Title Cultural Synchrony in Performance: An Examination of theMusical Use of the Japanese Word Nori

Author(s) FUJITA, Takanori

Citation ZINBUN (1990), 25: 1-16

Issue Date 1990

URL http://hdl.handle.net/2433/48688

Right © Copyright 1990, Institute for Research in Humanities KyotoUniversity.

Type Departmental Bulletin Paper

Textversion publisher

Kyoto University

CulturalSynchronyinPerformance:AnExaminationoftheMusicalUseoftheJapaneseWordNori

TakanoriFUJITA

Synchronyasculturalphenomenon

ItisEdwardT.Hallwhohaspointedouttheimportanceofsynchronyinhu 岨

mancommunication(1976). Ialsothinkthatconsiderationofsynchronywill

giveanalternativemodeltohumancommunicationinsteadofthe‘psychologicalmodel'inwhich‘the actualinteractiveeventisamereclue, signal, sign, orsym ・

ptomofsomethingelse'(Moerman1990:7). Howissynchronyorga 凶sed?

Hallseemstothinkthatsynchronyis, ontheonehand , biologicallyprogramｭ

med. HereferstotheworkofWilliamS.Condon(CondonandSander1974),whohasdemonstratedsynchronyfarbeyondourconsciousnessandcoinedthe

word “ entrainment" . Ontheotherhand , HallthinksthatsynchronyiscuI 咽

turallyaccomplished. Wearemakingsynchronyconsciously. Ithinkboth

view8aretrue. Theproblemishowbotharerelatedwitheachother. Here ,wehavetoreflectthatwehavenotcloselyobservedtheculturalcontructionofsynchrony. Howissynchronyre 岨organised ineachculture?

Weareshortofdataforansweringthisquestion. Whenresearchersincom ・

municationandanthropologistsrefertosynchrony ,theyoftentakemusicanddance

astheirprimeexamples. Buttheirremarksarenothingbutmetaphorical.

Itmustbeamusicologistwhoshoulddiscussthisproblem. Butmanymusiｭ

cologistshavetakensynchronyforgranted. Theyhavebeeninterestedinthe

deviationfromsynchronyineachperformance. Itisnotmakingsynchronybut

makingsuchdeviationfromsynchronythattheyhavethoughttoberelevantfor

theplayersandaudiences. Thisisbasedonthe‘psychological model'. Aperｭ

formanceisconsideredasanopporlunityforplayerstodelivernewinformation

oravariationtoaudiencesonthegroundofsynchronycommontobothplayers

andaudiences. Ofcoursethisistrueofmodernmusic , especiallyoftheWest.

Fromthispointofview, themakingofsynchronyhasremainedunquestionedin

musicology.

Whydotheymakesuchdeviationsinaperformance? Andhowisitaccepted

T.FUJITA

bythepresentaudiences? Toanswertheseguestions , Iintroduceanotherview

thattheplayer'sintentiontomakethedeviationismerelyaprocesstoaccomplish

‘synchrony' . Isupposethatthegoalofplayingmusicistomakea ‘mutualtuning圃inrelationship'asSchutzhaspointedout(1951). Themanner ofsuch‘ tuning咽in'

mustvaryfromculturetoculture. Itmayevenbepossibletorecognizesuch

‘tuning-in ' wherenophysicalsynchronizationcouldbefound. By‘cultural synｭ

chrony'Imeantheparticularwayofmakingsynchrony , includingdeviationsinthe

process. By‘cultural' Imeanthatourobjectofstudyisthephenomenaofsynchrony

asobservedandthoughtaboutinaculture ,ratherthanthephysicalfactofsynchrony.Inthispaper , asasampleofculturalsynchrony , Iwilldiscussthewordnori

usedintakingaboutmusicofNodrama , aformofJapanesenarrativemusic , anddescribethemusicalstructurethatthewordrefersto. Thiswillalsotellushow

synchronyisviewedthroughNomusicanddrama. Thissamewordisalsoused

torefertothecharacterofface 圃to 咽face communicationandthatofeachparticipant.

Theobservationonnori, inmusicmayalsoprovideacluetotheconstructionof

synchronyinJapanesefaceto 皿to ・face comunication.

Thewordnoriinmusicaluse

Terminologyinmusicisnotnecessarily technical. Theconstructionof

soundsisoftenreferredtometaphorically(Feld1981). Noriisnotproperin

musicalterminology.

