The four books were published as a product of an attempt to issue the index of unpublished historical accent materials. K. Akinaga and S. Goto edited and published Shuchusho with Shoten and the index of the vocabulary,Y. Suzuki Nihonshoki-Jindaikan-Shobon with Shoten and the index of the vocabulary, in 1987, K. Sakamoto Chikamatsu-Sewamono-Joruri with Gomasho and the index of the verbals, and H. Kanai Bumoki with Hakase and the index of the Japanese reading in 1989. Moreover, we wrote the following articles concerning some problems which our research of the materials raised. Four articles on Shoten and the accents in Shucbusho and Bumoki were published by K. Akinaga, two articles on the music score and accents in Heikyoku-Fuhon by K. Ueno, four articles on the music score and accents in Chikamatsu-Jorurihon and the accents of Gidayubushi by K. Sakamoto, and two articles on Shoten in Nihonshokishiki and Kogoshui by Y. Suzuki.We have also been working on date-bank to make it possible for users to explore with computer the index of historical accent materials. We have already finished inputting data, but the adding and correcting work is to be done.In addition to the above-mentioned study, we have done research on accents of regional dialects and their significance indispensable to clarify the historical accents. In 1989, A collection of historical regional accent materials was published and tape-recorded by E. Sato. He also wrote an article on Takamatsu accents.We have studied the historical accents in terms of both written materials and regional dialects with success

1 We have analyzed the data of history of accent included in The History of Accent in Japanese : a Complete Listing (1997, Hereafter cited as The History) which we published before and made a basic and applicational research on them, and published the results.(1) We have researched on bibliographies of the materials cited in The History, their values as materials of history of accent, and their uses, and published the results. (Studies of the History of Accent in Japanese, 1998, Hereafter cited as The Studies) .(2) We have sorted out the data cited in The History, broken down the historical changes of each accent of the nouns, verbs, and adjectives, and published the results in The Studies under the title of "Waseda Gorui (Waseda-style word breakdown) ." And we have compared and contrasted "Waseda Gorui" with "Kindaichi Gorui", and published the results as text-format data. (Contrastive Materials of "Waseda Gorui" and "Kindaichi Gorui", 1998)(3) We have extracted data for compound nouns from the data included in The History, and considered their accent types and their relationships with word formation. Part of these results have been published in The Studies, and we are planning to continue studying them.2 Our studies in the various modern dialect accents have partly resulted in the above-mentioned "Waseda Gorui". As for the Kyoto-Osaka and Tokyo accents, the following two books have been published based on our studies.(1) Umegaki Kyoto Accents Basic Materials, including Tokyo Dialect Accents with a floppy disk (1998)(2) Ikeda Kname Kyoto-Osaka Accents Materials--Indexes Listed by Goju-on Order (2000)3 We have made a basic research and compiled the indexes of materials of history of accents. We could not publish the results within this year, but since we have almost finished the basic research, we are planning to publish them in the near future

1. Contribution to the accent history material data by creating and publishing the following books of indexes(1) Ishinbo Index of Japanese Reeding with Siotai Edited by Akinaga, Sakartto and Sato, Aug 2001.(2) Nihon Shoki Jinnokan Volume Vocabulary Index with Shten Edited by Suzuki, March 2003(3)Takamatsunomiya Library Wamyorui-Jusho Annotated by Razan Hayashi Index of Japanese Reading with Shoten Edited by Sata Dec. 2000(4) Heike-Mabushi Index of Vocabulary with Voice Music 1^<st> & 2^<st> Volumes Edited by Uem Dec 2000 & Dec. 2001.(5) Kyoto Accent Traiscripticn Book as Instigated by Haruhiko Kindaichi(with Minoru Umegaki's Kyoto Accents) Edited by Akinaga, Sep 2001.2. Continued studies in Kaname Ikeda's Kyoto and Osaka Accent Materials. Based on the database of Kaname Ikeda's Kyoto and Osaka Accent Materials Index Assortedaccording to Kana Syllabary (History of Accent Materials Society, Mar. 2000), we have rearranged the data according to prats of speech and compared than with other modern and contamporary materials of Kyoto accents. Results are sich articles as 'Considering Kaname Ikeda's Kyoto & Osaka accents: Mainly up to Three Syllable Nouns" Sakamoto ; "Characteristics of Ikeda's Accents Seen in Complex Nouns" Sato ; "Accents of Declinable Words in Kaname Ikeda's Kyoto and Osaka Accent meterials" Ueno ; and 'Comparison between Kyoto and Tokyo Accents" Akinaga3. Research and investigation in dialect accents in Kyoto and Tokyo (by Akinaga), Ibuki-jima (by Sato), etc4. Further academic progress in the field of the relationship of traditional entertainment materials and the accent history in the following articles by Sakamoto : 'Functions of Goma-sho in Chikamatsu's Joruri Music Book's(2001s) 'Inheritance of Voice : What is Inherited when Songs are Retrieved?' (2001b); "Enchantnent of Letters: Spells of Kara Orthography" (2001c) ; "Narrating and Singing : Approaching from Gidayu-cushi Accents" (2002a); and Pronunciations of Modem Japanese Language : Relationship with Inherited Yokyoku Voices" (2002b)

