� � 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.