D Studies on Japanese Musical Instruments in the Collection by Kishu–Tokugawa Family

• NOGAWA Mihoko(National Research Institute for Cultural Properties, Tokyo)
• KOMODA Haruko(Musashino Academia Musicae )
• TAKAHASHI Mito(Doshisha University)
• ENDO Tohru(Tokyo Gakugei University)
• NAKAZATO Toshikatsu(Tsurumi University)
• NOSHIRO Shuichi(Forestry and Forest Products Reserch Institute)
• KOBAYASHI Wataru(KASHIWASHOBO CO., Ltd.)
• HIDAKA Kaori
• UCHIDA Junko
• MIZUNO Ryoko
• NAGASHIMA Masaharu
• KURUSHIMA Hiroshi
• MIYATA Kimiyoshi

The purpose of this research is to study primary sources from multiple standpoints including not only those of musical history and instruments but also those of art history, literature and natural science by focusing the musical instruments passed down through the Kisyu Tokugawa Family which are now held by the National Research Institute for Cultural Properties, Tokyo. Primary information sources concerning these instruments have already been provided by means of the pictorial records published in 2003 and the database disclosure in 2004. Following up on this, in 2005, we organized a special program which attracted the attention of researchers from the relevant fields. As a result, we received a significant number of requests, including those coming from external sources, for research and for more detailed information. To answer these requests, we think that we have chosen the appropriate time for starting this cooperative study of these musical instruments.

We set the main themes of this research as follows:

(1) Examination of Musical Instruments from Multiple Standpoints

One of the particularities of this collection is that it includes a rich collection of written documents attached to the instruments. By reading these documents, it is possible to understand more clearly how this collection came to be and gain information about the cultural environment surrounding it. However, in order to verify the history and value of each instrument accurately it is necessary to carry out the following activities: studying the other dossiers; investigating the external surfaces in more detail; photographing the inside of each instrument; and specifying the materials used for each instrument through scientific research. In the course of this research, we want to bring together the methods of scientific research which will be required in future investigations of musical instruments.

(2) Study of Musical Scores

This collection includes many musical scores which have never been the subjects of even basic research. We want to trace the historical lineage of this collection by comparing the attached 30 musical scores with the relevant copies from the tradition.

As our immediate objective, we have chosen to focus on revealing the problems inherent in researching musical instruments and to establish a basis for evolving future research methods for to deal with these problems. In regards to applying scientific research methods in our investigations, we will examine the condition of the instruments and consider applicable methods which may be employed in future research.

Inspection of the following biwas

"Bijyo" (H–46–97) / "Tsukubujima"(H–46–98) / "Hakuou"(H–46–92) / "Chouyou" (H–46–95) / "Minoo"(H–46–94) / "Unkaku"(H–46–103) / "Kichimaru" (H–46–101) / "Shiragiku" (H–46–113) / "Koarashi" (H–46–96)

Inspection of the following biwas

"Chitosemaru" (H–46–102) / "Unjyou" (H–46–105) / "Musashino"(H–46–107) / "Shiragami" (H–46–108) / "Monjyumaru" (H–46–100) / "Minou" (H–46–94) / "Koshiragiku" (H–46–93) / "Hanazono" (H–46–99) / "Koguruma" (H–46–110) / "Mangetsu" (H–46–111)

• First Workshop, held on Thursday, July 12th and Friday, July 13th, Ryuteki and Noukan (H–35–37～H–35–60)
• Third Workshop, held on Tuesday, August 21 and Wednesday, August 22, Ryuteki and Noukan (H–46–37～H–46–60)
• Fourth Workshop, held on Thursday, September 20 and Friday, September 21, Koraibue, Kagurabue and Hichiriki (H–46–61～72，H–46–22～28)
• Fifth Workshop, held on Thursday, October 11th, Hichiriki (H–46–22～28)
  We invited Mr. Bincho Tanaka, an expert on and maker of wind instruments and completed almost all of our examinations on the wind instruments.

We used the following examination methods: basic inspection including detailed measurements and examination of fabrication techniques with the naked eye; and analytical examination including X–ray photography, use of a digital microscope and fluorescent X–ray photography.

Second Workshop held on Tuesday, August 7 and Wednesday, August 8 (H–46–115～H–46–119)

We continued our examination of the musical scores and the attached documents.

Sixth Workshop held on March 26

We gathered and organized the collected information and research results. Each member gave a presentation on his or her research so that the information would be shared among everyone.