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Title アイヌ音楽音組織の研究
Author(s) 谷本, 一之
Citation 北海道教育大学紀要. 第一部. C, 教育科学編, 17(2): 83-106
Issue Date 1966-12
URL http://s-ir.sap.hokkyodai.ac.jp/dspace/handle/123456789/4556
Rights
Hokkaido University of Education Vol. 17, No, 2 Journal of Hokkaido University of Education (Section 1C) Dec, 1966
A Study on the tone-system of Ainu music.
Kazuyuki TANIMOTO
The Sapporo Branch Hokkaido fiducational University
Ainu folk music includes a large variety of styles represented in dance song ^Rimse),
festive song (^Upopo'), and nursery song (Ihzrmke). In the whole body of Ainu folk music, also included are a fair amount of imitation of birds singing <^chikappo-reki~),
chirping of insects (^kikm-reki^) or exorcism, all of them usually regarded as below the
level of song in our musical culture. These special features are not cantillations of words or simple growls but their stylization is maintained by well defined musical figures with established pitch relationships. And their musical contents are not much
different from those of dance song or festive song.
Ex. 1 Incantation (For a solar eclipse). ^
Ex. 2 Upopo ^ Sometimes incation is sung as Upopo (festive song). And Upopo in northern Hokkaido and Hechi-ri in Sakhlin are treated as both dance song and festive song. These tacts show that Ainu music has typical characteristics of primitive song in which dancing
and singing are closely interrelated. The oldest form of Ainu literature is the Kamui-yukar, a mythopoetry. Etymologically
the word yukar was derived from a word which orginally meant games. And the
word Oyna meaning a mythopoem in the mid-mortheastern area of Hokkaido and Sakhalin was derived from the word meaning " bewitched ". Thus, Kamui-yukar was
developed from exorcicst's incantation at hunting rites, exorcism masques. Wearing
masks of animals (gods) of ritual subjects, characters produce mimetic sounds while
exorcicts throw in improvisational conjuring recitation. This juxtaposition of mimetic
sounds and exorcism became the forms of the mythopoetry of Kamui-yukar.
— 83 — Kazuyuki Tanimoto
Ex. 3 Kamuy-yukar
pE?
hmkirikiri hankiri kiri pa-e ya-si-ka
h»a kin kiri han kin Itiri ^sne-tu muneyo-ho
hmUri iibi ha»*iri kin •fs-yS anw'-t-n
" han kiri kiri" is sparrows' twittermg. The text is carried on with improvisatory figures while fixed onomatopoeic figures are breaking back. The oracle produced by characters in the guise of gods formed the base of the characteristic features of first-person description of Ainu literature. The relationship between Ainu literature and tribal rituals is also significant to Alnu music. Many factors which regulate Ainu music are to be found in their tribal rituals, Exorcist's mimesis of animal sound and bird calls are onomatopoeically set off Kamui
Yukars, while musically they set off "Bird calls song" and "Insect chirping song", unique genre of Ainu music.
Ex. 4 chikappo-reki ^ tak-ko ai-hot. pet s chepaa - k tusi i» - t chep-po
This onomatopoeic melody becomes dance song without dancing. While similar onomatopoeic songs are frequently sung with their inherent dancing.
Ex. 5
chnlt pi - yak pi-yak pi-yak rhak pi - yak
This imitates the snipe's call and accompanies the mimetic dance of swallows. All mimetic dances such as the " crane dance," " fox dance ", and " rat dance" were developed from exorcist's mimetic gestures in tribal rites.
The onomatopoeia makes materials of their instrumental music. Repertories for their typical instruments like the Tonkori, five stringed harp ; Mukkuri, mouth harp, are made of mimicrization of sounds in nature, such as sounds by animals and rain drops, A Study on the tone-system of Ainu music,
Titles of the pieces are explanations of original sounds. For example, "Parent bears calling their cubs,", "Leaking roof", "A fox tiptoeing to the storehouse. etc. The prevalance of similar mimicrization is evident in many Upopos and Rimses.
Ex. 6 Hechiri
a da da hi. yo o hi-yo
Da da is the roaring of bears and is sung with a specially brusque voice.
