【ジャンル別一覧】 Min'yo
Traditional Folk Songs
Folk Songs and Folk Music
About Min'yo Music...
Despite the fact that contemporary life in Japan is modernized to a great extent both in the cities and country, much traditional folk song, music and drama has been preserved. Even work songs which are easily lost because of changing conditions have been kept alive as entertainment for feasts or parties.
Numerous religious rituals, festivals, and feasts are the background for such songs, music and drama. Some of them survive in the original primitive style based upon shamanism, animism, totemism and magic. Many of them have undergone a change because of historical development and because of the influence of art music -especially Shamisen music.
Folk songs in Japan can be classified according to their categories as follows.
a. Work songs. For example, fishing songs, boatmen songs, pack-horse drivers' songs, rice planting songs, wine (sake) makers' songs, etc.
b. Bon Dance Songs. Most common throughout Japan as a Buddhist event in summer (urabon).
c. Songs for entertainment at feasts or parties.
d. Songs for weddings and funerals.
e. Children's songs and cradle songs.
As to the musical style, the most primitive style is in "Enge Meiodik" (narrow melody), the compass of which does not reach an octave, and is often based upon a nuclear tone system. In-mode and Yo-mode are the dominate modes. Yo-mode (a five-tone system without semi-tone) is most characteristic of the more naive songs, while In-mode (a fivetone system with a semitone) is common among folk songs which have been influenced by Shamisen music, although it should be stated that songs of both types are often accompanied by the Shamisen.
As to rhythm, there are two types, free and fitted. Fitted rhythm (usual mechanical rhythm) is common in rhythmic work songs, dance music and songs, and children's play songs. Free rhythm occurs at times in work songs, entertainment songs unaccompanied or accompanied by the Shakuhachi instead of the Shamisen and drums. Drums of various kinds, huge and small, barrel and hour-glass shaped, played with sticks or without sticks, etc., are another important element. Often a transverse bamboo flute, as well as gong, bell and clapper make up the ensemble with the drums. This kind of ensemble is generally called Hayashi, which is the name of the instrumental ensemble of Noh and Kabuki previously mentioned. The Hayashi (hayasu as a verb) primarily means to play and cheer up. Among the numerous kinds of folk music, the largest genre is called Kagura (God music). This folkloric Kagura, called O-Kagura, is completely different from the Kagura of Gagaku which is called Mikagura. O-Kagura occurs often at country shrines and is called Sato-Kagura (country Kagura). Although it varies to a great extent in style, the basic instrumentation of the ensemble is a transverse bamboo flute, drum of medium size, and often a big barrel drum.
