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20 Tokita : ff. - JDC : [ ] - - : ~., -. NHK BOOKS. -. Vol.,. p.-.,., p. - --!, -, Berry, Mary Elizabeth. Hideyoshi. Cambridge, MA: Harvard East Asian Monographs,. Foley, John Miles. Homer's Traditional Art. University Park: Pennsylvania State University Press,. Lord, Albert B. The Singer of Tales. Cambridge: Harvard University Press, []. Ong, Walter J. Orality and Literacy: The Technologizing of the Word. New Accents. London; New York: Methuen,. Tokita, Alison. Japanese Singers of Tales: Ten Centuries of Performed Narrative. Farnham, Surrey: Ashgate,. Yoshikawa Eiji, Taiko: An Epic Novel of War and Glory in Feudal Japan. Transl. William Scott Wilson. Kodansha International,. CDColumbia RC - DVD YouTube 44

21 Orality in naniwa-bushi: the case of Taikōki pieces TOKITA Alison Naniwa-bushi, a sung narrative accompanied by shamisen, has no musical scores, but it has had written texts since stenographic books were created in the late Meiji period. Many pieces are based on other narratives, including written narratives. However, its orality can be observed in both its musical expression, and in the way episodes are woven together. This paper explores the nature of orality in naniwa-bushi, treating a group of pieces connected with the chronicle of Toyotomi Hideyoshi (-), Taik ki. Naniwa-bushi s Taik ki pieces derive from k dan story-telling, and go back to a seventeenth-century chronicle of the life and achievements of Hideyoshi, via k dan and popular writing of the Edo period. It is thus connected with the military tales that have strong connections with oral narrative. Whereas the Taik ki chronicle deals centrally with Hideyoshi s adult life, most of the Taik ki pieces in naniwa-bushi focus on his childhood and youth. The chronicle is close to an official history, but there was a large amount of oral lore circulating about Hideyoshi that does not appear in the chronicle. It appears however in k dan and popular writing of the Edo period and other genres. Naniwa-bushi combines various narrative threads and motifs to make coherent pieces in a way that indicates oral tradition. Furthermore, its fluid musical aspect shows how orality is central to the musical expression. Keywords: naniwa-bushi (r kyoku); orality; oral narrative; musical narrative; Taik ki; stenographic books 45

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