InJapanese , thereisaverbnoru. Thecanonicalmeaningofthisverbisto

‘ride', 'take' , or‘mount ' . Wecannoru(rideormount)abus , ahorseandevena

footstool. Theobject(objective)ofnoruisasubstantialthinginmanycases. But

wecansaywenoruawave,arhythm ,oramanner. Nami ・ni-noru (toridea,wave)isanidiomwhichexpresses ‘to goonwell'. Wecansay ‘our businessisnownamiｭ

n. i-no仰 (My businessgoesverywell),. Theidiomchosh£ 田ni-noru alsohasthesame

meaning. Intheseidioms , theobjectisnotnecessarilymaterialanditissome 圃

timesobscure. Here , chOsimeansgoodcondition. Sotheobjectisoftenomitted

inthisidiomaticexpression. Whenwesay'heisnownotte-iru(theprogressive

formoftheverb)' , wemeanthatthingsaregoingverywellforhiminsomething ,e.g., inhiswork. Itoftenimpliesinacriticalcontextthatheisworkingextraor 圃

dinarily. Themeaningsofnoruwhichcomefromtheseidiomsarealsocanonical

nowandregisteredineveryJapanesedictionaryassuch. Noriisthenounform

ofthisword.

HiranoexplainsinaJapaneseencyclopediaofmusicthatthetermnoriis

adoptedinmusicaluseonthepremisethatitwasnotamusicaltermproper(Hirano

2

CULTURALSYNCHRONYINPERFOR 島fANCE

1989:108). Ialsothinkthisistrueandwilladvancemydiscussiononthispremise.

Accordingtohisexplanation ,noriisusedinmusicaldiscourseasanexpression

mark. Nori ・o-yoku 司suru (tomakenoribettermeanstoplayindefinitebeatsorto

playonanevenpulse. Nori 圃0・osaeru (tosuppressnori)meanstomakethebeats

inconspicuous. Thecanonicalmeaningoftheverb ‘noru' indiscoursesabout

musicistomakebeatsandrhythmmoredefinite.

So1toriismusicallydefinedas ‘rhythm withdefinitebeats'. Inotherwords ,whenweobserveaprogressionofevenbeatsinmusicalsoundswhethertheyare

groupedornot , thecharacteroftherhythmisexpressedbyapplyingthewordnori. IhavealsoobservedinpracticescenesofNoplayssuchuseoftheword.

Ihaveheardteachersofchantingsaytotheirpupils ， ‘Nori-o・dase' (giveorput

nori). Thepupilstrytosingeachsyllabledefinitelyandevenlyinresponseto

thisorder.

Additionally , especiallyinshamisenmusic , theverbnorualsomeanstoacｭ

celerate. Inthiscase, norimeansthattheintervalsbetweenthebeatsgradually

becomeshorterandshorter. Here , wehavetwoimagesofnoriinmusicalsound.

Oneisthecontinuationofevenbeats. Theotheristheaccelerationofrhythm.

Thetwoareinconsistent.

Ithinkthatthisinconsistencycomesfromthefactthatourexplanationofnori

inmusicfocusesonlyontheconstructedsound.Wehaveneverseenhowitisco か

structedastheactionoftheplayers. Allwehavetodoistofindtheconsistency

byexaminingeachactionoftheplayers.Keepingthisinmindasthemaintheme

inthispaper , IwillfurtherexplainthemusicaluseofnoriinNσ drama.

Norias'typesofrhythm'

Noriisusedtorefertothetypesofrhythminperformingarts , especiallyin

narrativeartssuchasNσ plays andGidayumusic. InMσdrama ， wecanfind

threetermsusingnoriasasu伍x， i.e., o-nori, chu-nori,andhira-ttori. Noplayshavebeenperformedformorethan600yearsand similaruseoftheverbnoruas

discussedabovecanbefoundasearlyasinthewritingsofZeami, oneofthefour ト

dersofNδ drama， whilethesethreetermswerecoinedonlyabout100yearsago.

UmewakaMa 吋u ， aplayerofNσ， coinedthewordsinhisbookYoyoshu(1865)in

whichhetheorizedthemusicinNσ drama (Garno1987). Isupposeitisonly

about50yearsagothatthewordsbegantoappearinnotationsofchantingtexts

andprevailedamongthestudentsofNachanting.

Now , thesethreenoriaresubdivision

T.FUJITA

bythedrums , thefluteanddancing. Butunaccompaniedchantingisalsooften

performedindependently. Inthecaseofchantingwithoutdrums ,hyoshiindecates

thebeatwhichthesingershaveinmindbythemselves.

Recently , anotherthreemoretypesofrhythminchantingusingthebase

stemnorihavecometobespecified. Theyareei-nori, sashi-nori, andkuri ・nori. I

willcommentontheselater.

