Since the 1980s in America, beginning from the transformational theory proposed in D. Lewin’s Generalized Musical Intervals and Transformations （1987） and through H. Klumpenhouwer’s, B. Hyer’s, and R. Cohn’s studies, so-called Neo-Riemannian theory has developed. This theory has focused on the analysis of post-tonal and late-Romantic music. From the 2000s on, methodological and historical discussions have also emerged. One of the issues discussed is how Neo-Riemannian theorists have appropriated Hugo Riemann’s concepts. According to Nora Engebretsen’s article in 2011, although Riemann’s concept and taxonomy of the “Schritt /Wechsel” group on harmonic progressions（ Riemann 1880） have been replaced by “parallel,” “Leittonwechsel,” and “relative”（ PLR） transformations in Neo-Riemannian theory, there are fundamental differences in the views of chord relationships and tonality. In this sense, Neo-Riemannian theory has allegedly not only rediscovered Riemann’s theory, but also renewed it. It would be sure that such an assertion has certain validity. However, it must be reexamined in a more discourse-driven way by following three aspects: 1. the relationship between Riemann’s and A. Oettingen’s theoretical concepts （Oettingen 1866）, especially under the dynamics of Riemann’s harmonic theory including his later psychological turn（ Riemann 1916）; 2. the relationship between Riemann’s concepts and Neo-Riemannian transformations （PLR and others）; and 3. the relationship between Riemann’s concepts and Neo-Riemannian PLR transformations since the 2000s. Based on a closer observation from these perspectives, this article attempts to renew the preceding study’s viewpoint and to propose a developmental process of the concepts derived from Riemann.

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   Bei der vorliegenden Abhandlung geht es um ein Modell, nach welchem die Gemeinschaftsidee in der Jugendmusikbewegung entworfen wurde, sowie darum, welche Rolle die Musikpraxis gespielt hat, um die Gemeinschaftsidee zu verwirklichen. Insbesondere handelt es sich hier um Fritz Jöde, Georg Götsch, und Hans Freyer, die Autoren der „Werkschriften der Musikantengilde“, die von einer bekannten Gruppe der Jugendmusikbewegung veröffentlicht wurden. Dabei klärt diese Untersuchung ihre eigenen verschiedenen Gemeinschaftsideen in ihren Schriften auf, indem sie Thomas Turinos „The Possible“ als Analysebegriff beinhaltet, welcher alles, was wir hoffen, denken, wissen und erfahren, in Anwendung bringt.
   Fritz Jöde hat den Musikstil der Polyphonie als Modell der Gemeinschaftsidee verwendet. Er hat die Gemeinschaft, in der verschiedene Mitglieder ein Werk vollenden, konzipiert und die Musikpraxis als Moment, in dem verschiedene Personen zusammenkommen, diskutieren und eine Gemeinschaft bilden, gekennzeichnet. Georg Götsch hat den Stil der alten englischen Tänze als Gemeinschaftsmodell sowie die „Inseln“, die kleine Gemeinschaften bedeuten und das „Netz“, das die Gemeinschaften miteinender verbindet, als Metapher der Gemeinschaftsidee verwendet. Er hat die Musikpraxis als Mittel, um die Inseln zu bilden und miteinander zu verbinden, gekennzeichnet. Hans Freyer hat die Struktur der Entstehung von Musik als Gemeinschaftsmodell verwendet. Er hat die Gemeinschaft als „das soziale Gebilde“, das in einem lebendigen Tun aufgeführt wird wie ein Werk der Musik, gekennzeichnet und die Aufführung von Musik mit dem Aufbau eines Staates verglichen.
   Zusammenfassend lässt sich sagen, dass die verschiedenen, bunten Gemeinschaftsideen, die sich mit dem Wort „Gemeinschaft“ nicht völlig ausdrücken

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   The composition program at Tokyo Academy of Music was established by the Ordinance of the Ministry of Education （No. 13, 1931）, and was timely when one considers the increasing demand of official, nationalized programs as such at the time. Since then, the department of composition has been playing a significant role in the Japanese music scenes, but its curriculum has thus far not been sufficiently scrutinized. This study takes a closer look at the opening era of the composition program by examining primary sources that would reveal the aims and scope of the program.
   In 1932, students to major in composition were accepted to the academy for the first time. In its early years, two or three students entered each year. Professors of the course were Nobutoki Kiyoshi, Katayama Eitarō, Shimofusa Kan’ichi, and Gō Taijirō. Two other, Hosokawa Midori and Hashimoto Qunihiko, had just returned to Japan from studying abroad. The German composer Klaus Pringsheim also taught in the academy. Students often wrote music for Japanese poems and used the Japanese traditional scales, but the program was fundamentally based on music theories that the professors studied in their student years in Vienna or Germany. Some used foreign textbooks in composition translated by themselves, while the rest gave lectures based on their original theories.
   This study investigates the program’s curriculum, as well as the nature of course examinations. The author examined very closely historical documents （notes, reports, etc.） pertaining to the program, which are housed at the University Archive Center of Tokyo University of the Arts. This research sheds light on the contents of the lessons carried out in the department, one of the books used by the students preparing for the entrance exam for the composition department, and the theory of harmony that the students followed to learn the composition.

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