The present study tries to establish the procedure for reconstructing the accent patterns of pre-modern Kyoto from Heikyoku scores. The main findings are as follows.1.The correspondence of Heikyoku scores and noun accents, especially those of one syllable nouns are reliably demonstrated.2.For the accent of two syllable noun when they appear with genitive particle ‘no', Heikyoku scores consistently differentiate so-called class 2 nouns from class 3 nouns.3.The score for exceptional low beginning melody found in Heike Mabushi can be classified into several types.4.The accent of person's name in self-introduction can be utilized for the reconstruction of historical change of accent in Kyoto, i.e. leveling to frequent types and merger of accent types.5.The accent of person's name in self-introduction in contemporary performances falls into either H0 or H1 pattern. While the former is one of the basic accent patterns in contemporary Kyoto, the latter is foreign to the pre-modern Kyoto accent reconstructed from the scores in Heike Mabushi-this pattern was presumably derived from older LLHL type.6.Among existing old type Heikyoku scores, a remarkable correspondence is found between the Tsukuba University, Yayubon, Mabushi, and Hatanoryu (Kyoto University collection) scores. This suggests that their scores largely reflect the accent of pre-modern Kyoto.7.Among Edo Maedaryu Ginpu-type scores, a remarkable correspondence is found to the Tsukuba University score. In contrast, the so-called Toyokawa's score (Theatre Museum, Waseda University collection), which is said to be among the Edo Maedaryu, correspondence is poorer to the Tsukuba University and better to the Mabushi score. It is difficult to demonstrate the correspondence to any kind of accent for Heikesho score (collection of Haruhiko Kindaichi). More study is needed for this one

The report on making the voice of the Tokyo dialect material's that Dr.Akinaga investigated to character emphatically. The CD-ROM was completed at the same time, and this material was able to be put into the state to be opened to the public in 2005 fiscal year (As the final fiscal year).The main targets of this research are following,1 : Completion of making of Tokyo dialect voice character2 : Addition of phoneme information and vocal information3 : Regularization and segment of voice dat4 : Making of conversation of making to character material data baseWe had a presentation about the test version of the archive of Tokyo dialect voice at the Japanese language society.We digitalized the voice material of the Tokyo dialect, preserved the data on the hard disk, and recorded in CD-rom.The data of 12 natives' voices was converted into the Japanese Kana character.We made the book based on this data