HereIwillexplainbrieflythebasicunitofhyoshi, i.e., themetricalunitof

beatsinNomusic , first. ThestandardmetricalunitofrepetitioninNomusic

is8hyoshi(s). Inthisterminology , hyoshimeansapulseinCooperandMeyer's

sense(1960). InthemusicofNo , 8pulsesaregroupedasaunitofrepetition.

Here , wemayrefertothe8pulsesas8beatsoran'8 ・beat unit'becausetheyare

grouped. Ithinkwehadbetternotcalltheunit‘metered'.Infact,therepetition

oftheunitsisnotsoclearlyrecognisedbylistenersasintheWesternmusicalsense.

Thehistoricallyoldthreenori(o-nori, chu-noriandhira 圃nori) areusually

explainedasfollows. Thethreenoriaredistinguishedaccordingtohowthe

syllablesinthewordsofthetextofchantingareadjustedtothe8-beatunit(fig.1).

Followingthisexplanation , themeaningof.noriinthisterminologyis ‘waysofadjusting'thesyllablesofchantingtothe8・beat unit.

Itisinterestingthatalthoughthewordnoriisusedtonamethetypesofrhythminchantingwithoutaccompaniment , itsexplanationismadebyusingphrasessuch

as ‘adjusting chantingtothehyoshi'ofthedrums. Ascanbeshowninthestaff

notation(fig.1), themetrical8・beat unitisrealizedexclusivelyinthechanting

sounditself. Theprocessofadjustingdoesnotremaininthesoundofchanting

itself. And , itisoftenthecasethatteachersdonotteachtheexistenceofthis

processtonovicesofchanting. Whentheycometolearndrumpatternswhich

actualizethebeatsintheunits , theycometounderstandthisadjustingthesyllables

intheprocessasshownin 五8 ・1 bythemselves.

Anyway, inthisusage, norimeansadjusting. Thisu鈍ge impliesthattwo

kindsofdifferentrhythmicpatterns , i.e., ofthesyllablesinthechantingtextand

ofhy δ'shi ， arerequiredtomakeonerhythmpattern. Thisexplainswhytheyuse

thewordnoritorefe!totypesofrhythm. Weneedanobjectinorderto'ride'.

Andweareneededasasubjectbytheobjectinorderforustoberidden. In

theωse ofmusicalnori, thesubjectisthesyllablesoft

4

CULTURALSYNCHRONYINPERFORMANCE

Hira 哨ori isregardednotrhythmical. In 民cent chantingnotation(since1939)oftheKanzeschool, where 何仰rhythm begins, theysimplywritenoru(toride)atthesideofthetext. IntheplacewhereIJ引ori rhythmendsandhira-norirhythmbegins, theywritenora-zu(nottoride). Asshowninfig. 1, wemay

o-non

8542

netsushi

44

・hu

l--'s

yoki

一

司A'K

llJ

,

tonoso

8

chu-nori

te

nn 刀 J) n JJ JJ D

zutsutaekosanoJlmodanlka

hira-nori

8

tsuzuke-utai

te

jJTIlr

nlsumlno

nJ①

mlkachitono

υnj

@①

8

mitsuji-utai

te

J-J;j....JjJJ--rTJlFig.1 Thewayofadjustingofthesyllablesto8・beat unit

5

nlsu聞 1nomlkanochitou

T.FUJITA

Table Theclassificationofthetypesofchantingrhythmsandapplicationofthedichotomy(norulnorazu)tothem

hyoshi-ai

(=metricalrhythm)

{noru}

hyoshi-awazu

(二 non-me tr ic a l

rhythm)

{norazu}

{noru}

tsuzuke 吋tai {noru}

hir…ri{norazu}-一一く |

¥mitsuji-utai{norazu}

kuri-nori

(noru

sashi-nori {norazu}

observethecompleteevennessofthelengthofsyllablesinthestandardphraseof

0・nori (andalsochfl-norz). Ontheotherhand , suchcompletenessislostinthe

standardphraseofhira-nori. Asseeninthestaffnotation , thedurationofthe

notesofthreesyllables(no.1, no.4, andno.7)istwiceaslongastheothernotes.

