Shamisen-playing at Tanka（Lines）in Rôkyoku

浪曲の伴奏をうけおう三味線（浪曲三味線）は，浪曲師の「節」（旋律的な部分）に対応して音を紡いでゆくだけでなく，「啖呵」（セリフの部分）にも対応してなんらかの手立てを講じてゆく。本稿では，譜面を介さずに伝承と習得がなされてきており，明文化された理論が存在せず，さらに，実演にあたって予め何を弾くべきかが厳格に定められているわけではない浪曲三味線について，啖呵の箇所での音の紡ぎかたに焦点を定め，過去から現在までの録音物を手がかりとする考察を行なった。考察から，啖呵の箇所での三味線は大別して，①合いの手を打つ，②二つの節のあいだをつなぐ，③詞章を演出する，という三種の方向をとりうることが浮かび上がった。A work of rôkyoku contains both melodic parts and lines. The lines are called ‘tanka’. The purpose of this article is to examine the improvisational ways of shamisen playing at tanka in rôkyoku. It became clear that three kinds of the ways exist in shamisen playing at tanka. Firstly, shamisen player can put a few notes into an interval in vocalist（rôkyokushi）’s verbal phrase. In this case, it is entrusted shamisen player which notes may be chosen. Secondly, shamisen player can continue to play melodic line that precedes tanka part. In this case, it is entrusted shamisen player which figure may be play next. Thirdly, shamisen player can direct or describe musically the content of the text. In this case, shamisen player sometimes uses musical quotation from other genres of shamisen music