@article{oai:tobunken.repo.nii.ac.jp:00003134,
 author = {高桑, いづみ and TAKAKUWA, Izumi},
 issue = {2},
 journal = {無形文化遺産研究報告, Research and Reports on Intangible Cultural Heritage},
 month = {Mar},
 note = {There are eleven noh texts written by Zeami himself remaining at Kanze Bunko Foundation  in Tokyo and Hozanji temple in Ikoma city, Nara prefecture. Although these contain markings  that give directions on rhythm and melody that Zeami himself composed, they have not been  studied in detail from the point of view of music.
     In this study, the characteristics of Zeami’s composition is discussed by examining “Naniwa  no ume,” “Morihisa” and “Eguchi” which are performed today. Furthermore, among copies of  Ongyokukuden, which is one of Zeami’s writings, there is one that contains scores for “Toru” and  “Sekidera komachi.” These were also selected for this study.
     Of the texts written by Zeami himself, “Naniwa no ume” is the oldest, written in 1414  according to a writing at the end. In this text there are only four types of markings: two for  melody (上, or high, and 下, or low), ○ to indicate phrases, and 延(long) . Moreover, they are not  found at many places. It appears that Zeami tried to write the minimum amount necessary. The  ○ mark was said to be a mark related to the rhythm of the phrases or the rhythmic patterns of  the drum, but as a result of study it is concluded that this mark indicates the ends of phrases.
     In the next oldest text, Ongyokukuden, written in 1419 according to a writing at the end,  there are not many markings giving directions about the melody. Instead of using letters, he uses  short lines later called goma to indicate melody and also writes フルto show that these notes are  to be made long and lowered. There are comparatively detailed markings in ageuta, one of the  elements that composes the structure in noh music and which is sung at a high pitch. From these  it may be assumed that there were two patterns to the ending part of ageuta and that Zeami was  quite particular about them.
     Although “Morihisa,” which was written in 1423, is a work by Zeami’s son, Motomasa, Zeami  edited it and there are many markings about music. Among them there are markings like クルto  show the highest tone and 中to show middle tone. There were cases in which 中was used and  cases in which it was not, but the reason was not clear. Through this study it is assumed that this  mark was used when the note was to be raised not to a high tone but to the middle and when  calling attention to the fact that the next phrase would rise to a high tone. Markings about  rhythm are also more detailed than before.
     Finally, the ending of “Eguchi,” which was written in 1424, is discussed. It is written on six  sheets of paper that have been pasted into one long piece. However, there is a trace of that sixth  sheet having been replaced, and that part is thought to have been rewritten in 1424 so that at the  end of this composition the main character transforms into Samantabhadra (Bodhisattva who  governs the mind that aspires toward enlightenment) after dancing calmly and disappears into  Pure Land. It is an outstanding work in which high and low notes are skillfully combined to  express the metamorphosis into Samantabhadra and in which low notes are used to create  majestic atmosphere as she disappears into Pure Land.
     Most of the markings about the melody and rhythm written in the texts by Zeami are used  today. What this suggests is the wonderful sense of Zeami as a composer. Until now Zeami has  been highly evaluated as a lyricist but he also should be evaluated as a composer.},
 pages = {286--265},
 title = {世阿弥自筆本の節付けを考える―「難波梅」から「盛久」・「江口」まで―},
 year = {2008}
}