Ex. 7 upopo
he an pt - ka ao to-r hum hum
Ex. 8 upopo
hwihumcha ha-na hum hum
Hun hun imitates the vigorous breathing of a bear. Husse in EX. 9 is originally exorcist's conjuring breath to expel spirits and stylised to shouting burden. Most of the Syllable burden heard in Upopo and Rimse are conjectured to have originated in the mimicrization of natural sounds.
Ex. 9 Rimse
hus-se rO bus-se ro • bus-se ro
HISTORICAL CHANGE..,. . .JAPANESE INFLUENCE The late Dr. Chiri classified Ainu literature as follows and explained its historical development, 'Kamui Yukar (Animistic Ballads) Deistic Yukar lOina Epic (Heroic Ballads) Incarnate Yukar Ainu Literature
Prosaic Tales—Tales of tribe chiefs
Animistic (deistic) Ballads
Heroes of tales are animal-gods and plant-gods, and the stories are completely told in first-person description of these gods. They have developed in connection with the
— 85 Kazuyuki Tanimoto
Ainu's identification with the totem-animals, mystic ancestors of people, and also in connection with the communistic structure of their small consanguineous societies. Incarnate Ballads. In this genre, incarnated gods take the place of animistic gods in the previous deistic ballads. Ainurakkur, the mystic ancestor of the tribe rose to the ruling position and stood for the security and welfare of the tribe and animistic gods were reduced to a subordinate position and engaged in subcontracted work for the welfare of the tribe. This theological shift in local deities shows their tribal society of primeval communism has turned into a Sharman society in which incineration farming is carried out under the grand chief of the tribe. Heroic Ballads
Heroes of the tales are now mortal human beings. One of the stories which tells about the life of a young hero who fought bloody battles against foreign tribes (rep- un-kur, people from the offing, continental tribes). It tells of his decisive victory over them and his winning of a beautiful princess. This story had been told in the period betwwn 1300—1800 when tribal conferences fierencely resisted foreign invasions. Prosaic Balllads (Tribe chief's tales) These ballads deal with real stories of tribal chiefs going to the Matsumae district to trade with the Japanese. The stories were told extensively in the second half of
Edo period when the Ainus had extensive contact with the Japanese. The development of Ainu music runs parallel with that of Ainu literature, Animistic ballads are shown in the Ex. 3 whose forms succeeded to nursery songs (Ihumke). In these nursery songs sorrows of a deserted mother or dreams of her declining years take the place of divine features.
Generally speaking, music associated with incantations, exorcisms, bear-festivals had more burdens consisting of syllables without meaning and fewer notes.
Ex. 10 incantation for child delivery.
^ hes. sa ha pu-r ha chi-ri
ha pu-r ha chi- ri
Ex. 11 rimse (bear-festival)
hoy ya o hoy ya o
— 86 A Study on the tone-system of Ainu music.
Ex. 12 incantation ^
On the contrary, love songs and lyrical songs, having no direct roots in tribal rites, have more notes and syllables with clearer meaning.
Ex. 13 Rimse F tu k si si ta huy ta
];uy kuy tan ki tu nun ke tu nun ra p
'si ra usi ta men k'jr tan ki e ro
Ex. 14 Yaishama ^s ,Ar r iCJ^l
m
The influence of Japanese folk song can be clearly observed in this example. (Rather
this is a Japanese folk song itself.) The influence of Japanese folk music penetrated into Ainu music in the period of Prosaic Ballads (mid-Edo era). Thus Ainu music entered into the new stage in which Japanese folk music especially that in the Tohoku
region, exerts a strong effect upon it.
Ex. 15 chikappo-reki
ku - su-wep tu tu hu - chi wak . k* ta kat - ke - mat nu - k?
pon . tu . no i - pe
— 87 — Kazuyuki Tanimoto
Pon-kamuy (a little god-a bear) was replaced by Pon-tono (a little official of the government) in other places. The replacement symbolizes the change in social structure of Ainu tribes. Japanese authorities went into the gods-centcred tribal life. Also this means their fishing and hunting as means of living were replaced by farming.
