Between music and visual image, there is some analogousness of the mode of being and of the structure of form. This is the reason why music, having its own principle and artistic form, can be an element of film. Visual image, in its nature, is as opaque as reality. Music makes it transparent, and thus visual image has the possibility to represent some thing other than the objects it presents. This is the reason why music is necessary as an element of film.

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Kant, a founder of modern aesthetics, said in his Critique of Judgment that there is no philosophy of the aesthetical, but there is only critique of the aesthetical. In exchange for a denial of philosophy of the aesthetical, we admitted that the realm of the aesthetical is different from those of the epistemological and th ethical, and possibly asserts its independent quality. Since then, aesthetics has been obliged to make such paradox its own starting point. In order to somehow overcome the paradox, aesthetics goes on inquiring for its own object and way of study, significance, and aim-and there may be the validity of aesthetics coming into exist.

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In den Goethe Forschungen unseres Volkes wird Goethes Weltanschauung vielfach und man kann schon sagen grundlich nachgeforscht, aber wenig seine Denkweise an sich, deren Bedeutung fur heutige Wissenschaften man doch richtig untersuchen soll. In diesem kurzen Referat wurde versucht, es klarer zu machen, erstens : wie Goethe seinem "gegenstand-lichen Denken" an einem sehr erkennttheoretisch wichtigen Standpunkt gelangte, als er in Italien sich befand und in Natur und Kunst dasselbe Gesezte entdeckte, und zweitens : was dieses Resultat Goethes vor allem fur die Asthetik heute bedeutet. Selbstverstandlich ist das ein so tiefgehendes Problem, wie man sich nur sehr langer Zeit damit beschaftigen mochte, darum hoffe ich auf viele und teilnehmende Rate und Kritiken daran.

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Herder appreciated the Volkslied among ancient races, which he recog nised as the direct manifestation of their voice. He maintains that poetry must not be so much a fine technique in arranging words as a direct expression of a writer's soul, and that it ought to contain a strong influence upon people and society by virtue of its vital reality. But Herder's Volkslied represents Naturpoesie, fundamentally. This means that he inquires into the substance of human nature, dwelling not on the artistic formation by people and society. Ultimately, we are asssured that here, Herder seeks to form the conception on the organic or aesthetic nature within the field of human life and vital reality.

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Cod. gr. 74 in Bibl. Nat. Paris is a Gospel book, illustrated in a monastery at Constantinople in the middle of 11th century. The illustrations include the earliest iconographical representation of the parable of the Prodigal Son in the Gospel of St. Luke, and are often cited as a typical example of so-called narrative cycle (e. g., by K. Weitzmann and H. Buchthal). On the other hand, they reflect the dogmatic and liturgical influence of the Eastern Church, most strikingly, for example, in the scene which represents the repentance (μετανοια) of the son. The origin may be Syro-Palestinian.

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In the inner construction of a sentence there are correlations among "will to speak", "what is spoken", and "activity of speaking". By considering a sentence from the relationship of "will to speak" and "what is spoken", the phrase of being is revealed. And by considering the sentence from the relationship of "activiy of speaking" with the other two, the phrase of activity is brought out. That the inner construction of a sentence is formed in this way means at the same time that "activity of experiencing" is obtained through the sentence. It can be thus said that these are the only two aspects of one fact.

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1) The unique methode of the classification of painters into six grades by Hsieh Ho in the Ku Hua P'in Lu had, I consider, relation to the 9-grades classification of personal abilities of candidates and officials in Southern Dynasties, especially to its particular character of Southern Ch'i when the above-sixth grades were recognized as special higher level. 2) I suppose that the compilation of the Ku Hua P'in Lu were perhaps influenced by the classification of painters by Emperor Kao of Southern Ch'i mentioned in the Li Tai Ming Hua Chi and T'u Hua Chien Wen Chih.

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The study of the problems of sexuality in Japanese music implies double meaning. On one hand it indicates the study of the music exclusively performed by women, which has been a slighted part of the study of Japanese music history ; while on the other hand it is a matter of the study of the characteristics of Japanese music. In the former sense, the present treatises has little except some brief references to fourteen genres, such as the music of miko, shirabyoshi, etc. Its chief intention is to point out from the standpoint of the latter sense several facts and problems which require further studies herefrom. (1) In the ancient period most of the musicians, especially players of instruments were men. It is confirmed from mythological and archeological researches. (In such cases women took part as dancers or singers.) (2) Later, distinction was produced between the music to be played by men and that to be played by women. But, in spite of that, almost all of the professional musicians were male. The origin of these facts. (3) Among the musics composed and played by male musicians, some were of musculine character and others were of feminine character. The origin of such musical characters. (4) The instruments became devided into those to be played by men and those to be played by women. The origin of this division. (5) The custom of loving comely boys a kind of sodomy) which was prevalent in the middle age ; its influence to music and its significance. (6) The significance of sexual or vulgar elements in the text of the religious music in the ancient period and the aesthetic meaning of the eroticism in kabuki music. (7) Regardlessness of the performers' sexes. It is not rare that feminine music are played quite femininely by male musicians or masculine ones are played quite masculinely by female musicians. Hence negligence of the register, i.e. in such occasions male singers are obliged to sing in a very high voice and female singers in a very low voice. (8) The reason why mixed performances are generally rare and the cause of exceptional mixed performances. (9) In cause of narrative music, such as noh, gidayu, etc., the sexes of dramatis personae are kept distinct by some kinds of expression, though it should formally played by men. The technique of such expression and its artistic meaning. At the bottom of these facts and problems above mentioned lie such traditional thoughts as Confucianism, Buddhism, and feudalism. In this respect, circumstances are quite different from those in the West. Nevertheless, we should not consider carelessly that, because these thoughts brought great disadvantage to the social and political progress of Japan, it follows that they brought as much disadvantage to artistic activities.

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The important two kinds of theory on the essence of music in the history of music aesthetics : 1) Music as an art of expression, 2) of non-expression. (The former is subdivisible into two-immanent and transcendent) The result of consideration : All sorts of music actually have both sides, expressive and non-expressive, constructive or absolute. The most important conception to be found in the very essence of music. Music itself to be found in sounding tone-work, which might have fore- and back-grounds in which the dynamic aspects of all human or universal beings and relations can be projected. In conclusion : Music or art of tone can be assuredly defined as an art of absolutness in the meaning of autonomy, although sometimes it might decline to the expressive (heteronomic) side.

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