十五世紀の宮廷雅楽と綾小路有俊

This article deals with the historical development of gagaku of the middle ages. It is based on a concept developed in the author's masters thesis submitted to Ochanomizu University in 1982, and follows on a series of articles published recently by the author that attempt to clarify the nature of gagaku activities at the fifteenth-century Imperial court by reference to the diaries of court nobles as chief historical source material (“Ongaku shiryo toshite no chusei no nikki ni tsuite” [‘Medieval diaries as historical source materials for music’], MLAJ NEWSLETTER, ed. by the Music Library Association of Japan, Vol. 6 No. 1, May 1984; “Jugo-seiki no gagaku-kai” [‘The gagaku community of the fifteenth century’], Ibid, Vol. 6 Nos. 2, 4, 5, 6, Vol. 7 Nos. 1, 3, 4, 5, 6, July 1984-March 1986). In this article, focus is set on the court gagaku musician Ayanokoji Aritoshi (Oei 26th year [1419] -Meio 4th year [1495]), a gagaku performer of the fifteenth-century Imperial court born in a family authorized to transmit the gagaku vocal genres (including kagura-uta, saibara, roei, imayo, etc.) in a hereditary fashion. Detailed study is made of his life as a transmitter of the gagaku tradition and his activities in terms of this vocation.<br>In the field of Japanese music history it has generally been believed that during the middle ages gagaku was replaced in terms of popularity by other musical forms of the time, such as heikyoku, dengaku, sarugaku and no. It is a fact, however, that gagaku remained popular among the court nobles of the period. The gagaku of this period is yet to be studied sufficiently. The present author believes that it was due to the efforts of the transmitters of the art, such as Aritoshi, that the tradition of gagaku has survived to the present day. It is hence of value to investigate and evaluate their vocational activities. In terms of this theme, the greatest concern of the present author lies in the question of the nature of their musical activities and their everyday life at court. These court nobles, the patrons of the art, left behind diaries that describe their ordinary daily experiences and knowledge. These diaries by their very nature deserve consideration as primary historical source materials of relevance to the purpose of this article.<br>The fifteenth century was an age of transition from the middle ages to the early modern period. It is characterized by a lack of political stability and the frequent occurrence of civil wars, such as the lengthy Onin no ran (Onin disturbance, 1467-77). During this time, the leaders of the Muromachi shogunate and feudal warriors respected and supported the sophisticated culture of the nobles of the Imperial court as they strived to maintain their cultural heritage. Although the existence of gagaku was threatened by the chaos of the wars of the period, it continued to survive due to the efforts of those associated with the court.<br>The gagaku society of the fifteenth century has been divided by the present author into the following six historical periods.<br>First period: Early Oei period (1401-1408). The period during which the third Ashikaga shogun, Yoshimitsu, ruled over both the noble and warrior classes after realizing the union of the Northern and Southern dynasties. He acted too as the leader of the gagaku society from the date of his first lessons on the sho ( 1379).<br>Second period: Mid and latter Oei period (1409-1427). The period in which the Emperor Gokomatsu, following the death of Yoshimitsu under whose protection he grew to manhood, was actively involved in gagaku activities both during the years of his reign, as well as in the succeeding years following his abdication of the throne to Emperor Shoko in 1412. The