Ex. 16 praying for good catches
han - ru - ru han - ru - ru
yu - k ka-y yu-k ka-y han-ru-ru
^—^-j ^ ^ ^__^_ " d I " "I " t^="==S='^X
ban-ru - ru chi-poka-y chi-po ka-y
tt^n j i han - ru - ru han - ru - ru
Tribal cults praying for good catches were transformed into cults for good harvests and the musical contents became similar to that of Japanese folk music.
Ex. 17 Cults for Good harvests
TONAL SYSTEM
Ainu melodies are fundamentally based on a pentatonic scale which lacks semitone intervals. But seldom is a scale complete in one melody. Definite scales or modes are not firmly established in most Ainu melodies (especially in Upopo and Rimses.)
1. Two note melody. A Study on the tone-system of Ainu music.
Ex. 18 Upopo
^:CTT-T^^^^^T£T-t-T
Ex. 19 Rimse
Ex 18 has only two notes d and c, of major second interval and the tonic is upper
d. Ex. 19 has two notesc and a of minor third interval and the final tone is lower a.
But in the following example, the melody of two d and c notes ends on c, and the
melody a-c ends on a. Thus ending notes are not fixed in their tonal system.
Ex. 20 Incanfation
Ex. 21 Incantation
hes sa ka -ma.y ho-chin na
ha - pu - ru ha - chi ri hes
Such indefinite ending tones seem to be derived from the repetitive nature of the Ainu folk song. If we combine these two note melodies, we obtain a tonal row of d-c-a (major second and minor third).
Ex. 22
r.-M--
Melodies consisting of these notes are most frequently found in their music.
And the interval of perfest fourth of d-a is significant. The caesura, or point of arrival, of the two note melody is not specifically fixed as mentioned above. The interval frame of this perfect fourth does not possess cadential gravjty as a tonal center. This interval of perfect fourth can be found in its bare form in some two notes' melodies.
— 89 — Kazuyuld Tanimoto
Ex. 23 Chikappo-reki
9J
1.'
2. Three note melody Three note melodies consisting of d, c and a are also frequently found.
Ex. 24 Incantation
•^ FTOT^- ^^^^^:£HJ~-:-:^
In this example the caesura is on median c.
Ex. 25 upopo
Also in this example, the caesura is on a—the lower note of the frame interval-and in the following example 26 the point of arrival is on d which is the upper note of the frame interval. The caesuras on the upper note of the frame interval are few and are
Ex. 26 upopo Ex. 27 upopo Ex. 28 upopo — 90 — A Study on the tone-system of Ainu music. Both example 27 and 28 consist of three notes of c, a and g (minor third and major second). And the caesura in example 27 is on g, the lower note of the frame and in example 29, on median a. Some three note melodies have frame intervals of perfect fifths. Ex, 29 upopo This melody consists of three notes of d, c, and g, (major second and perfect fourth) and the caesura is on d, the upper note of the frame interval. The caesura in the next example is on g, the lower note of the frame. Ex. 30 upopo In this genre, the point of arrival is heard more on median c than notes define the frame. Ex. 31 upopo Theoretically, a three note series of d, a, and g is possible but melodies actually based on this tone series are rarely heard. Three note melodies so far discussed have a median note inserted in the interval frames of perfect fifth or perfect fourth. The frame interval in example 32 does not possess too strong a stipulation. The range is a minor sixth's distance. Ex. 32 upopo ^E ^ As shown in example 33, a few three note melodies have e, d, and c, conjunct at intervals of major second, Ex, 33 Rimse 91 — Kazuyuki Tanimoto Ex. 34 Rimse CT " < The example 34 is in the form of a broken major triad. In example 32, none of the three arpeggio notes of c, a, and e have a centrieetal function as a tonic and when the range of the melody exands, these three notes (c, a, e,) in the chord are used. The next example shows a distinctive disjunction at the interval of major seventh. Ex. 35 Incantation The dowrnward disjunction of seventh, c to d, has an obvious pivot of g. This assumption is affirmed by the next example. Ex. 36 Rimse The frame interval of Part A is c-g and Part B is g-d. The interval of the frame is a perfect fourth. When these two frames are connected at the point of g, the seventh frame interval is obtained, having g as a common note. Ex. 37 Example 38 shows a raw frame interval without a median note and the process of frame formation. Ex. 38 92 — A Study on the tone-system of Ainu mnsic. After several repetitions of Part A follows Part B. In part B, g in Part A is expanded to a—perfect fourth down—and the interval of seventh is acquired. Again here two perfect fourths are joined together at the point of g. Sometimes, the perfect fourth frames part in the distance of a major second and in this case the distance of frame intervals is an octave. Ex. 39 Ihumke Nts ^ The following chart shows how the junction of interval frames produces the funda- mental tonal systems of three note melodies. Ex. 40 ^:^.