“Kinkafu”, a notation manuscript of ancient songs accompanied by the Wagon (six-stringed zither), which is preserved in Yomei Bunko (Yomei Library) is an invaluable material which figures importantly in the music of ancient Japan. It contains text and music of 22 songs, including 5 songs found in Kojiki and Nihon-shoki (most ancient histories) and other songs similar in style to those five songs. Texts are written in Mannyo-kana (kana, a kind of alphabet, using Chinese characters, used in Mannyashu-a collection of ancient songs and poems) . Some particular marks and signs are added to the written texts. On the right side of texts which is written vertically, a character “te” which means literally “hand” and actually “instrumental”, occurs occasionally in red ink. Only in two songs, “Shizu-uta” and “Utakaeshi”, are notations for the Wagon, written on the right side of texts in red ink. The notation is mentioned by the number of strings. However, it is regrettable, that the explanation for these marks in the preface of the manuscript is not clear enough for interpretation. Additionally, the tones of the Wagon cannot be ascertained because the tuning is not mentioned, <BR>The present work attempts a musical interpretation to some extent by comparing this notation to other similar notations. <BR>1) Notes which are inserted between texts most probably indicate the detail movement of voice. <BR>2) The character “te” is presumed to correspond to the mark of “hyaku” of Gagaku notation of a later period. This indicates the beat for striking the Shaku-byoshi (clapper) . <BR>3) About ten marks of a particular shape which are inserted in the texts are borrowed from the characters of Biwa (lute) notation of the Tang Dynasty, although the meaning of these marks is not understand. <BR>4) Basically songs are non-metrical, of no regular meter or of unequal length of each meter. But inequality and equality vary in different stages. <BR>5) As often happens in Kagura and Saibara later court songs, the two-part construction which consists of thirty one syllables (the style of the Tanka or waka), is performed with repeats and Hayashi-kotoba (meaningless sounds used as vocal outbursts between verses) . This can be considered to be one of the important forms of ancient songs. <BR>6) Melodic lines of the singing and Wagon can be considered to be basically parallel. If they are different, then melodic lines of singing move more delicately than those of Wagon. <BR>7) According to the preface of the manuscript, the order of six strings of Wagon is the reverse of the present-day order. <BR>8) Basing on materials of the Wagon tuning since the Heian period (nineth century A. D.), the basic principle of Wagon tuning and its history can be presumed. From those tuning methods, the tuning for the present manuscript Kinkafu could be chosen. <BR>9) The two songs, Shizu-uta and Utakaeshi were primarily one tune in the style of antiphone. Although texts of both songs have no relation to each other, they are musically connected, because the latter half of Shizu-uta is repeated in the end of Utakaeshi with a small modification.