@article{oai:rekihaku.repo.nii.ac.jp:00000644,
 author = {小島, 美子 and Kojima, Tomiko},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Feb},
 note = {application/pdf, 日本音楽の起源を論じる場合に，他分野では深い関係が指摘されているツングース系諸民族についてその音楽を検討してみなければならない。しかしこれまではモンゴルの音楽についての情報は比較的多かったが，ツングース系諸民族の音楽については，情報がきわめて乏しかった。そのため私は満族文化研究会の共同研究「満族文化の基礎的資料に関する緊急調査研究―とくに民俗学と歴史学の領域において―」（トヨタ財団の研究助成による）に加わり，1990年２月に満族の音楽について調査を行った。本稿はその調査の成果に基づく研究報告である。
この調査では調査地が北京に限定されていたため，満族とエヴェンキ族の音楽について多少の情報を集めることができたに過ぎず，とりあえずこの２つの民族の音楽に，参考資料として一部モンゴルの音楽の情報を加えて報告する。
まず満族の音楽については，主としてビデオ資料によってシャマンの音楽を調査した。ツングースの文化にとってはシャマニズムは，きわめて重要な位置を占める。シャマンが用いる１枚皮の太鼓，ベルトなどにつけている多くの鈴などは，他のツングース系諸民族のシャマンと共通しており，また日本の少数民族であるアイヌ・ギリヤーク・オロッコのシャマンとも共通である。そしてこれは日本古代の有力なシャマンや朝鮮韓国の現在につながるシャマンとは明らかに別系である。また満族シャマンの歌は，テトラコード支配の強い民謡音階によっており，日本と共通するところが多い。
エヴェンキ族の民謡について，現段階ではもっとも信頼のおける民謡集で調べたところ，エヴェンキ民謡は，モンゴル民謡と同じく拍節的タイプと無拍のタイプに分かれるが，後者は15％程度で意外に少ない。前者も２拍子系の曲と３拍子系の曲，変拍子や途中で拍子の変わるものが，それぞれ大体25％程度を占めており，韓国朝鮮の民謡のリズムに近い。また音階は民謡音階と律音階と呂音階にほぼ３等分されるが，テトラコードの支配はそれほど強くなく，むしろモンゴル民謡の方が日本民謡に近い。またメロディの装飾的な動きは，エヴェンキ族の民謡の方が日本民謡に近い。, When discussing the origin of Japanese music, it is necessary to examine the music of various Tungus races, of which the close relationship with Japan has been pointed out in other fields. To date, we have had a considerable amount of information on Mongolian music; however, information on the music of the Tungus is very limited. This being the case, the author joined the “Urgent Research Study into Basic Materials of the Manchu Culture―Especially in the Fields of Folklore and History―” (under the subsidy of the Toyota Foundation), conducted by the Society for the Study of Manchu Culture to investigate Manchu music in February, 1990. This paper is the study report based on the results of the investigation.
Since investigations were restricted to Beijing this time, only a small amount of information on the Manchu and Evenki races was collected. The author reports on the music of these two races, adding some information on Mongolian music as a reference.
First of all, the shaman music of Manchu was investigated, mainly by means of video materials. Shamanism occupies a very important position in the Tungus Culture. The single-skin drum and many bells attached to the belt used by the shamans are features in common with the shamans of other Tungus races, ane Japanese ethnic minorities, such as the Ainu, Gilyak, and Orocco. Manchu shamans are clearly of a different type from the influential shamans of ancient Japan, and the shamans still active in Korea today. The Songs of Manchu shamans are based on “min-yō” scale, strongly governed by the tetrachord; they have many features in common with Japanese songs.
As for the folksongs of the Evenki race, the author investigated the folksong collection which is the most reliable at the present stage, and found that the Evenki folksongs, like the Mongol folksongs, can be classified into the metrical type and the free rhythm type; the latter accounts for about 15%, which was unexpectedly low. In the former, pieces in simple duple time, those in simple triple time, and those in altered time or those in which the time alters in the course of a piece, accounted for 25% each; this is close to the rhythm of Korean folksongs. Pieces are roughly divided into three types of scale; “Min-yō” scale, “Ritsu” scale and “Ryo” scale. These are not so strongly governed by the tetrachord; rather, the Mongolian folksongs are closer to Japanese songs. As for ornamental movement of melody, the Evenki folksongs most resemble the Japanese songs.},
 pages = {371--384},
 title = {満族を中心としたツングース系諸民族の音楽},
 volume = {50},
 year = {1993},
 yomi = {コジマ, トミコ}
}