The present study tries to reconstruct the pitch accent system of the Kyoto Japanese of the middle Early-Modern Era, based on examination of the two types of melodies-Kudoki and Shirakoe-in Heike Mabushi . One of the main findings is that Sino-Japanese words and the compound nouns made of native Japanese morphemes retain traditional characteristics in their word accent. The accentuation of Sino-Japanese words can be explained in relation to the tone of the original Chinese morpheme, especially in the case of Go'on word forms. Compound nouns with native morphemes, on the other hand, tend to show the accent patterns of the Heian or Kamakura Eras, or their regular derived patterns.One should be cautious in thinking that these features are the reflex of the actual state of the accent system of Kyoto Japanese in the middle Early-Modern Era ; the observed patterns may be due to the conservativeness of the Heikyoku epic musical scores. However, it is still worth noting that the following tendencies are recognized in Heike Mabushi .(i) 2-mora Sino-Japanese words written as a single Chinese character are observed to have accent patterns reflecting the tone of the original Chinese morpheme, or their regular derived patterns.(ii) 3-mora Sino-Japanese words written as two Chinese characters are observed to have a HLL pattern if they have{1+2} morphological structure, while the words with {2+1} structure have a LHL pattern in which the first component bears Qu-tone, in addition to the default HLL pattern.(iii) As for 4-mora Sino-Japanese words with{2+2} morphological structure, Go'on word forms bear accentuations that reflect the tone of the original Chinese morpheme faithfully.(iv) Most of the compounds with native morphemes and {2+2} or{2+3/3+3} morphological structures retain the accent patterns observed in the Heian and Kamakura Eras, or their regular derived patterns

The purpose of this research was aimed at tracing the development of the pitch accent of Sino-Japanese using Sho-ten (guiding notes) materials appearing in non-classical style Chinese works, and Ji-on Sho-ten materials which appear in works of the classical style Chinese. By comparing these two sets of contrasting data evidence was found of how the original Chinese Ji-on tone, imitated by language learners, evolved into the form of Japanese known as the Sino-Japanese accent, and furthermore how foreign languages as a whole became incorporated into the fabric of Japanese society from the viewpoint of accent history.The first achievement of this research was the construction of a database for Sino-Japanese accent. The following books, which are valuable archives of Ji-on tone material : Konkomyo-saishookyo-ongi Kanchlinbon-ruifirmyogisho Go-on Wa-on ; Kujobon-hokekyo-on ; Hoenbon-hokekyo-tanji Hokekyo-onkun and Koin, were used as the basic Ji-on data and entered into the computer database which was made accessible via Microsoft Access. One benefit of this is that Sino-Japanese Sho-ten in non-classical style Chinese works can be compared more easily to classical works such as the above ; also it is now possible to do statistical research using large scale data. The database was designed with the aim of being compatible with similar databases by other scholars. Therefore this project could stand as the base for all Sino-Japanese accent study.The second achievement of this research has been to achieve easy accessibility to Sino-Japanese accent data for researchers. Included in this is basic analysis of Sino-Japanese Sho-ten in Engyobon-heikemonogatari and Nakaraikebon-Ishimpo, and an in-depth analysis and historical study of Heilre-mabushi which is regarded as important early modern accent data. From the latter study it was discovered that Sino-Japanese based on Go-on style Ji-on, regularly corresponds to Gen-on (original pronunciation) , and Sino-Japanese based on Kan-on style Ji-on, while not as regular as Go-on, still, to some extent, corresponds to Gen-on. Until now, Sino-Japanese accent research has been generally limited to the study of comparative linguistics based on small amounts of dialect data, with this research, however, large volumes of data were collected and analyzed very thoroughly, producing accurate, authenticated results

The goal of this study is to elucidate the history of pitch accent of the Sino-Japanese vocabulary from Old to Modern Japanese, drawing on the evidence from various historical documents and present-day Japanese dialects. We specifically examined how the accent forms of Sino-Japanese were established through the process whereby the sounds of Chinese words, which had been introduced by learning Chinese language, were incorporated as a part of Japanese phonology. We also examined the historical changes the Sino-Japanese accent underwent under the influence of the accent of native Japanese vocabulary. The results reveal the pivotal role of the factors shaping the history of the accent of Sino-Japanese, including the establishment of the "cardinal accent forms", the avoidance of the double-peaked form(High-Low-High) and the influence of the(free or bounded) morpheme preceding or following the Sino-Japanese word