Some folk songs of a certain locale have found their way to neighboring villages, towns, provinces, at times far from the place of origination. In this case the style is changed to some extent. Folk songs have rapidly spread all over Japan because of records, radio and TV. In this spread through the mass media, the music has become commercial and the style of the music has changed to one of more artistry and refinement being performed by professionals. At any rate folk music or songs brings nostalgia to the man whose province or
village has produced the particular music or song. For example, the author feels strong a nostalgia in Kandabayashi, since he was born and raised in Kanda of Tokyo.
By Dr. Shigeo Kishibe
吾野の機織唄
あがらしゃれ
安曇節
相川音頭
相拳節
相山音頭
会津磐梯山
会津玄如節
会津萬歳
会樟松坂
会津目出度
会津餅つき唄
会津長持唄
会津酒屋配摺唄
会津大津絵
鰺ヶ沢甚句
赤城しぐれ
赤とんぼ
秋の山唄
秋田馬喰節
秋田萬歳
秋田節
秋田大黒舞
秋田船方節
秋田甚句
秋田米とぎ唄
秋田港の唄
秋田草刈唄
秋田馬子唄
秋田飴売り唄
秋田もとすり唄
秋田長持唄
秋田荷方節
秋田おばこ
秋田大黒舞
秋田小原節
秋田追分
秋田音頭
秋田酒屋仕込み唄
秋田田植唄
秋田タント節
秋田馬方節
秋田馬方節 - あべや
秋田臼挽唄
阿波風景
飴売節
網のし 唄
姉こもさ
アンコ節
仰げば尊し
姉子もさ
阿里屋ユンタ
朝の出がけ
足尾石切節
足尾馬方節
敦盛さん
阿波踊り
鯵ケ沢甚句
安曇節
盤城めでた節
磐城盆唄
別府流し
盆の流し唄
梵天唄
豊後追分
ぶらぶら節
武州麦打唄
チャグチャグ馬コ
ちゃっきり節
秩父音頭
秩父ざんざ節
潮来甚句
潮来音頭
銚子大漁節
長者の山
ダンチョネ節
伊達甚句
出船
デカンショ節
ドドサイ節
道南盆唄
ドンパン節
どや節
道中馬子明
道中馬方節
道南ナット節
越後十日町小唄
江戸子守唄
遠島甚句
えんころ節
エンサカホイ
江差甚句
江差餅っき囃子
江差追分
絵中小原節
越中小原節
福知山音頭
福山とんど音頭
船こぎ流し唄
古川ぜんぜのこ節
房州追分
二声あげ音頭
八戸小唄
羽黒節
博多節
博多どんたく節
博多子守唄
箱根馬子唄
白頭山節
浜辺の歌
花笠踊り
花笠音頭
花嫁人形
春の小川
閉上大漁節
北海盆唄
本荘追分
日向木挽唄
ホーハイ節
いかだ節
いもがらぼくと
伊那節
稲あげ唄
いろは仁義
いろは甚句
伊勢音頭
石投甚句
磯浜盆唄
虎杖様
潮来節
五木の子守唄
いわき盆唄
いわきチャンコロリン節
いわき甚句
いわき草刈唄
いわき長持唄
岩室甚句
いやさか音頭
いやさか音頭
伊豆の佐太郎
出雲音頭
じょんがら節
十三浜甚句
上州小唄
上州馬子唄
十三の砂山
十三浜音頭
壁塗り甚句
鹿児島節
鹿児島浜節
鹿児島はんや節
神田囃子
閑上大漁節
川越舟唄
数え唄
兼良節
気仙坂
キンキラキン
木更津甚句
木曽節
喜代節
小寺石切唄
こきりこ
こきりこ節
子守唄
小諸節
コツコツ節
久保田節
黒田節
くるくる節
草津湯もみ唄
沓掛小唄
桑名の殿様
九州炭坑節
馬子唄
豆挽き唄
真室川音頭
松前 追分
名月佐太郎笠
三朝節
三朝小唄
三春甚句
三河方才
三国節
三朝小唄
宮城萩刈唄
宮城馬子唄
宮城餅つき唄
宮城長持唄
宮城田植唄
宮城野盆唄
宮津節
最上おばこ
最上川船唄
文字甚句
麦屋節
麦楊節
長崎ぶらぶら節
長崎のんのこ節
名古屋甚句
南部盆唄(なにやとやら)
南部木挽唄
南部俵つみ唄
南部馬方節
南部馬方三下り
南部馬方三下り
南部牛追唄
南部よしゃれ
南部よしゃれ節
夏・宵祭り
荷方節
日光和楽踊り
日光山唄
庭の千草
ノーエ節
のんのこ節
おばば
盆踊り
おばぱ(岐阜音頭)
生保内節
男鹿甚句
おいとこ節
隠岐おわら節
おこさ節
音戸の船唄
小野田甚句
大阪盆踊
お立酒
お立ち酒
おてもやん
男なら
お山こ節
おざや節
ポンポコニャ
さのさ
佐渡甚句
佐渡おけさ
斉太郎節
酒田甚句
酒屋米とぎ唄
酒屋唄
さんさ踊り
さんさ時雨
沢内甚句
正調博多節
関の五本松
仙北お山コ三里
仙台節
選鉱場おけさ
しばんば
しげさ節
叱られて
島原の子守唄
下津井節
新さんさ時雨
新相馬節
新土佐節
信濃追分
新庄節
塩釜甚句
白浜音頭
庄内おばこ
庄内土づき唄
そんでこ節
炭抗節
砂山
鈴鹿馬子唄
相馬盆踊り
相馬盆唄
相馬節
相馬胴搗唄
相馬木挽唄
相馬長持唄
相馬流れ山
相馬二遍返し
相馬さんさ時雨
田原坂
田原坂
大漁唄い込み
大漁節
大漁祝い唄
大正寺節
高田甚句
武田節
竹田の子守唄
岳の新太郎さん
田名部お島コ節
淡海節
炭坑節
たんと節
十勝馬唄
常磐炭抗節
十三の砂山
津軽あいや節
津軽甚句
津軽じょんがら節
津軽謙良節
津軽音頭
津軽塩釜甚句
津軽わいは節
津軽山唄
津軽よされ節
鶴崎踊り
唐人お吉
遠島甚句
八木節
山形盆唄
山形大黒舞
山形木挽唄
山形大津絵
ヤンレサ節
弥三郎節
安来節
八幡馬の唄
淀川三十曲船唄
米山甚句
よさこい節
吉野木挽唄
大江戸出世小唄
大島アンコ節
大島節
お島千太郎旅唄
大利根月夜