完新世における新潟平野北東部の地形発達過程を,ボーリング資料の解析,珪藻分析,¹⁴C年代測定結果などに基づいて,とくに砂丘背後の完新統の堆積過程と砂丘列の発達との関連に注目して検討した.
完新世初期には,海岸部に砂州が発達し,背後に小規模な潟湖が形成されていた.約6,000年前の潟湖の最拡大期には,海岸部には海面上昇に伴って上方に累重的に発達してきた砂州が存在し,潮流口を通じて海水が潟湖に流入していた.約5,400～4,800年前には,上流からの急速な土砂供給に伴い,潟湖の埋積が進み,砂州は側方に成長するようになった.約3,400～2,400年前には,砂州背後で顕著な泥炭層が形成され,砂州列は現海岸線付近に達した.

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本研究の課題は,郡山市中心部における都心機能の分布および集積過程をとおして,中規模都市における都心機能の空間的な展開の様相を考察することである.本稿では,都心機能として小売機能,飲食機能,業務管理機能,宿泊機能を分析の対象とした.
平面的にみると,小売機能は伝統的に旧街道に線状に連担してきたが,その集積は核心部へと収束しつつある.飲食機能は,小売機能の背後に塊状に集積する傾向にある.一方,業務管理機能は,狭小かつ稠密な内部のブロックから,外周部のブロックへと移動または進出している.宿泊機能は,駅を中心とする旅館の卓越から,主要街路に面するホテルの集積へと変化した.その結果,都心機能の配置パターンは,小売機能および宿泊機能を核として,その周囲に飲食機能,最も外周部に業務管理機能が位置する,圏構造の平面的機能分化を呈する.垂直的には,低層階では小売機能,中層階では業務管理機能が優位であるが,高層階では飲食を除く3つの機能が混在する様相が明らかになった!

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This paper aims to draw a comparison between some major regions and cities in Japan on the basis of an analysis of the number of performances presented by foreign artists from April 1990 through March 1991. Due to data limitation, the analysis covers only the regions of Hokkaido, Metropolitan Tokyo, Tokai, Kansai and Kyushu, and the major cities in those regions.
While numerous analyses in Japanase urban research have been undertaken from a political and/ or economic standpoint, few have pursued a cultural perspective in a geographical context. Studies available on urban cultural areas quite often analyze only in terms of availability of related facilities and the like. In this sense, this study follows a relatively new viewpoint in investigating the attractiveness of cities and regions.
Metropolitan areas owe their growth to more than just economic factors, and one must not overlook the other attractions they offer. The number of performances presented by foreign artists, as shown in this study, are just one of the many sources of metropolitan attractiveness.
At the outset, the number of performances presented in the various regions and cities are enumerated. The results indicate that Tokyo (23 metropolitan wards) and its immediate environs had, predictably, the largest share of the numbers of performances; classical music concerts were predominant among them.
The number of such performances presented in Osaka was fairly high, but it significantly trailed that of Tokyo. However, if the greater Osaka metropolitan area including Kobe and Kyoto is thought to be a considerable increase in the number of performances in the area was evident. Nagoya and Fukuoka are unlike Tokyo and Osaka in that they have no other major city in close proximity; however, they had not so many performances. Sapporo in contrast, had very few performances by foreign artists.
27.3% of all the artists from overseas presented performances exclusively in the Tokyo metropolitan area; only 17.5% of all artists presented their performances in both Tokyo and Osaka metropolitan areas. Only 14.2% of the artists from overseas bypassed the Tokyo metropolitan area. And the fact that 38.7% of the artists did not present their performances in Osaka explains the significant difference between the two cities.
Thus, a significantly major portion of the performances presented by the foreign artists in Japan was in Tokyo. This phenomenon emphasizes a very high level of attractiveness of Tokyo commensurate with the drawing power of its great population. The overcentralization of Tokyo is not simply an economic and political phenomenon; it reaches far into the cultural dimension as well, as emphasized by the study findings.
The differences in the number of performances between the cities and regions is positively correlated with their population. The correlation factor among the population, the number of performances, and the total number of days of performances were found to be quite high, as may be seen in the correlation graphs (Figs. 1 and 2).

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