古老的音乐，怎样继续演奏下去？

Ōi Sugamaro, diary entry for 8 September 1875, transcribed in Terauchi Naoko (寺内直子), 「明治期、静岡県下の雅楽の広がりについて―大井菅麿の日記を中心に」, 国際文化学研究 61 (March 2024): 1–46, p. 14. The entry distinguishes bundled admission payments, shrine funding, an advance, and borrowing a score for accompanying music. The account follows the published transcription, not an independently examined diary manuscript. Study and bibliographic record; text.

Japan Arts Council, 雅乐, “The rise of the warrior class and the Ōnin war,” sections on the Court Music Office, hereditary households, and regional performance. The institutional history supplies the mid-tenth-century setting and named patronage centers; it does not establish identical practice throughout Japan. Historical account.

Waseda University Theatre Museum, 「『三五要略』『仁智要録』」, collection description. It identifies Sango yōryaku as an abridgment of Moronaga's Sango yōroku and describes the musical and performance annotations. The dates of compilation are distinguished from the museum copies, whose copying dates are not supplied in this record. Catalogue.

Kwok-wai Ng, “Orality and Literacy in the Transmission of Japanese Tōgaku: Its Past and Present,” Ethnomusicology Forum 20, no. 1 (2011): 33–56, published abstract. The limited argument used here concerns changing relationships between written and oral transmission; the article's detailed musical reconstructions are not reproduced. Article record.

Japan Arts Council, 雅乐, “The ‘music centers of the three directions’ and gagaku's second peak,” first two historical sections, read with the preceding page's account of the Ōnin War. Used for dispersed preservation, collaboration among Kyoto, Nara, and Shitennō-ji, the 1588 performance, and the Momijiyama establishment. The essay does not adopt the source's evaluative ranking of cultural peaks or infer complete recovery of the earlier repertory. Historical account.

Hidaka Kaori (日高薫), collection explanation for 「琵琶『青山』」, National Theatre, registration no. 957, in Cultural Heritage Online. The record identifies the four-stringed instrument, Kii Tokugawa provenance, and repair dates of 1629, 1745, and 1815; it treats the celebrated older associations as uncertain. The dates are used through the catalogue's account of inscriptions, not a new physical examination or a claim about present playability. Object record.

Japan Arts Council, 「雅楽」, subsection 「唱歌」. This account of teaching explains the use of the voice to learn instrumental melody and rhythm. Its description of the method is not assumed to establish identical syllables or teaching routines in every earlier century. The historical variation is examined in note music08. Teaching description.

Terauchi Naoko, 「江戸時代の『楽家』と音楽伝承のアイデンティティ―龍笛と篳篥の唱歌を中心に」, 国際文化学研究 37 (December 2011): 44–94. The published abstract and selected discussion of mnemonic syllables, especially pp. 55–59, support the contrast with later standard practice; the abstract also identifies Tōgi Fuminari's two systems. The essay reports Terauchi's analysis, not an independent decoding or visual comparison of the score tables. Study and abstract; text.

Japan Arts Council, 雅乐, “Reforms of the Meiji era and the Effect of World War II,” sections “The establishment of the imperial palace Music Department and amateur groups” and “Reorganizing the music traditions and the new official scores of Meiji.” Used for the combined department, 1876 and 1888 part-scores, engaku, and the shortages and amateur activity outside Tokyo. No claim about later heritage-designation categories is drawn from this page. Historical account.

Nagoya University Library, Hichiriki-fu (篳篥譜), Jingu Kogakkan collection, ID j1314, call number 768.162-H, bibliographic ID WB03157551. The catalogue transcribes the inherited 1857 copying statement and the note 「明治七年三月御改正之譜以黒点分ス」. It identifies the volume as a later copy and provides no page images. The interpretation concerns the stated function of the marks, not a visual inspection of their placement. Catalogue and transcriptions.

Terauchi, 「明治期、静岡県下の雅楽の広がりについて」, introduction and published abstract. These support the specifically attributed interpretation of Tōgi Otowa and Ōi as intermediate instructors and identify Ōi's teaching connections beyond Shizuoka Sengen. The diary case is treated separately in notes music01, music12, and music13. Research record.

Ōi's diary, entries for 3, 4, and 7 September 1875, transcribed in Terauchi, pp. 13–14. The text specifies the request for lessons, Tōgi's response concerning timing and admission through Tomita, and the different subjects chosen by two pupils. The article's broader interpretation of musical rights is not turned into a uniform national licensing system. Published transcriptions.

Ōi's diary, entry for 3 March 1876, transcribed in Terauchi, p. 15, with the surrounding discussion of shrine personnel's daughters and the December 1875 preparation. The entry names Tsune and Kino in the women's dance and lists singers and instrumentalists. The account establishes participation at that occasion, not an assessment of performance quality or equal access to every musical role. Text.

Nabeshima Hōkōkai, Chōkokan, 「雅楽譜」, Cultural Heritage Online, record 244288. The catalogue reproduces the presentation inscription dated 18 November 1898 and identifies the surviving part-books, including 「蘇合香大曲 盤渉 篳篥・琵琶」. The inscription acknowledges Naohiro's long study; it is not treated as proof that he alone possessed permission to perform the pieces. Collection record.

Nabeshima Hōkōkai, Chōkokan, 「新式唱歌譜」, 1906, Cultural Heritage Online, record 418542. The catalogue identifies Naohiro's autograph, paired gagaku and Western notation, the verses by Sanjō Sanetomi and Nabeshima Naomasa, and Naohiro's musical setting. The description of family music-making is the collection's account, not a reconstructed domestic scene. Here shōka means song; it is distinct from the mnemonic shōga discussed earlier. Collection record.