In 1925, not only the Great Osaka Commemorative Exposition was held from March 15 to April 30, but also the Osaka Broadcasting Station began radio broadcasting on June 1. This paper examines music performed at the exposition and on the radio program by five music bands that were active in Osaka at the time: the Osaka Music Band, Mitsukoshi Band, Izumoya Band, Matsuzakaya Band, and Takashimaya Band. Further, apart from the Osaka Music Band, information on the formation and disbandment of the music bands was added to discuss the formation of their repertoires. This revealed that especially the Mitsukoshi Band and Izumoya Band made numerous performances at the exposition and on the radio program, and that while the Izumoya Band performed mainly as a brass band, the Mitsukoshi Band performed as a brass band, orchestra, and jazz band, forming a wide repertoire.

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Standard Bandoneon is a bi-sonic bellows driven instrument with button keyboard. There are two well-known Bandoneon styles in the world. One is called the “Einheit” key layout which was determined as a standard form for Badoneon in Germany around 1920, and the other is Bandoneon with “Rheinisch” key layout that is recognized as an instrument important for Argentine tango music performance.
　I think it is valid to specify the opening and closing of the bellows to enable smooth fingering for the performance when composing music for various musical formations which include the Bandoneon. However, currently, there are various different symbols and slogans that are used for Bandoneon notations influenced from regional characteristics and creator’s senses. In this paper, I compare side by side these notations and explore the appropriate standard notation for the bellows.

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“ Generalbass” usually refers to the figured bass used for practical accompaniment and specific performances in German-speaking areas, from the end of the 16th century to the late 18th century. However, Generalbass had been in use for a long time, and there were subsequent changes in its content and usage in the 19th and early 20th centuries. These changes remained largely undiscussed until recently, as 19th-century harmony and Generalbass were often considered almost synonymous. The contents of several Generalbass textbook published during this period are wide-ranging, and it is not easy to define the Generalbass. However, the 19th century Generalbass continues to be used in practice, as living music theory. It also holds a significance that cannot be ignored from the aspect of partimento, which is being actively studied in the current discourse on music theory.
This paper analyses the concept and significance of the Generalbass in the 19th century, and organizes its ideas, purpose, and content based on the state of theoretical subjects at the conservatory in that period, including the contents of Generalbass practice books. Generalbass can thus be considered a theoretical framework for enriching the theoretical aspects of harmony, and ultimately for improvisational performance.

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This paper aims to explore the hypothesis that the “Japanese language has an influence on performances of Western art music by Japanese people” and show the challenges that arise from this standpoint. First, we find that Westerners perceive such performances as something strange, and that the influence of the Japanese language has been identified as a cause of Japanese-style performances of Western art music (JPWAM). Second, the similarities between Japanese, rhythm, intonation, and JPWAM and the differences between Western languages and their performances are highlighted, and the problem of “mother tongue interference” as a possible cause is examined. Finally, the perspective of JPWAM as being something akin to Creole is shown, and the question of what this means, is addressed.

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The purpose of this study is to clarify the future challenges of collaboration between community and school based on transformation of staff and residents seen in the activities of the H Group Home for the older adults with dementia, which have been working on practice of singing Warabeuta Play as a key activity once a month since February 2023, and the interviews with the director of the Community Collaboration Office. As a result, it was considered that musical activities based on the Warabeuta Play functioned effectively to facilitate communication between participants, and that improvised participatory performances were produced according to the situation.
　In terms of collaboration with school education, interviews with operators of the H Group Homes suggested an attitude of “ thinking together what to do so” and issues such as verbalization, evidence, and safety to promote understanding among parents.

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Presso l'Osaka College of Music, le materie obbligatorie in lingua straniera richiedono otto crediti nella stessa lingua, mentre al Junior College sono richiesti due crediti per la laurea. Le lingue straniere tra cui possono scegliere gli studenti sono quattro (l’inglese, il tedesco, il francese e l’italiano) e tre a livello di junior college (l’inglese, il tedesco e l’italiano). Mentre l'inglese è diviso in classi in base al livello di competenza, non sembrava necessario separare le altre materie in base al livello di competenza, poiché sono lingue che gli studenti iniziano a imparare quando si iscrivono all'università. Tuttavia, anno dopo anno, le differenze di livello visibili nella seconda metà del primo anno sono diventate ancora più evidenti, così nel 2018 abbiamo iniziato a formare un’altra classe basata sul livello di competenza per le lezioni di grammatica del secondo anno di tedesco e italiano.
　Il primo anno è stato un processo per tentativi. L’anno 2019 sembrava andare abbastanza bene finché le lezioni non sono state influenzate dal Covid-19. È cominciata una nuova situazione di prova ed errori.
　Questo articolo esamina le classi di italiano dal 2018 al 2022, concentrandosi sulle classi di competenza per la prima lingua straniera e discutendo la situazione attuale e i problemi legati all'apprendimento dell'italiano.

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The author believes that nurturing children to be independent, modern citizens who will take part in politics is an essential task for education in this country. Therefore, the author presents an ideal form of political socialization based on the ideas of the current Japanese Constitution, the Fundamental Law of Education, the School Education Law, and the Curriculum Guidelines. The goal is to raise children to be adults who have fair judgment and sound critical skills about society, develop their individuality, and appreciate modern diversity. However, the reality is that education based on such ideals cannot be considered successful. Therefore, the author examines the factors that hinder children from raising them to become independent, modern citizens. There may be various factors, but from the author's perspective, “school regulations” so called KOUSOKU are the biggest impediment to school life. Based on this, the author will make several recommendations for raising children to become independent, modern citizens.

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