日本津輕三味線音樂的研究

津輕三味線是日本三味線種類中，歷史最短但是在音樂上的變化速度可說是最快的一種三味線，這項傳統的民謠樂器不但吸引了年輕人及媒體的目光，也帶起了日本的音樂潮流。筆者在這篇論文中，嘗試為津輕三味線建構出一套音樂系統，從樂器形制、青森地區人文環境、歷史陳述等面向做詳盡的資料蒐集，並從技法和津輕五大民謠做切入的整理，以及比較各種津輕三味線目前的記譜法。接下來則介紹家元制度以及現今津輕三味線界中四個流派，探討其文化傳承的方式，並以「じょんから節—新節」一曲中討論流派及個人特色的差異,嘗試比較青森和東京流派的音樂表現差異。

關鍵字

津輕三味線；日本音樂；青森,

並列摘要

In the all kinds of Japanese Shamisens, the Tsugaru Shamisen is developed in the highest speed but with the shortest history. This kind of Shamisen not only attracts younger generations and most of media, but also a trend of the new music style has been generated by this traditional ethnic instrument. In this research, the author tends to establish a music system and structure for the Tsugaru Shamisen. The first part of study is a comprehensive data collection from the instrument format, culture development, and history background in Aomori region. Then, the second part of the study focuses on qualitative analysis. It contains playing skills, 5 pieces of Tsugrau folk songs, and the variation of Notation styles. In order to compare music characteristics of Tsugaru Shamisen between Aomori and Tokyo regions, this research introduces “家元制度(Iemotoseito)”- the pass down way in Tsugaru Shamisen. And also it discusses the styles of 4 musicians from different schools by the most famous Tsugaru folk song piece “じょんから節—新節”.