大正新教育期におけるアメリカ音楽教育情報の受容

—サティス・コールマンの「創造的音楽」を中心に—

抄録

In this paper, I examine a characteristic of the acceptance of Satis N. Coleman’s （1878－1961）"creative music" in Japan in the 1920s and 1930s.

The routes via which Coleman’s creative music was introduced are as follows. 1）A translation of Creative Music for Children（1922）published by Isao Yamagudhi on Gakushu Kenkyu（the journal of the elementary school attached to the Nara Women’s Higher Normal School）in 1924. 2）In 1934－1935, a translation of Creative Music for Children was published by Jushiro Ueda in Gakko Ongaku（the journal of the Research Society of School Music by School Music Teachers）. 3）Shoji Hamaguchi, who was a composer in Hyogo Prefecture, introduced information of Coleman’s educational practice in Gakko Ongaku based on his visit to the Lincoln School of Teachers College, Columbia University. In addition, a part of Coleman’s doctoral thesis, A Children’s Symphony, was translated by Hamaguchi in 1935. 4）Some elementary school principals in Tokyo brought back information on creative music gleaned through their study trips to Europe and the United States.

Recipients other than music teachers also focused on activities for the teaching and learning of creative music, and applied them in the Japanese situation. This trend of acceptance was caused by the nature of information in Coleman’s books that were not theoretically inclined but practically oriented. The music teachers who took her work up understood this philosophy of creative music. They didn’t incorporate creative music activities as a model for their own practice, but they understood the significance of using primitive instruments and of musical creation. Thus, they could understand Coleman’s philosophy and sympathize with Coleman’s awareness of problem. In the 1920s and 1930s, Coleman’s educational practice from the Lincoln School was not acceptable in Japan. This is primary characteristic of the nature of acceptance of creative music.