Musikalische Kunstwerke im strengen Style von J. S. Bach und andern Meistern, a musical score series published by Hans Georg Nägeli was hitherto primarily explored only in the field of Bach research. Few studies focussed on Nägeli’s interest in the strict style and the fact that he highly assessed Bach in the framework of this style. However, it is apparent from both the letters sent by Nägeli to other publishers and the publication announcement appeared in Allgemeine musikalische Zeitung that Nägeli collected not only Bach’s music but also the works of the composers from the sixteenth to eighteenth centuries in the strict style. This study aims to investigate Nägeli’s focus on the strict style from（ 1） aesthetical and（ 2） historical aspects as follows:（ 1） Nägeli’s music aesthetics emphasises on Spiel, the nature of the free style. However, detailed reading of Nägeli’s Vorlesung der Musik reveals that even the strict style can be compatible with Spiel and that imitative art, which the free style lacks, can be considered an advantage of the strict style. （2） Nägeli highlights that the strict style is succeeded by the free style and that the works of the former are significant, even for all musicians belonging to the latter’s age. Additionally, Nägeli advocates the test of time, which selects works, even by the grand master such as Bach. This perspective can be inferred as Nägeli’s attempt to pass the real masterpiece in the strict style to the future generation, which already survived for several years, with significance not only to the contemporary but also to the future ages. Supported by such a profound insight, Nägeli’s publication of the series is comprehended as a good example of the inclination after the turn of the nineteenth century to the canonisation of the previous styles and works.

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   Drawing on the church music theory written in 1864 by Albert Gereon Stein, a church musician and Catholic priest, this paper examines what kind of common understanding of church music he shared with his contemporary critics and how he perceived the relation between church music and the worship of the church.
   Objecting to bring the secular, such as opera and the instrumental music, excessively into the church, Stein expressed the Masses of the three great masters of the Viennese classics were not appropriate to the worship of the church. Although he had agreed with the creed of “the Cecilian movement,” he didn’t merely regard the Masses as having been “corrupted.” He realized the Masses as music to express the religiousness of the new age by distinguishing the “church music” appropriate to the worship from the other “religious music” and separating the Masses from the “church music.” We can see this by his agreement to the studies of the critics close to “The New German school” such as Franz Brendel, who discussed about the church music without the consideration of the worship. By accurately evaluating the Masses which is unsuitable for church services, Stein groped for how the “church music” should be as regards the worship.
   We generally think that the Cecilianists pursued the ideal to the old style and kept a distance from the new art, but Stein took a different path from it. His method to decouple the Masses from “church music” doesn’t merely deny the secularity of the Masses, but it was an attempt to compromise with them. His study shows a struggle of the “modern” Catholic intellectuals to adapt to the modern times. Moreover, it also contributes a new perspective to understanding of the Cecilian movement, which has often been said to represent the Catholic Church’s retrogression.

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   This paper examines the piano solo work For Away composed by the Japanese composer Toru Takemitsu in 1973. Timothy Koozin, in his 1988 dissertation, attempts to clarify the structural coherence of this piece by using the set theory. In it he emphasizes the exclusive importance of two interval classes, （01） and （06）, in providing structural continuity for the entire composition. In Section 1 of this paper, I argue against such a view by placing an emphasis, instead, on the triadic readings of several chords used in this composition, thereby offering an alternative approach for the analysis of this piece, based on the harmonic vocabulary of older music. The following section focuses on the construction of sonorities and indicates that there are two cases to be considered: the case where （01） and （06） are being emphasized, and the case where they sound as a part of the derivatives of the triadic sonorities. In Section 3, I shift my focus to the examination of the creative environment surrounding For Away and of Takemitsu’s essay on his travel to Bali. The composer had traveled to Bali just before he composed this piece, and there he was deeply impressed by the gamelan, the traditional ensemble music of Bali. Takemitsu found in the gamelan the beauty of scale-based improvisation. Takemitsu was also affected by the way in which the music manifested itself as though emerging from the relation between the self and the others. Takemitsu found a conceptual equivalence of the “scale” and “relation” through that experience. I then point out that the octatonic scale occupies a privileged position in For Away, which enables Takemitsu to express, musically, a correlation between different musical cultures. Thus, the close ties between Takemitsu’s creative vision and his composition are to be clealy presented.