　近世京都語のアクセント資料として位置づけられる『平家正節』の中から、とくに分析の容易な「口説」「白声」の曲節を選び、さらに「折声」「指声」の前半部分をも加えて用例を採取し、ここにあらわれた声譜付語彙をデータ化した。声譜はもちろん平曲を語るための音楽的な注記であるから、「白声」のような単なる語りの場合とは違って、「口説」ほかの曲節の譜を分析する場合には、音楽的に変容した語頭低下などに注意しなければならない。また、詞章そのものは鎌倉時代成立のもので、使用語彙は文語的であるとはいえ、伝統的なものであり、和語のみならず漢語のアクセントを、また単純語だけでなく複合語のアクセントを知る上でも、きわめて有益な資料であることが再認識された。さらに辞書類記載のアクセント注記とは違って、平家物語の詞章という話線的な展開の中で用いられるそれぞれの語のアクセントを、多数採取できた点も特筆すべきであろう。　具体的な問題として、いくつかのことを挙げるならば、以下のようである。　（1）従来「白声」は近世中期ころの京都アクセントを反映し、「口説」「指声」などはそれよりも古い時代のアクセントを反映するとされてきたが、男性の漢字二字４拍の名乗りの場合には、「白声」HHLL:「口説」HLLLという、アクセントの変化とは逆方向の対応が確認された。　（2）姓や地名などは、それぞれの語の伝統的なアクセントを反映しており、これら固有名詞としての特別なアクセント型に収斂されていく様子は看取されなかった。　（3）動詞・形容詞のアクセント体系は、とくに多拍語になると伝統的な姿を捨てて、型の統合を起こし、これに伴って類の混同が進んだことが分かった。　（4）動詞の活用形アクセントとして、従来「特殊形」と名付けられてきたものの多くは、実は後続する助動詞を含めて、全体として一語並みの用言のアクセントを形成したのであって、これを、もとの動詞部分と接辞部分とに分解してアクセントを記述することには支障となる問題が多い。　（5）連体格の助詞「の」は、ほかの格助詞と異なって前接する体言との結合が強く、「～の」という文節単位でアクセント単位となる場合はもちろん、後続の語も含めた「～の～」というアクセント単位を、すでに形成していたとしか理解できない譜記を採取することも珍しくない。

四国山地の奥深く、剣山の山懐に徳島県三好郡東祖谷山村名頃地区がある。この地のアクセントを、1996年７月以来数次に渡って調査して、ほぼ次のような成果を得た。（１） 東祖谷山村の諸地域（樫尾・小川・大枝・久保・落合）の年配層に聞かれるアクセントは、ほぼ同郡木頭村のそれに同じく、「近畿中央式のやや古い体系に対して、高拍が語頭から２拍以上連続する場合に、これを語頭に限って低下されるもの」で、いわゆる垂井式アクセントに近似する。（２） しかし、名頃地区においては、上記語頭低下と同時に、近畿中央式の高平型に対応するアクセントに限って、その末尾拍を低下させた型が聞かれる。これら語頭低下と語末低下とは後者が前者に優先して実現しているが、前者が語頭に高拍連続がある場合のすべてに実現しているのに対して、後者は近畿中央式の高平型に対応する場合にのみ現れている。（３） 同地区よりも東祖谷の中心部寄りの菅生地区では、一部の動詞（着る・為る・置く、など）に語末低下が聞かれるに過ぎず、ほぼ東祖谷一般のアクセントが聞かれる。（４） 名頃地区は、もと同村北方の深淵地区から江戸時代後期に移住した人々によって開かれたところらしく、そのアクセントも東祖谷一般のそれよりも古いものというよりは、深淵あるいは一宇村・半田町などとの関係を考慮すべきものと思われる。（５） 同地区の動詞アクセント体系は、アクセント型の姿こそ違え、類毎に観察すれば、近畿中央式と同様に、３拍２類５段動詞が１類と、同じく２類１段動詞が３類と合同し、しかも後者が前者に先んじている様相を呈している。（６） また形容詞アクセントでは、３拍ク活用の１類がみな終止連体形ＨＬＬで、ＨＨＬから語頭低下したＬＨＬではないことから、これら１類（もとＨＨＬ）と２類（ＨＬＬ）とがＨＬＬに合同してのちに、語頭低下が起こったものと推定され、語頭低下がそれほど古いものではないことを思わせる。