Inhira-nori , therearetwowaysofchanting. Oneiscalledtuzuke 圃utai (seｭ

quentialchanting)asintheupperlinesofhira-noriinfig.1. Ifthenotesofdouble

durationarenotlengthened , thiswayofchantingiscalledmitsuji-utai(three-based

chanting)asshowninthelowerlinesinfig.1. Inastandardphraseofmit ゅー

utai , singersmakeeven12beatsofthesequenceofsyllables. Andsingersfeel

thatthebeatsofsyllablesarelessrelatedwiththehy σshi ， the8・beat unit. Infact ,drumplayersdonotfillineverybeatinthismitsujiwayofchanting. Theshoulder

drumplayeronlygivesthreestrokesfortheunit ,whichpatterniscalled‘three base'

6

CULTURALSYNCHRONYINPERFORMANCE

(mitsuji). Theycannotfillinall8beats. Inmitsuji-utaifig.1, Iputthenumｭ

bersofbeats. Butassymbolizedinthelackofevennessintheintervalbetween

thenumbers , theふbeat unitisbrokenandpartlyabandoned. Atthislevel, wecanalsofindthecontrastcharacterizedbythedichotomyofnoru/nora-zu. Tsuzukeｭ

utaiiscallednoruandmitsuji ・utai iscallednora-zu. (Seethetable.)Awriterof

atextbookfortheshoulderdrumplayersays that ‘wherethereisnonoriin

chanting , we, theshoulderdrumplayers , playthemitsujipattern'andthat‘wherethereisnoriinchanting ,weplaythetsuzukepattern'(Iwasaki1912). Fordrum

players ,thedistinctionbetweenmitsujichantingandtsuzukechantingismadefrom

thepointoftheexstenceofnori.

Inspiteofincludingthecontrastatthesubdivisionlevel, thethreetypesof

rhythmicpatternsareallcallednoritogether. Itistakenforgrantedbyprofessional

playersandamateurs. Thisleadsustoanewquestion. Thisusageofnoriis

differentfromtheusageexplainedinmusicalencyclopedias. Asobservedinmy

explanationofhira-nori, whenitiscomparedwith(J ・nori， itislabeledasnora 岨zu.

Butontheotherhand ,itisnamedas'"ori. Theevennessofbeatsisnotthemain

conditioninconstructingnori.

Co 圃existence ofthedi 宜erent sequences:fromsoundtoaction

Asopposedtohy (Jshi-ai , thereisalsoachantingstylecalledhy(Jshi-awazu.

(Seethetable.) Whilehy(Jshi-ai(metricalrhythm)asdiscussedpreviouslyisoften

labeledasnoru(toride) , hy(Jshi-awazu (literally , non-metricalrhythm)islabeled

asnora-zu(nottoride). Asasubdivisionofhy (Jshi-awazu , Yokomichi, aresearcherofmusicinN (J, hasnamedei- 仰'i ， sashi-nori, andk初uωurιP

1963 勾) . Althoughcoinageoftermsisnotwellreceivedusuallyevenamongresearchers , thesethreetermsarecomparativelyacceptedandusedbyresearchersandplayers. Ofcourse, ontheonehand , itislabeledasnora-zu. Butonthe

otherhand , itiscallednori. Thisleadsustoacuriousideathatwhattheword

norireferstoalsomustbecharacterizedbynora-zu(nottoride).

Asforthesethree仰"Z， weωnnot illustratetherelationoftheadjustingof

thesyllablesinchantingtothe8・beat unitatatimeintheformofthestaffnotation ,becausetheydonotsharebeats. Singerschantfollowingonlytherhythmwhich

isprescribedineachsyllable,makingasequenceinitsown. Drumplayersfollow

theirownsequenceofbeats. Thereisnoexpectationthatthesyllablesarechanted

strictlysimultaneouslywithdrumbea~s. Afterrepeatedlypracticingandbecomｭ

ingaccustomedtochantingwithdrumplayers , singerscanexpectthedrumbeats

tobesituatedinrelaLiontochantingbeats , butnotstrictly. Infig.2-A, Iattempt

7

T.FUJITA

A刀、

j ) j J-_~J_~JmH] )]-.fTj r j j j

ya: ha: x Co-tsuzumi)

、

、EJ

.