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   Marie Jaëll, pianiste et compositrice française du XIXe siècle, est aussi connue en tant qu’éducatrice et théoricienne ayant usé de méthodes originales dans l’éducation du piano, influencées par les sciences positives de l’époque. Parmi le large éventail de ses activités, « l’utilisation des empreintes digitales » nous intéresse particulièrement pour cet article: une des méthodes les plus centrales dans ses recherches. Notre objectif: déchiffrer les bases scientifiques présumées soutenir théoriquement et esthétiquement cette méthode singulière de Jaëll; mais aussi revaloriser sa pensée musicale née dans la pratique de cette méthode. Dans ce but, nous démontrons d’abord que les empreintes digitales introduisent dans sa théorie le sens tactile comme facteur primordial, puis analysons le rôle unique que Jaëll lui attribue.
   Jaëll a initialement adopté les empreintes comme un moyen “objectif ” d’enregistrement des mouvement du pianiste. Cependant, ces empreintes deviennent ensuite selon Jaëll l’indice ou le moyen d’une « cérébralisation » parfaite du mouvement artistique, mouvement que Jaëll a poursuivi pendant toute sa vie en tant qu’idéal. Notre article observe que derrière cette conception unique se trouve un lien beaucoup plus subtil, voire caché, avec les nombreuses discussions d’alors autour du langage et du langage musical dans le domaine de la « psychologie pathologique » de l’époque.
   Notre étude met en effet en lumière qu’une des clefs les plus remarquables de la théorie du jeu pianistique de Jaëll consiste en la réévaluation originale qu’elle fit du sens tactile, considéré comme le plus corporel, en lui donnant un rôle davantage intellectuel censé organiser ou synthétiser les éléments du langage musical. Enfin notre conclusion tente d’établir que les empreintes digitales enregistrées, bien que devenues bien dépassées en tant que méthode scientifique, se trouvent entre la graphie scientifique et “l’image” esthétique. En cela, elles jouent un rôle critique irremplaçable pour la formation de telle philosophies musicales comme celle de Marie Jaëll.

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   Concentration of the research mainly on the composer’s personal style ─ the long-lasting problematic tendency in the Beethoven-studies ─ has been changing these days. However, many of his contemporaries are yet out of analytical discussion, although such examination is necessary to fully understand Beethoven’s music.
   Anton Eberl （1765-1807） has attracted little attention in the Beethoven-studies too. However, both composers lived in Vienna during the same period and their works partially shared similar timelines in creation and reception, which suggests that they may have been acquainted with each other: Eberl’s symphony op. 33 and Beethoven’s Eroica were performed in the same concert and dedicated to Prince Lobkowitz; and their string quartets were both performed in Schuppanzigh’s public concert. Moreover, their works in question reveal several musical proximities （Jackson 2016; Maruyama 2017）.
   In addition, the following observations may be made: first, their music share common characters, such as shifts of tonal framework by thirds and boldness in the harmonic/formal plan etc.; second, the distinct techniques like deviation from the conventional thematic/formal structure, and constructing a piece as if it were already in process at its opening by beginning a movement with development of a small motive or gradual clarification of the home key, both of which characterize the works relating Beethoven’s “Neuer Weg”, are partly found in Eberl’s works.
   Furthermore, their cello sonatas, Eberl’s op. 26 and Beethoven’s op. 69, show many musical parallels: the home key, A-major, the unclear independency of each movement and other detailed similarities in harmonic plan and musical texture. Interestingly, Eberl’s work was publicly performed by himself and the cellist who also made a guest appearance at the concert’s entrepreneur of Eroica. Therefore, Beethoven possibly heard their performance. These multiple relationships both outside and inside of the musical works imply that their similarities could be inspired by the interaction within a musical circle they joined in, and shared by the other contemporaries belonging to it too.
   By showing these multiple parallels, this paper introduces Eberl into the comparative study of Beethoven’s music. The present study shall demonstrate that it is through comparative examination of Beethoven’s contemporaries that will enable us to have a fuller picture of the creative world in which Beethoven lived.

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