@article{oai:tobunken.repo.nii.ac.jp:00009111,
 author = {星野, 厚子 and Hoshino, Atsuko},
 issue = {15},
 journal = {無形文化遺産研究報告, Research and Reports on Intangible Cultural Heritage},
 month = {Mar},
 note = {The present author has introduced three of the seven nagauta records made by Pathé in the collection of the Tokyo National Research Institute for Cultural Properties: “Yoshiwara Suzume,” “Shin Urashima” and “Tsunayakata.” She introduced in these papers the performing community that were the main persons involved in the recording by Pathé including Kineya Rokuzaemon XIII, Kineya Kangoro V, Yoshimura Ijuro VI and Okayasu Nampo as well as the melody of shamisen and the verse in light of the historical backdrop of 1911 which is assumed to have been the year of recording. 
　　The two nagauta introduced in the present article, “Kangyo Yuki-no Sugatami” and “Chikumagawa” (No. 17-220A, B) are recordings that Kineya Kisaburo XIII made at the age of about 12. His father, the head master of one of the schools of nagauta, Kineya Rokuzaeon, played the shamisen. Kineya Kisaburo inherited his father and became the head master, taking on the name of Kineya Rokuzaemon XIV. He then became a living national treasure. This recording is an important recording material existing today that allows one to trace the transmission of Kineya Rokuzaemon family.
　　The singing of “Kangyo Yuki-no Sugatami” by Kisaburo shares common characteristics with the singing by his master Okayasu Nampo, but is different from that of 1928 when Kisaburo was 29 years old. Since there are common characteristics with the singing of Yoshizumi Kosaburo IV, under whom Kisaburo studied from the previous year, it is thought that in later years he was probably influenced by Kosaburo. In Japanese music, it is rare for a performance by a child to be recorded, but the existence of a recording of Kisaburo in his childhood made it possible to trace the change in the melody of a singing by the same person.
　　“Chikumagawa” is a repertorie characterized by a masculine melody called “o-zatsuma.” Rokuzaemon, who played the shamisen, was noted for his performance of o-zatsuma. In the present study it was revealed that Rokuzaemon and Kisaburo performed “Chikumagawa” in May 1911, five months before the recording by Pathé. Review of that performance notes that Rokuzaemon’s shamisen was powerful. Twelve-year-old Kisaburo’s performance received generally high assessment and his future performance was looked forward to.
　　One hundred ten years will have passed this year since the recording of these records. It is hoped that they will be preserved and utilized appropriately in the years to come.},
 pages = {150--138},
 title = {〔資料紹介〕東京文化財研究所所蔵　フランス・パテ社製SPレコード―長唄『寒行雪ノ姿見』『筑摩川』を中心に―},
 year = {2021}
}