^^^a- disjunction; Ex. 41 Thus acquired tonal mode is a pentatonic scale, similar to Japanese folk tunes. Three note meloodies on the frame intervals of perfect fourth or perfect fifth are based on these tonal series. Formation of the melodies doesn't show strong cadential action, but arbitarary combinations of some two note and three note melodic figures. Ex. 42 I^ I Combination of threenote figures, d-c-a and c-a-g. — 93 — Kazuyuki Tanimoto Ex. 43 The melody is based on the frame interval combination of d-a in Part A, c-g in Part B, and g-d in Part C. The tonal system of Ainu music is near akin to Japanese folk music since both are based in frame intervals on perfect fourth and perfect fifth. (Koizumi's tetraohordal theory). Unique features of the tonal system of Ainu music are; the frame intervals are often bare. Ex. 44 Rimse The frame does not show strong centripetal cadential action. Ex, 45 upopo 3 Aroeggio melody formation is not governed by frame intervals. Ex. 46 i^^^S ^ Ainu melodies also accompany melismatic pitch instability. Tliis feature is not a melismatic component of melodic lines but rather a prospensity of individual voice produciion. The melismatic pitch oscillation is omitted in the transcription in order to clarify the basic features of melodies. Beat Duple meter is most frequently seen and triple meter comes next. Occasionaly arbitrary shiftes of the meters can be observed but these are caused by individual prospensity of singing and not to be regarded as essential components of beats. Most melodies have steady beat structures. Ex. 47 upopo This shows pentametric beat. Some melodies have systematic alternation between duple and triple meters as shown — 94 — A Study on the tone-system of Ainu music. in Ex. 48 Ex. 48 yukar ^$3aF Improvisation, Extremely speaking, there is not a specific song in Ainu folk music. A certain song is sung differently in different regions. Ex. 49 a . b . c . d. e . f. g. h. The above example shows how a song is performed differently in various regions. We can't conclude the nature of the locality of variants through this comparison because the example does not represent whole variants of a melody in certain areas. Within a region a song is sung differently as the following comparison of variants shows: d . ~^^^^iii^^W^iiSI^=S^^t^ These variants are obtained in various tribal sections in Shizunai district. Within a tribal section there exist many variants (individual differences). — 95 — Kazuyuki Tanimoto Ex. 51 ' A more important point is that an ndividual sings a song with many variants. Ex. 52 ^—^^^^^^^ IS Ex. 53 Variants are also observed in antiphonal Upopo and Rimse, when the chorus follows their leader (iekey). — 96 — A Study on the tone-system of Ainu music. Ex, 54 leader ®± ^ chorus $5E I- F^ _ Ex. 55 A A' li =§^^ m IE Elp ^ In part A and A/ the leader sings two notes of the melody at a minor third interval, c and a, and the chorus in union sings perfect fourth c and g. In Part B, the chorus sings only the note d and the leader sings a two note melody of d and c thus the level of sound going up a step higher. An abrupt shift of frame intervals is observed. Ex. 56 T-n i n=fc ...3^np.mj \nf^m u—n=&j^j_\ In this example a shift to the caesura note is obvious. Variants with the shift of frame intervals and caesara notes are not a partial variation of a certain song but " improvisa- tion "-variant for the sake of itself—an essential nature of Ainu music. This improvisational character of Ainu music is closely associated to the similar nature of exocistic oracles in tribal rites. Musical Characteristic of Upopo It's hard to draw a clear line between Upopo and Rimseas to their words, but their musical contents are fairly well differ differentiated. The following