Godan Ginuta
五段砧
| [ジャンル] | 箏曲 |
| [作曲様式] | Kinuta mono |
| [流派] | Ikuta Ryû - 生田 |
| [対象楽器] | 光崎 検校 - 箏 |
発祥 (柘植 元一):
| This work originally composed for two koto(s) is considered the highest point of instrumental development in the sokyoku genre of the nineteenth century. The title means 'a composition consisting of five sections (godan) based on the rhyme pattern of kimuta.' Kimuta originally means a wooden block used in former times to press and soften newly woven cloth. Kimuta as a musical piece, however, is an instrumental piece based on the rhythmic patter derived from the soft tapping sound of the fulling block. Sandwiched by two short songs (maeuta 'introductory song' and atouta 'concluding song'), this highly instrumental piece virtually actually shows the tegoto-mono form. The tegoto is composed of two independent pieces, namely Sandan-jishi and Godan-ginuta. |
詩 (【翻訳者】 柘植 元一)
| Of flowers, The mountain-cherry at Yoshino. Of fall leaves, The maples at Takao. Of pines, Those at Karasaki. Of mist That at Toyama. My love always Wears green. How gentle she is! When I daydream My thoughts turn to her. The pine is green, The pine is green. It never changes, Ever green. | Hana wa yoshino yo momiji wa takao matsu wa karasaki kasumi wa toyama itsumo tokiwa no furi wa sansa shiorashiya tonikaku omowaruru (tegoto) Matsu wa tokiwa yo matsu wa tokiwa yo itsumo kawaranu toshinoha goto ni |
五段砧 は下記のアルバムに収録されています
| アルバム | アーティスト | |
 | All the Best from Japan | |
| Art of the Koto - Volume I |
箏 : 深海さとみ 箏 : 吉村 七重 | |
| Ensemble Nipponia - Japan Traditional Vocal and Instrumental Music | ||
|
A frequently performed koto duet from the mid-19th century, this formally constructed work features angular rhythms that derive from the sound of the kinuta (a set of wooden blocks for beating silk). "Godan" means "five variations." The Japanese variation technique was developed in the 17th century, originating With the famous piece Rokudan no Shirabe; it includes not only modifications and decorations of the basic theme, but also compression and expansion of thematic materials. The last variation of Godan ginuta betrays its debt to the earlier Rokudan by including the entire first section of Rokudan in the second koto part, not unlike a cantus firmus in a Renaissance choral work.
| ||
| Fukami Satomi - Sokyoku Jiuta Shu - 1 |
箏 : 野坂 惠子 歌 : 深海さとみ 箏 : 深海さとみ | |
| Hōgaku Taikei Vol. 4 - Sōkyoku - Shakuhachi 2 (LP 1) |
箏 : 初世米川 文子 箏 : 二世 米川 文子 | |
| Ikuta Ryu Sokyoku Senshu Volume 03 （下） |
箏 : 小橋 幹子 歌 : 宮城 数江 箏 : 宮城 数江 | |
| Ikuta-Ryū Sōkyoku Senshū - volume 5 |
歌 : 松尾恵子 箏 : 松尾恵子 箏 : 松尾和子 | |
| Japan - Splendour of the Koto | ||
| Koto - Keiko Nosaka |
箏 : 野坂 惠子 |
| Koto Music of Japan, The |
箏 : 萩原 正吟 箏 : 峰内吟彰 | |
|
The Kinuta is primitive machinery for refining cloth materials. Though this machine no longer exists, the sound of the kinuta has often been described in poetry and music and suggests the sad monotones of the fall season. The rustling leaves and the voices of insects always accompanied the sound of the kinuta when autumn arrived. Godan-Kinuta (kinuta in five steps) is regarded as the unequalled music of autumn. A number of works which simulate the kinuta have been composed, but none of these are comparable to this piece by Mitsuzaki Kengyo. | ||
| Koto no Miryoku - Disk 1 |
箏 : 山内 喜美子 | |
| Kou |
尺八 : 二世 青木 鈴慕 | |
| Melody of Japan - Pathos of Autumn |
箏 : 花房 はるえ 箏 : 宮越 圭子 箏 : 結アンサンブル | |
| Midare - Kazue Sawai Plays Koto Classics |
箏 : 栗林 秀明 箏 : 沢井 一恵 | |
| Music of Japan, The - Vol I | |
| Musical Atlas - Japan |
箏 : 上野和子 箏 : 松尾恵子 |
|
The Koto is a long zither made of paulonia wood. The back of the upper board is hallowed out to provide a thin and long soundboard. Thirteen silk strings are strung between the two ends of the body. Each string passes over a movable ivory bridge which determines the length of the sounding part. The player plucks the strings with three ivory picks attached by leather bands to the thumb, the index and middle finger of the right hand. The instrument was introduced from China in the 8th century and used in the orchestra of the ancient court music, the Gagaku. In the 17th century a blind musician, Yatsuhashi, created a new genre of music using the Koto as a solo instrument and for the accompaniment of songs. This type of music was developed by his successors, mainly blind professional musicians. It became fashionable among the common people, especially among women. Koto music was combined with a genre of Shamisen song called Jiuta, also created by blind musicians, giving birth to the Koto and Shamisen ensemble. This kind of ensemble allowed the development of increasingly sophisticated styles of polyphony, and so did the Koto ensembles. The piece chosen here, a Koto duet, is a representative masterpiece of the polyphonic Koto ensemble. It was composed by Mitsuzaki, a musician who died in 1853. Two kotos are tuned at different pitches; the main Koto (an the left) is tuned a fifth lower than the second one (on the right). The title of this piece comes from the form of the composition, which is in five sections (go-dan). The term Kinuta means a fulling block, since the piece reminds one of the sound of someone making felt. The third, fourth and fifth sections of the piece are recorded here. | ||
| Rokudan |
箏 : 宮城 喜代子 箏 : 宮城 道雄 |
| Rokudan Koto no Meikyoku |
箏 : 米川 敏子 箏 : 二世 米川 文子 |
| Sankyoku - Hagi no Tsuyu / Sōkyoku - Godan Kinuta |
歌 : 松尾恵子 箏 : 松尾恵子 箏 : 松尾和子 | |
| Sankyoku Ensembles For The Shakuhachi Of The Kinko-School Vol II |
尺八 : 山口 五郎 | |
| Sankyoku Gassō Dai Zenshū (zoku) vol. 16 (続三曲合奏大全集16) |
歌 : 砂崎 知子 箏 : 砂崎 知子 尺八 : 二世 青木 鈴慕 | |
| Seiha Hogakkai Play Favorites 04 - Mitsuzaki Kengyo |
箏 : 唯是 震一 箏 : 中島 靖子 |
| So - Japanese Traditional Music |
歌 : 米川 敏子 箏 : 米川 敏子 箏 : 佐藤 親貴 | |
| Sokyoku Jiuta Taikei 10 |
箏 : 初世米川 文子 箏 : 二世 米川 文子 | |
| Tomiyama Seikin - So |
箏 : 初代 富山 清琴 | |
| Zoku Sō-Sangen-Shakuhachi ni yoru Mei Senshū - volume 5 |
箏 : 松尾恵子 箏 : 松尾和子 | |