、

ムmu''MHU

FD

+L

nu

Lkhrkvh

見同LU

VA-ｭ

3u

'nux-・3

UHJ

日間干- 0 リt su z u史「 J I I向 N kトtYpuEiJ山 Jdrumcalls

且火 I ぐ、J 火I Jや、ー l L strokes

byaku e ko ku e no te n nl n no: ka zu 。

Fig.2 Notationsoftherelationbetweenchantinganddrumsinsashi-nori

toexpresstherhythmofchantinginthestaffnotationbyarrangingthedrumcallsandstrokes. Fromthesinger'spointofview, itisirrelevantwhetherthecalls

andstrokesofthedrumplayersaremetricalornot. Fig.2-Bshowsthesame

placefromthedrumplayer'spointofview. Drumplayersareconsciousofthe

existenceof8・beat unit. Buthere , noteverybeatisfilledwithstrokes. Sothe

intervalbetweenthebeatsinthe8-beatunitbecomeflexibleorbroken. The

first4・beat spaceisforthe(J ・tsuzumi (thelapdrum).Itisfilledwith2drumcalls,'ya'and‘ha', andastroke. Thelast4回beat spaceisfortheko ・tsuzumi (theshoulder

drum). Itisfilledwith3drumcallsand3strokes. Thisisthepatternnamed

mit 叫ii. Fig.2・B reflectsthedrumplayer'sviewthatchantingsyllablesarenot

strictlyfixedtothestrokeorcallofthedrumplayers.

Becauseofthisabsenceofstrictconcordanceofbeatsbetweenchantingand

drumming , anovice, eitherofchantingordrumming ,mayoftenlosethesenseofhowtoperform. Butineachpart , thesequenceofplayingishighlypatterned.

Theevidenceisthatitispossiblesomehowtotranscribeintheformofthesta 妊

notationpartbypart. Butwecannotwritethewholescoreinstaffnotation.

Sowhatisneededatfirstforeachplayeristobeautomaticinplayingthesequence

andtogetsuchautomaticityinactionindependentofotherparts. Inthefirst

step 、there isnoroonlforlisteningtootherparts. Butsoon, playerscometobe

abletolistentootherparts.

Suchkindsofindependencycanbefoundinmanyplaces. Iwillshowsome

8

CULTURALSYNCHRONYINPERFOR乱1ANCE

examples.

Thefluteplayer'smainroleistoaccompanydanceratherthanchanting.

Anotherroleis~to playaccompanimenttochanting. Thisroleiscalledashirai

(thenounformoftheverbashirau, themeaningofwhichisto'treat う ‘deal' or

‘arrange'). Here , notonlygearingofthebeatsofflutemelodyandbeatsin

chantingbutalsoplayingaphrasetothelengthofaphraseofchantingareavoided.

Ifitwerenotso,theperformancewouldbeevaluatedasexcessivelytsuku('attached'

or'sticky').

Theavoidanceofsach ‘attachment' canbetypicallyobservedintherelation

betweenchanting(ormusicingeneral)anddancing. In1419, Zeamiusedthe

wordnoriinhiswriting. Heappliedthiswordtotherelationbetweenmusic

(perhapsinstrumentalensembles)anddance. KomparuZempo(bornin1454),anotherauthoroftheoreticalwritingsonperformance , alsousedthiswordinthe

relationbetweenmusicanddance. Theyuseditmainlyintheformofaverb

withanobject(e.g.'toletthedancing‘ride' themusic').

Indancemovement , therearefewmovementsthatexpressbeats , exceptfor

ashi-hyashi(stampingrhythmbyfeet). Thesequenceinmovementisconstructed

outofacombinationofunitssuchas'walkforward' , ‘raisebothhandstoside' , ‘turnright' , ‘goafterwardandturnstraight'.Theseunitsarenotrelatedwiththebeats

realizedinchanting. Butthewordnoriisusedtoevaluatethisrelation. A

teacheroftensaystoadancer , ‘yournoriisnotverygood'. Theteacheristalking

aboutthelackofsmoothnessintheprogressionfromaunittoanotherand/ortalking

aboutthe‘attachment' ofhisdanceunittothepunctuationinmusicandchanting.

Thereisalongtraditionofavoiding‘attached' playing. Ina17thcentury

criticaltreatise ,wecanfindtheavoidanceofj認gen (layeredwords)andate-shimai.A

singerwassingingfollowingtheprogressionofthetext. Atthetimewhenhewas

singingthesyllable‘ya', thedrumplayerwhowasfollowingtheprogressionof

itsownpatternsincludingthedrumcall‘ya', alsogavethatcall. Theyuttered

'ya'simultaneously. Itmustbeavoidedbecauseitwas'layeredword'sounds. The

simultaneityofthecontentoftextandthegestureofdancerisalsoavoidedbybeing

referredtoasα te-shimai. Iwillgiveanexampleofthislater.

Then , howdotheysaytomakenorigood? Unfortunately , Ihaveneverheard

aplayerexplainitanalytically. Theteacheronlysaystothepupils , ‘Practiceuntil

T.FUJITA

norz'inNoperformanceisthoughttobeaccomplishedthroughthisprocess. They

donotthinkthattheycangetgoodnorz'bycarefully adjustingamongthemselves

beatbybeat.