chart shows the distinctive features of the two (acording to the practice in Southern Hokkaido, Upopo and Rimse are classified as a sitting song and a dancing song). Upopo Rimse sitting song dancing song sit to sing stand or dance to sing Lids of chests clapping to tap the — 97 Kazuyuki Tanimoto are used to tap the ryfchm rythm moderate pace quicker pace and rhythmic sung in round antiphonal singing structually well articulated repetition of simple motive figures vocally refined style. shouts and nonsense syllables. Text with import mostly sung before and sung during tribal feasts. after tribal feasts. characteristics of Upopo and Rimse are shown in the above table. The condition of inheritance is in a state of disorder in the present practices and many songs are equally sung as Upopo and Rimse. Even in such instances, Rimses are rarely sung in canon. Imitation is a significant criteron for judging Rimse and Upopo. Upopo is sung imitatively by several people seated round the lid of a chest, tapping the rhythm on the lid. Usually the lead is taken by the oldest member of the group. The leader turns his face towards a man sitting at his right, and this man at a cue starts singing behind a beat. Such manners keep going until the last man sings while the rest keep on singing. Thus whole sound becomes chaotic and the sounds comply with the etimology of the word "Upopo," noisy singing like a bird's twittering. The whole process is repeated severcal times and the leader starts another song in like manner. Ex. 1 upopo ^S^0q-^^^^-^&)^^a-i^^j^^r^^ ^=^=SS3^^^^'i^^_if^S^.- \ E21 •-" \ ; {~fS^-F^^i~^ ^^^ya^g&3^:^-3^_,..i pRpS^'J? 1,1 ^ <''•-!' p I MiiMS!S^SSs^^'Y~Jm'r 'i ^f=^S^-S-^S^^-^--^fS-1 ^^tSH^SsafSs^-^,-.--, i ies= In Ex. 1, Falsetto (pon) singing at the beginning is very distinctive and its effect is like Ughting candles one after another in the dark. — 98 — A Study on the tone-system of Ainu music. Ex. 2 hechiri In Ex. 2, the word da-da is sung wildly imitation a bear's growl. Growls of bears (animal gods) heard from heaven on the bear festival nights are picturesquely caught and maintained by such an imitative manner. Parts in example are changed so that they make strict patterns for the sake of easier illustration, but in actual singing, imitative parts are more or less altered. Ex. 3 upopo In Ex. 3, imitation is done in a non-strict manner. Part A has a three note r^ r^ r^ r~\ melody of d, c, a (perfect fourth) and Part B and D have a three note melody of d, c, g, (Perfect fifth). Part C is sang by a two note melody of c and g (perfect fourth). While the process is being repeated, each part is varied and the relationship between parts becomes indefinite and blurred, and this blurred ensemble never bothers Ainu people. Contradiction in beats and pace is the only matter of concern. They never regard such a fashion of singing as being dissodent. Here again the improvisational nature of Ainu music is clearly observed. As mentioned before Ainu singing is subject to constant variation. As in the following two examples, Upopo shows a certain systematic regularity in variations. Ex. 4 upopo In example 4, c-a-g in Part A is altered in Part A'and becomes d-c-a (frame interval raised a step higher). — 99 — Kazuyuki Tanimoto Ex. 5 upopo NO.I._.._._A In Ex. 5 d-c in part A is altered to c-g in Part A' (a step lower). The repetitive binary structure of these examples is very interesting, but whether the structure illustrates most of the underlying processes in the variations of Ainu music can't be affirmed fully because of the limited quantities of materials. Upopo and Rimse were originally the same as their etimology suggests. The seperate identities were obtained gradually. The Rimse became a dancing song and the Upopo became an imitative sitting song. Ex. 6 upopo Ex. 6 is sung as Upopo but imitatively and had dance song forms. Upopo have evolved from various sources such as the working song (Ex. 7), exorcicm (Ex. 8) (at a solar eclipse) and conjury (Ex. 9). Ex. 7 upopo Ex. 8 upopo chup-ka mu-y e - ra-y na yu-y-nu-n pa yu-y-nu-n pa yuy nun pa yuynunpa Ex. 9 upopo lt=t=tt^E ^ i Naturally most of them are associated with bear festivals in some ways. Musical Characteristic of Rimse Musically, the rimse (dancing song) can be arranged in the following five categories. —100— A Study on the tone-system of Ainu music. 