@techreport{oai:ipsj.ixsq.nii.ac.jp:00056476,
 author = {藤井, 誠 and 矢向, 正人 and Makoto, Fujii and Masato, Yako},
 issue = {19(1995-MUS-014)},
 month = {Feb},
 note = {長唄10曲を題材に、計算機を用いて唄と三味線の付き方について分析を試みた。三味線音楽の旋律から装飾的な音を取り去っていくと、唄と三味線が同度で対応する音を抽出できる。これらの同度対応音は三味線の旋律の骨組みとなる音の動きを形成する。そこで、まずこの間度対応音が、唄と三味線のパート間で、どれだけの時間差をともなって存在しているかを調べた。その結果、ゆっくりとした曲調の「クドキ」箇所では、唄が三味線より遅れて出る傾向にあり、テンポが速い「チラシ」箇所では、唄と三味線が付く傾向にある事を確認した。次に、この対応する箇所を詳しく見るために、まず、三味線の前後する2つの音の動きに対して、唄の窓幅を一定にして、同度対応音がどのように含まれるかを、6通りの方法で検討した。その結果、順次進行において、唄と三味線が同度対応しやすい傾向を確認した。次に、三味線の旋律の窓幅を1小節?5小節にとり、対応する唄の旋津の動きを調べた。その結果、唄の旋津が付きやすい三味線の動きが見い出された。, This paper will analyze melodic corresondences and discrepancies between the voice and shamisen parts of ten Nagauta pieces using a computer. If ornamented note progressions are removed from both parts, we can find unison note progressions in both parts. These progressions seem to form the frame of Nagauta melody. First, the way in which unison notes in the voice part follow those in the shamisen part was analyzed statistically. It was found that in slowly played Kudoki sections the unison notes in the voice part have a tendency to lag behind those in the shamisen part, while in rapidly played Chirashi sections the unison notes in both parts occur at almost the same time. Second, six methods were employed to analyze how many unison notes are included in the fixed width of the window on the voice part around two consecutive note progressions in the shamisen part. It was found that in the registers near the second and the third open strings, many unison notes are included. Lastly, an analysis was made of how many unison notes are included in the voice part from two measures to five measures width of the window in the shamisen part. Some examples of specific notes progressions including the unison notes in the voice parts were found.},
 title = {長唄における唄と三味線の付き方},
 year = {1996}
}