Thiskindofthoughtcanbealsofoundwhentheyperformmetricalbeats ,i.e., noriinthenarrowsense. Ino-nori, andchantersallinstrumentplayersare ,ontheonehand , thoughttobefollowingtheふbeat unit. Inthemusicalsense,o-noriisthoughttobeamosttypicalnoriofall1herhythmictypes. Butonthe

otherhand , inpractice , italsocan1esaid1hattheydonotfollowandkeepthe8ｭ

beatunits. HereIwillsummarisetheobservationmadeinFujita1988. The

sizeoftheunitsofrepetitionsometimesdifferplayerbyplayer. Thebeatsof

chantingaregroupedby4beats.Thebeatsoftheko-tsuzumiaresometimesgrouped

by16beats. Thestartingpointofsomeinstrumentsdiffersfromthatofchanting.

Itistheo-tsuzumithatisthoughttobestarting2beatsearlierthanchanting. In

somebeats , themovementsofthedrumplayersarenotthesame. AsIwillshow

inasimpleexamplelater , thefunctionofabeatdiffersfromplayertoplayer. For

example , forthe{j ・tsuzumi playersomebeatsarethebeatstobe 五lled withthe

strokesbyhimself. Fortheko 圃tsuzumi player , theverytobeatsmaybethebeats

totakekomi(to ‘charge'), i.e. , getreadytomkaeasucceedingdrumcallandstroke

(F 吋ita 1986). Ateverybeat , playersareforcedtomakedifferentmoves.

Iobservedanother examplewhen studentswere chanting astandard

hira-noriphrase. Theteacherstoppedthem. Theywere chanting thefirst

syllableofthetexttothefirstbeatofan8・beat unitpleyedbytheteacher.

Theoretically , thiswayofchantingisnotfalse. Asamatteroffact , somegood

professionalplayersatthattimewerechantinginthatway. Butmaybetheteacher

didnotlikethatway. Hesaidtothepupils , ‘Don'tyouthinkthenoridisappeared

(••刀 J

よjj j

••刀 J

口 Jnoka zu

1.1 1 1.)

J4JJJjf

jJJJJJ~

before

after

Fig.3 Ateacher'scommentonnoriinahira-noriphrase

10

CULTURALSYNCHRONYINPERFORMANCE

atthatpoint?'. Thestudentschangedtheirwayofchantingintothatshownin

fig.3below. Thisisevidencethatunisondoesnotnecessarilymeanfullofnori.

Sequentialfunctioninnori

Sofar , Ihaveinsistedontheexistencesofdi 征'erence amongtheplayerswhen

theyaremakinggoodnori. Buthereisaquestion. Howarethesesoundsand

actionsoftheplayersintegratedasawhole? Ifeachplayerisplayingfreely, theensemblewillbreakdown. Soherewehavetothinkaboutsomefunctionof

soundthatliesintheexistenceofthedifferentinanensemble. Todiscussabout

that , Iwillshowoneexampleconcerningtheabsenceofrtoriinplaying.

Thewayof"utilizationofnotationisaproblemtoconsiderseparatelyon

anotheroccasion. InNδ， notation'isnotusedinperformance. Itisusedonly

inpractice. Professionalplayersareseenasthosewhohavememor 包ed allthe

writtentext , anddancing , drumsandflutepatternstoaccompanythetext. For

themthenotationisonlyusefulwhentheyhappentoforgetthenextphrase.

ThereisnocustomofinterpretingnotationasseenintheWesternmusical

tradition.

Amateursarealsoforbiddentolookatthenotationwhileplaying. Theyare

expectedtomemorizethepatterns. Thereareseveralwaystoexplainthispro 田

hibitionagainstlookingatthenotation. Oneisthatiftheylookatthenotation

duringperformancetheycannotgivenoritothepe 巾rmance (Saito1968:35).

Lookingatthenotationdeprivesthesoundinchantingofthesequentialpro 圃

gressionfromnotetonote. Inthiscase, norimeans ‘sequentiality'.明Temustthinkofsequentialityintwoways. Oneisthesequentialprogression

foraplayerthatIhavealreadyreferredto(Nomuraibid.). Anotheristhe

sequentialprogressionconstitutedamongco-players. Amovementandasound

byaplayercanbethetriggertoanotherplayer'snextmovement , tosaynothing

ofhisownnextmovement. HereIwilldemonstratethis.

Themovementsandsoundsoftheふtsuzumi playerandtheko ・tsuzumi player

maybesaidtobeinterlocking.