1) Tapkar: The tribe elders' trampling dance at feasts, originated in the trampling parade to expel devils' spilits. The tribal elders, in full regalia, tread down on the floor with a grave growl. Several women, behind the elders, accompany the growl with a shrill " aw cho ! ". The shrill is not mere accompaniment but a ceremonial shout to inform the gods on the tribe's emergency. 2) The most typical kind of Rimse and a good number of the genre are head. A crowd forms a circle and dance, moving counterclockwise. There are several fundamental hand and foot patterns and arbitrarily combined patterns make a Rimse dance. The funda- mental dancing does not possess pictorial associations. The rimse is sung antiphonally by the leader and the rest. Sometimes a Rimse is sung without a leader or by antiphonal two groups. These are observed especially in special kinds of Rimse originated in " game play " or the "labor dance ". Ex. 1 Rimse leader chorusfeji Ex. 2 Rimse leader chorus The melody of the leader is repeated in two different ways. The one is shown in Ex. 1. After completion of a verse by the leader, the rest start singing while the leader keeps silent. And the process is kept on in like manner. The other is shown in Ex, 2. A two measure melody is divided in two and the response is sung every other measure. This type of Rimse usually has four motive figures combined into a verse. Ex 3 Rimse Motive a is repeated four times, forming clear binary structure. The first response of d-g is varied to c-g in the second response. Part A ends with a half cadence on g and Part A ends with a full cadence on the same g. In Ex. 4, a half cadence is brought by the note a which is the median note of the frame intervals., Both Ex. 3 and 4 are based on the frame interval of d-g. —101— Kazuyuki Tanimoto Ex. 5 Rimse f^£^^\ .--.rl-ii^iESsrl In Ex. 5, the first half is a three note melody of d-c-a based on the frame intervals of a perfect fourth, while the second half is a melody of c-a-g arpeggio type, lowered by a step. The melodic line as a whole shows a descending line from d to e. Many melody lines have the characteristic of a descending tendency and end on the lowest note. Ex. 6 Rimse s Ex. 6 ends on the lowest note of c. Ex. 7 fi ^ 1^ The examples so far mentioned show a structual planning in motive-oriented melodies. Some melodies, not having definite melodic forms, are sung as an arbitrary combination of various motive figures. Considering the improvisational nature of Ainu music, this melodic genre is older than well established melodies. Ex. 8 m ^ < ^ BgE^ am. Combination a, b, c, and d is freely done by the leader according to his improvisational impulses. 3) Rimse with expressive verses. Most of them are sung antiphonally, the group following after the elder's lead. Dancing is like 2), a combination of non-denotive patterns of hands and feet. The musical contents of the genre are quite the same as Upopo. Ex. 9 ^ ii 4) Descriptive dances with mimetic gestures. Hunting, battles and animals are imitated to produce pictorial effects. There is no unified musical mannerism in this kind. —102— A Study on the tone-system of Ainu music. 5) Some dances were imported from Japanese practices. The music has a strong Japanese folk flavor. Ex. 10 ^ Musical Characteristics of Ihumke (Nursery Song) Structually the Thumke is akin to Divine Ballads. While burden (refrain) to sooth infants are repeated over and over, improvisational words are thrown into the refrains, As emotion builds up, improvisational notes among the refrains become increased. Being different from Kamui Yukar in which certain plots are carried on, the Ihumke are sung improvisingly and the structure is inconsistant except the Ihumkes that consist of only burdens. Ex. 1 Ihumke o ru ro ha o lu» o o ru ro hum 0 ru ro ha o ha o o ru ro ha o ha o i si kacfu ka i si k;i to ri Ex. 1 .is the most typical form of " refrain-verse ", Ex. 2 Thumke kan to u ro wa pa . ran ke pesi la mo ko lie ne a la ha hum a ta Iia hum In Ex. 2 the order is reversed. Unique features in Ihumke is • its special voice production to sooth crying babies. Rolling their tongues, they make a high pitched trill. Its penetrating sound is so beautiful that it sound as if the chimes of gods' bells in heaven shower upon the infants. Musical Characteristics of Working