新作能における音楽技法――能管を中心に――序論.pdfVIP

融合文化研究 第16号 April 2011 新作能における音楽技法――能管を中心に――序論 A Study on the Musical Aspects of New Noh Plays 安納 真理子 ANNO Mariko Abstract: Since the Meiji period, many shinsaku noh (new noh plays) have been written, but performances of newly created noh plays are still so sporadic that it is uncertain whether any of them will remain in the repertory. Nevertheless, the importance attached to shinsaku noh is evident from the ninth annual “Nohgaku Seminar” hosted by Hosei University in 2004 entitled “Shinsaku noh wo kangaeru” (Considering Newly Composed Noh Plays), and the growing repertoire of English noh plays by the English-language noh troupe, Theatre Nohgaku (TN), which has come to represent a nexus of West and East, embodying the transnationalism that has come to mark modern noh. Many of the English and Japanese contemporary noh plays address the problems and situations encountered in today’s society, displaying the creativity of the artists who challenge and stretch the musical, structural, and textual limits and boundaries of traditional noh. This thesis investigates the musical aspects of contemporary noh plays, considering the degree of continuity in the musical tradition evidenced by the contributions of nohkan (noh flute) players and a composer, in three contemporary noh adaptations of W.B. Yeats’ At the Hawk’s Well: (1) Yokomichi Mario’s Takahime (The Hawk Princess) (1998); (2) Yokomichi Mario’s Taka no Izumi (At the Hawk’s Well) (2004); and (3) the English noh production of At the Hawk’s Well (2002) by TN. This continuity is considered through analysis of the overall structure of each play, interviews with the performers and composer, video compendium, utaibon (chant books), and tetsuke (musical “scores”) of the performances. This study is divided into f