Whenthesingerischantinginsashi-norirhythm , bothdrumplayersare

playingasshowninfig.4. Firsttheyarerepeatingthepatternshowninthe

upperline. Theoreticallytheyareplayingan8・beat unit.butthefactisthatthe

8・beat unitisfilledwith2drumcallsandastrokebytheδ-tsu zumi playerandthen

threedrumcallsandstrokesbytheko ・tsuzumi player. Soasalreadyrelated , the

11

T.FUJITA

o-tsuzumi-一? ko-tsuzumi 一一「tβ 、β1

l 刀、 c、 沼、

J:lJrJ p 、~ p.rf Idrumc山

き y'A !•且

,‘: Istrok白es叫:L-A---'

J> 。、 「fpp「 F 戸 p lr.PfA .p μ ρ a Idrumcalls

1(1... 以外 7A hC¥. he"- hli..

|よ よ Istrokes

!-B--l LC-'Fig.4 Drumplayers'patternchangeinsashi ・nori chanting

8・beat unitisnearlyabsentevenforthedrumplayers. Accordingtotheendingofthesash ふnori chanting ,bothdrumplayersgotothenextpatternshowninthe

lowerlineinfig.4. Herewecansafelysaythatdrumplayersarefollowingan

8・beat unit. Generally , thismovetothelowerpatternisthoughttobeinitiated

bythe(J ・tsu zumi playergivingthedrumcall‘ya' justbeforethefirststrokefalls

onthe 五rst beatofthe8司beat unit(五 g. 4, B). Thisstrokeandthesoundofhitting

thedrumbecomesacuefortheko ・tsuzumi playertogotothelower(next)pattern.Thetimesofrepetitionoftheupperpatternarealmostalwaysfixed. Soit

maybesaidthattheko ・tsuzumi playercouldgotothenextpatternfollowinghis

ownsequentiality. Butthisistrueonlyofnovices. Usuallytheydonotcountthe

timesofrepetition.Bbythe(J ・tsuzumi leadstoCbytheko-tsuzumi. AndthenC

leadstoDbythe(J-tsuzumiplayer.Here ,wemustquestionwhetherBbythe(}・ tsu "d umi playerinitiatedthemove

fromtheupperpatterntothelowerpattern. An(J ・tsuzumi playeroncesaidthat

hefeltasifthe2・beat strokesbyko 圃tsuzumi (A)weremorerhythmicalwhenthe

formerpatterngoestotheJatter. HefeltthatAledtohisB. Italsocanbepointed

outthatthemelodicpatternofchantinginformstheotherplayersoftheendof

thesashi· ・nori rhythm. Sothechangeofthemelodicpatterndrawsoutthemoves

bydrumplayers.

Here , wecansituateanepisodeamongplayers. Insomeportionsofacertain

piece , thetemposometimesbecametoofastforproperacceleration. Afterthat

performance ,oneplayerblamedtheotherforspeedingup. Buttheplayerblamed

de 凶ed hisresponsibility. Hesaidheonlyfollowedtheotherplayers. Hebegan

12

CULTURALSYNCHRONYINPERFOR島lANCE

blamingtheothers. Itisoftenthecasethatafterallitisnotclearwhatwasthe

originalcausofaccelerationandwhowastobeblamed.

Thus , wecantracebacksuchsequentialityamongplayers. Aplayer'smoveｭ

mentorsoundissomethingthatleadstothenextmovementbyaco・player.

Conversely , wemaysafelysaythatoneplayercannotmakeamovementorsound

withoutaprecedingsound.

Concerningthis , itisalsosuggestivethatwecannotfindaclearmarktothe

pointwhenaNoplaystarts. Wemaysaythatitstartswhentheinstrumentplayers

begintuningupbehindthestage , orwhentheylineuponthestageorwhenthe

flutebeginsplaying. Thisisalsotruefortheendofaplay.

