芸術歌曲としての「こもりうた」と生活の中の「こもりうた」　-山田耕筰編作曲による「中国地方の子守歌」を例に-

芸術歌曲には、洋の東西を問わず生活の中で古くから歌われてきた旋律に基づく曲が多い。学校音楽教育においてそのような曲を学習する際には、芸術的視点からの表現や鑑賞だけでなく、そのもとになった旋律（以下、元歌）との関係で捉える学習も重要であると考える。そこで本研究では、山田耕筰編作曲「中国地方の子守歌」とその元歌を事例として、芸術歌曲の「こもりうた」と生活の中で歌われてきた「こもりうた」の関係について考察した。その結果、旋律に関しては元歌と山田の編作曲では大きな違いは見られないものの、音楽構造上の大きな相違点が、歌に関する音楽表現の工夫（音域、音質、強弱法、リズム操作、音高操作、テンポ操作）とピアノ伴奏の付加の2点で存在することが明らかになった。

The purpose of this study is to make clear the differences between the lullabies as an artistic composition and lullabies sung among peoples in daily life. The analysis was done from a viewpoint of the music education. As a case study, Icompare "Chugoku-Chiho no Komoriuta" arranged by YAMADA Kosaku with its origin. The traditional variants of the origin have been sung among people living around Ibara-City, in Yakage-Town in Oda Country in Okayama-Prefecture, and the Geiyo Islands in the Seto-naikai. These lullabies are more or less different from each other in their texts and melodies. It is told that Yamada had listened to a lullaby of Ibara-City sung by UENO Taishi. Therefore, I compare the lullaby sung by Ms. OKADA Taeko who is one of his relatives and the transmitter of the lullaby with Yamada's composition. Result of analysis of lullabies are summarized as follows;1) the melodic lines of two lullabies are almost same, but several differences are found in detail, for example, voice range, timbre, dynamics, addition of piano accompaniment, rhythmic treatment, melodic line, and tempo.2) The original lullaby has a role to put down or lull a baby, while, Yamada's one has not the same role as the origin does. 3) The purpose of arrangement was to express the feeling of lullaby musically. It does not need any existences of children. The differences of these functions influence to their musical elements.Nowadays, many arrangements have been done as Yamada did. Making efforts to arrange lullabies, a lullaby may develop in other way from a song for babies care, and lose its original function.