9] .
Kamigata-nagauta ( Japanese 上方 長 歌 ) - a kind of jiuta, descended from kumiuta in the 1600s, was also previously used in the training of future specialists in the jiuta genre. The works of the kamigat-nagauta contain stanzas of one poem, often long, and not separate verses like kumiuta [13] .
The term kamigata-uta ( 上方 歌 ) has several meanings: a vocal-instrumental genre separate from jiuta; a variety of jiuts; umbrella term for several genres, including jiuta , nautauta, hauta , koutu , guide and others [14] .
Hauta ( 端 唄 唄 ) - short works, not related to either kumiut or nahaut, in which the voice plays a more important role than a musical instrument. Initially, the term meant all works that were not included in two classical forms. The most popular hauts came in the first third of the 18th century. Subsequently, some works of this kind turned into dance music for traditional dance . Many of Haut's famous works were created by composer [13] .
Tagoto-mono ( 手 事物 , te - hand; goto - deed, thing; mono - subject, thing) - the most common type of dziuty containing instrumental parts between vocal-instrumental fragments. The formation of tagoto-mono was completed in the 1790s with the active participation of Minezaki Koto, in the first third of the 19th century a variant of tagoto-mono “question-answer” ( Japanese 掛 け 合 い kakeai ) arose [13] [1] .
Shibai-uta ( Jap. 芝 п вид ) - the kind influenced by the Kansai music of the kabuki theater, utai-mono ( Jap. 唄 い 物 ) - works whose words or themes are taken from the theater no . Both varieties were developed by blind musicians. Dzeruri-mono ( Jap. 浄 瑠 璃 も の ) is a similar form, the works of which are taken from the jeruri puppet theater. The characteristic works of the humorous kind of saku-mono ( 作 も の の ) often imitate the sounds made by animals [13] .
Notes
- ↑ 1 2 3 4 5 6 7 8 Kishibe .
- ↑ Foreman, 2008 , p. 15, 17.
- ↑ 1 2 3 4 5 6 7 Foreman, 2008 , p. 17.
- ↑ Garland, 2001 , p. 796.
- ↑ Foreman, 2008 , p. 15.
- ↑ Garland, 2001 , p. 587.
- ↑ Garland, 2001 , p. 724.
- ↑ 1 2 Garland, 2001 , p. 727.
- ↑ 1 2 3 4 5 Garland, 2001 , p. 728.
- ↑ Britannica Japan
- ↑ Foreman, 2008 , p. sixteen.
- ↑ 1 2 Garland, 2001 , p. 814.
- ↑ 1 2 3 4 Garland, 2001 , p. 729.
- ↑ Foreman, 2008 , p. 16-17.
Literature
- Volume 7: East Asia: China, Japan, and Korea // Garland Encyclopedia of World Music / edited by Robert C. Provine, Yosihiko Tokumaru and J. Lawrence Witzleben. - Taylor & Francis Group. Routledge, 2001 .-- 1192 p.
- Shigeo Kishibe et al. Japan, §II: Instruments and instrumental genres // Grove Music Online . - Oxford University Press . (subscription required)
- Kelly M. Foreman. The gei of Geisha. - Ashgate Publishing Company, 2008. - ISBN 978-0-7546-5857-3 .
Links
- 地 唄 ・ 長 唄 ・ 端 唄 ・ 小 唄 ・ 都 々 逸 (2007-2014).