Singersusuallychanttheirsequenceofthetextautonomously. Butsome 由

timestheyforgetwhattochantne 対In thiscase, adrumplayerssoundinforms

themofahintofthenexttext. In 五g. 5,thesyllable‘mo' attheendofthephrase

haslongduration. Duringtheduration ,theδイsu zumi playerplaysapatterncalled

tsukusuma. Inanycase, tsukusumaindicatesthatthenexttextbeginswitha3ｭ

syllablewordorphrase. Thetsukusumapatterncanbeacueforthesingers.

itsumadegusanotsuyunomamo:

J)LJItA:

p)hiyoku:

Fig.5 Thefunctionofδ-tsuzumi patterninthesequenceofchanting

Similarly , dancingcanbeacueforchanting. IntheNσ play Ama , atthe

words‘through theunfathomeddeepshedives' , thedancerrapidlywalkstothe

frontofthestageandlooksdownward. Slightlyafterthisposturethechanting

textcontinues , ‘sheseesthebottomjustbeneath'(thetranslatedtextiscitedfrom

NipponGakujutsuShinkokai1960:186). Thepostureofthedancercanbeacue

forthesequentialprogressionofthechanting. Ifthepostureismadesimul 圃

taneouslytothetext , thereisnopossibilitythattheposturecouldbereadasa

cue. Thisisanexampleofthetraditionallyavoidedate-shimai.

Letusgobacktothenoriseeninthesound. InsomeN，σ plays ， thereisa

specificvariationpatternplayedbydrumplayerscallednagashi(日ow) . Inthe

nagashipattern ,thethreedrumplayersaresaidtobeatevery8beatssimutaneously.

Butthefactisthatsometimestheかtsuzumi playerdoesnotplayeverybeat.

Thede 五nite patternisplayedasusual(五 g. 6) . 明That doesthiswayofplayingthe

6・tsuzumi mean?

Thelengthofnagashiamountsto3unitsof8beats. Afterthat , allthedrum

13

T.FUJITA

3 4 6 8

stickdru 圃

shoulderdrum

lapdrum

chantingtext a shi ta ka ya ma a ya

Fig.6 Beatsinnagashipattern

playersgobacktotheusualpatternthataccompaniesthechanting. Ithinkthe

δ-tsu zumi functionsasacueforthis.

Theseexamplestelluswhytheplayersinsistonthedifferenceamongcoｭ

players.

Noriasculturalsynchrony

Youwillrememberthemusicaldefinitionofnori. Itwas ‘rhythmwithde 帽

finitebeats'. Butnow , wearestandingatthepointwheresuchadefinitionis

nothingbutanaspectofnori. Behind‘the rhythrr.twithdefinitebeats' , therecan

beobservedthedifferentmovementsofeachco-player. Thisisfunctioningto

makesequentialityintheensemble. TheensembleinaN，σ play isapproached

throughtheprocessofnon-ensemble.Eachplayercomestoacquireautomaticityin

hismovementsandjoinintheensemble. Itmustbesuggestivethatinthe

musicalensembleofaN σ play， playersdonotlookateachotherevenwhenin

practice. AccordingtoTokumaruYosihiko , thisisalsotrueofthepracticeof

GidayumusicbyshamisenplayersandnarratorsofGidayuchanting. Heinsists

thatduringtheperformance , ‘if theshamisenplayerlooksatthepuppetplayer

ornarrator , itmeansthatheobeysthem'(TokumaruandYamaguti1986:238).

Thisindependencyisthebasisforeachplayertoreceiveotherplayer'ssoundasa

cue.

Onthisbasis , sometimesithappensthatoneplayerslightlyrejectsacuefrom

anotherplayer. Thiskindofresistenceisessentialtomakeagoodensembleand

goodnori. Iwillnotgiveanexampleofthisresistancethistime. Butonething

Iwanttosayisthatwithoutthisresistance , thereisnotensionbetweenthecoｭ

players. Beatsinmetricalrhythmwillbecomeevenandtired. Ultimately ,evennessofbeatisneverevaluatedas 宮~od nori. Ideallynoriliesinevennessof

beatsbutpracticallyitliesinflexibilityofthebeats.

Itmaybesaidthatinthestateofgoodnon , aplayerhasnowilltoadjustto

14

CULTURALSYNCHRONYINPERFORMANCE

other co-players. An amateur chanter , Hoshino says of herexperiencethat

whenevershechantsinhira-norirhythmsheneverfeelssheisshiftingherwayof

chantingfrommitsujitotsuzuke. Shefeelsasifthe8-beatunitofdrumbeats

werefallingonherchantingnaturally(Hoshina1943:201). Inthissense , itmay

notbepossibletoavoidthegeneraltendencytothinkthatnoriisconstructednot

intentionallyorconsciouslybutnaturally.

Nevertheless ,whatisseenasautomaticconstructionbymanyplayersisregulaｭ

tionofsomeactionsbetweenco-players. IdonotthinkthatwhatIhavedescribed

hereareallrulestoconstructnori. Inconstructingnori,playersareatleastobliged

tobeinvolvedintheprocessasdescribedaboveandtothinkofsuchprocess.

Thisiswhysynchronyisculturallyconstructed.

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16