Songs. Ainu working songs are divided into two groups. One type is associated with the Ainu's inherent laber of hunting and fishing. The other type is developed mostly in the Matsumae district where agricultural labor grew. For convenience sake, we call the former type old labor songs and the latter neiu workmg songs. Old working songs are closely associated with tribal rites. Dampling is indispensable offerings to gods at bear festivals and lyuta Upopo (pounding song) is sung when they pound flour. —103— Kazuyuki Tanimoto Ex. 2 lyuta upopo Occaisionaly a dance is accompanied with the pounding song (Rimse). Originally, the shout or burden with pounding labor became such songs. Ex. 3 ^m n u M hcs . s nu Lh^ . ri htii,' Brewings songs (Sake-Kar-Upopo) are sung before tribal feasts. Both pounding songs and brewing songs show rhythmic control on labor. Working songs are a ritual part of labor regulting the rhythm and became stylized. The following example is Ehaa (bush beans) digging song. Bush beans! Bush beans ! Big bush beans. Big bush beans. Jump to me. Jump. When a mass of mushrooms are found, people fully dressed, dance and sing around the mushrooms and after then they pick the crop. Most of lyuk Upopos (picking song or harvest song) are to be called " Ritual labor song" rooted in fetishistic belief. The following boat song has similar content.. Ex. 4 boat song (chipo sanke upopo) Ex. 5-1 is sung when they row a boat. Also the same song is sung as a cradle song. Ex. 5-1 boat song Ex. 5-2 is a playsong obviously transformed from a boat song. Children sit face to facetouching their feet and pull each other's hand rythmically like pulling an oar. —104— A Study on the tone-system of Ainu music. Ex. 5-2 boat song hon lo-yan chip-po ho chip-po htin ka-yan chip-po ho chip-po The burden, ho chipo (row a boat), is also heard in children's play song. And the same burden, ho chipo, is used to sooth crying babies. Various improvisational verses are thrown into the refrain of the burden. This nursery song is not for the occasion when babies are carried on the back, for it is sung as a cradle song (literally a baby is put in a cradle-like sinta). This shows that the refrain of ho-chipo is originally burden for rowing song. Ex. 6 boat song 4.<=y^-l^^^;^^J'^77:?iipl^ia vd se ra ke h(i - y e ^a sa ho This boat song is near akin to Japanese folk song, having the shout of Yase and typical Japanese burden of lyasa-no-Korase, This is surmised as work-song at the hauling of herring. Such change arises out of the change in labor forms. Introduction of new fishery and farming technique transfoi-msd Ainu labor forms and new work songs arose strongly influenced by Japanese folk music. Ex. 7 This-mashing shows again the Japanese influence. Miso (salted bean paste) was introduced to the Ainus through contacts with Japanese and its melody is minor moded by the influence of Japanese folk song. (Note a flat) Ex. 8 i>n kit-chon m o o (tit-chon kit-chon ni u o si ne (on ko.ru an-ta e In this wood choppmg song, the characteristic Japanese folk melodies of ascending stepwise from the lowest note is clearly shown. Musical Characteristics of Kamui Yukar (Divine Ballads) The characteristic feature of Kamui Yukar is the burdens which mimic their sacred animals. And these burdens are musical cores of Kamui Yukar. The refrains come either before verses or after. The relationship between the refrains and verses carrying —105 Kazuyuki Tanimoto the tales are differentiated into two. 1. Identical melody (motive) between refrain and verses. The first two measures in the period of the example are refrains and the following two measures are verses. Ex. 1 Kamuy-yukar =E s^ iHi Usually in this kind, refrains stay unchanged while verse melodies are varied with the change in words as shown. Periods are fanned by repetitive motive figures. This is most common structure of Kamui Yukar, 2. Different melody (motive) on refrains and verses. Ex. 2 Kamui-yukar ^Ars ^ The first measure is refrain and following measure is the verse and these two measures make a period. The refrain stays unchanged. This genre has a greater degree of variation in the verse part than the previous kind. When the variation is done to the extreme, the verse part becomes a montonous recitafcive and makes a striking contrast to the melodious movement of the refrains. —106—