In 1932, Japanese physicist, Shohei Tanaka （1862-1945） invented a Japanese just intonation reed organ （hereafter J-JIRO） which improved upon his German JIRO （i.e. Enharmonium） designs. In his main work, The Foundations of Japanese Harmony（1940）, Tanaka classified JI into “JI”, “authentic-JI”, and “broad-JI”. It is unclear, however, which of these he had in mind for his J-JIRO design.
   From this work, I have inferred that the Enharmonium does not produce enough harmonic sevenths because of its “authentic-JI” design. And thus, Tanaka designed a J-JIRO which does produce enough harmonic sevenths. Primarily by examining this inference, I will clarify which JI type he had in mind for his J-JIRO design.
   First, I outlined how 53-JI and its close approximation, 53 equal temperament, form the basis for Tanaka’s tuning theory. Then I showed that the J-JIRO is not tuned to JI, but to 1/8 schisma temperament, which goes against conventional thinking. Next, I analyzed 31 tones, from 21 Japanese “JI” reed organ keys. This analysis confirmed that the J-“JI”RO produces 5 more “harmonic sevenths” than the Enharmonium. These 5 are an approximation of the harmonic seventh’s （7:4） substitute interval （225:128）. Lastly, my research strongly suggests that he had “authentic-JI” （5-limit JI） in mind for the Enharmonium—to which, I theorized in an earlier paper, 53-ET was applied— and “broad-JI”（ 7-limit JI） for the J-“JI”RO.
   Tanaka had a type of JI in mind for the J-“JI”RO, which was different from the Enharmonium JI. A significant reason for this difference could be that he, through his study of traditional Japanese music, along with musicologist Hisao Tanabe and others, cultivated an ear for intervals which do not fit into the framework of Western harmonic theory. The concrete verification of this is a subject for future research.

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   The aim of this work is to examine how Kaija Saariaho used the compositional technique of spectral music with the computer programs that were developed at the Institut de Recherche et Coordination Acoustique/Musique （IRCAM） for the creation of Lichtbogen. The compositional technique of spectral music is primarily based on two ideas: “model” and “process of transformation.” We study how Saariaho developed these two ideas for Lichtbogen by focusing on the analyses of the computer program data and the sketches that she elaborated during the composition.
   The idea of “model” can be seen in Saariaho’s approach, which consisted of analyzing the sound of the cello with the computer program, IANA, and using the results as chords in the work. The “process of transformation” can be seen in the manner in which she prepared the rhythmic material from the interpolations that were calculated by the computer program, Formes. The important observation here is that Saariaho did not directly use the data calculated by the programs. However, she did not hesitate to transform or to adopt parts of the computations to obtain the material that she needed. In fact, Saariaho’s use of the compositional technique of spectral music was not strict but more unrestrained.

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   This paper, based primarily on Guido Adler’s book Methode der Musikgeschichte（ 1919）, argues that the aesthetics of music as a discipline in his musicological system is equivalent to psychological aesthetics, by referring to psychological theories of his time. Parallelly, in the context of his relationship to Austrian Philosophy （or the Brentano School）, it also attempts to penetrate the interface between psychological aesthetics and “analysis of content” （Inhaltsanalyse） proposed in his book as a method of “style-criticism”（ Stilkritik）.
   Many previous studies on Adler have focused on his criticism of traditional aesthetics. Adler indeed criticizes the aesthetics of music for its speculative and idealistic character in his writings: “Umfang, Methode und Ziel der Musikwissenschaft” （1885） and his Methode-book, but nonetheless classifies it as a discipline of Systematic Musicology in his well-known table of musicological disciplines. Therefore, it seems one-sided to emphasize his negative attitude towards the discipline. This paper considers Adler’s opinions on aesthetics, psychology, and the Austrian philosophy, which previous researches have discussed separately, while comprehensively referencing texts of other authors cited by him. Through this intertextual reading, I will interpret his idea of Inhaltsanalyse as a node to tie the above disciplines together.
   Reviewing Adler’s criticism of aesthetics, the first section illuminates that the aesthetics of music as a musicological discipline refers to psychological aesthetics. The second section examines his opinions of Kretzschmar’s musical hermeneutics, Dilthey’s hermeneutics, and Lipps’s theory of empathy in regard to Inhaltsanalyse. The last section discusses the interface between Inhaltsanalyse and psychological aesthetics by scrutinizing Kreibig’s article “Beiträge zur Psychologie des Kunstschaffens” （1909）. From these considerations, mapping the constellation of ideas between Adler’s thoughts and psychological theories, it is expected to be revealed the latent discord between historical and descriptive psychology in his text.

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   Veränderte Reprise ist der Begriff, der aus der 1760 erschienenen Sonatensammlung Sechs Sonaten fürs Clavier mit veränderten Reprisen von Carl Philipp Emanul Bach （1714-1788） stammt. Er bezeichnet eine ausgeschriebene Wiederholung eines Formabschnittes, wobei auch vom Komponisten selbst ausgeführte Veränderungen mit notiert sind. Joseph Haydn （1732-1809） griff diese Methode wohl um 1760 auf und wandte sie auf verschiedene instrumentale Gattungen an. Der vorliegende Beitrag befasst sich mit der Sinfonie und zielt darauf ab, Haydns kompositorische Strategie anhand veränderter Reprisen kleinerer Formabschnitte analytisch zu untersuchen.
   In der herkömmlichen Literatur wurden Haydns veränderte Reprisen im Allgemeinen nur sporadisch erwähnt und oftmals vorschnell als Beleg für C. Ph. E. Bachs Einfluss auf Haydns Schaffen abgetan, ohne dabei den Werkkontext, in dem sie stehen, zu berücksichtigen. Aus einer näheren Betrachtung sinfonischer Sätze geht jedoch hervor, dass Haydns Verfahren entscheidend von gattungsspezifischen Bedingungen geprägt ist: Insbesondere in den späteren Sinfonien, die für öffentliche Aufführungen in Paris oder London komponiert wurden, liegt der Schwerpunkt weniger in der melodischen Veränderung als vielmehr in dem Ton- bzw. Klangfarbenwechsel und der dynamischen Variation. Diese dienen oftmals dazu, spezifische Wirkungen auf das im Konzertsaal anwesende Publikum （Erwartungen, Überraschungen, Täuschungen） auszuüben, wie es zum Beispiel im Andante der Sinfonie Hob. I:94 oder im Kopfsatz der Sinfonie Hob. I:102 der Fall ist.
   Bei Bach ist die niedergeschriebene Tonfolge lediglich eine Möglichkeit der Variation, da seine Absicht darin lag, überflüssige Veränderungen des Klavierspielers zu kontrollieren und zugleich die „richtige“ Art und Weise der Variationskunst exemplarisch darzustellen. Demgegenüber fungiert Haydns veränderte Reprise in der Sinfonie als ein unentbehrlicher Bestandteil der kompositorischen Strategie, die durch das Orchester vermittelte Kommunikation zwischen dem Komponisten und Hörer zu lenken. In diesem Sinne weist Haydns Verfahren einen zentralen Unterschied zu dem Bachs auf, dessen Blick primär auf den Aufführenden gerichtet ist.

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   The purpose of this paper is twofold. First, it will demonstrate how Japanese women who have graduated from girls’ high schools live with music. Second, it will present the case of musical prac-tice in the living space.
   I surveyed materials （the family newspaper “Danran” and many scores collected in Japan and abroad） on Komai Shizue. She graduated from a girl’s school in Matsuyama and attended Kobe College. Music education at those schools was different from both universal music education in Ja-pan （Shoka） and special education to become a musician or music teacher at Tokyo Academy of Music.
   After graduation Shizue gained considerable experience in the world of music. She taught Eng-lish and music at several girls’ high schools. She took piano lessons in New York twice a week, en-joyed listening to numerous concerts, and collected many scores covering baroque, classical, roman-tic, and modern music.
   After returning from America, Mr. and Mrs. Komai lived in an American home, which was planned by W. M. Vories （1880-1964）, who came from America as an English teacher. They fur-nished the living room with a piano and a bench, which made it possible to have four-hand perfor-mances. While she led an active life, for example, she travelled to Tokyo and abroad, served at Kyofukai （Japan Christian Women’s Organization, 1886-）, which included musical programs at regular meetings and congresses, she still enjoyed playing the piano.
   In Japan, the existence of pianos at home was often considered a status symbol of the middle class. The case of Shizue suggests the self-disciplined musical experiences by alumni of girls’ high schools. In this framework I intend to bring further depth and add to existing research about the lifelong learning of western music in Japan.

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