“Diminution,” an improvisational embellishment technique in the Renaissance period, gradually changed from being “improvised” to being “written-out,” or “composed” in the transition of musical styles around the 1600s. This article aims to explore an early stage of the development of written-out diminutions in the sixteenth-century madrigal repertoire, focusing on the works of Baldassare Donato （1529–1603）.
   Donato, a Venetian singer, teacher, and composer, studied with Adrian Willaert and became maestro di capella of St. Marks Basilica in 1590. This article analyzes the first six pieces from his Il secondo libro de madrigali a quattro voci（1568）, which are embellished by abundant written-out diminutions. Especially, A qualunqu’animal alberga in terra, set to a sestina by Francesco Petrarca, shows a close relationship between written-out diminutions and a usage of mensuration signs: as the number of written-out diminutions increases, Donato also changes the sign from tempus imperfectum diminutum（¢） to tempo ordinario（C）. Donato also gives an ordinario sign to all his figurative madrigals, whereas he uses diminutum signs in non-figurative madrigals. This fact leads to further research on the style of written-out diminutions in each mensuration sign among the “Willaertians”, pupils of Willaert, and composers who were influenced by him. Through the study of madrigals by Willaertians, such as those by Vincenzo Ruffo, Jan Nasco, Cipriano de Rore, Perissone Cambio, and Costanzo Porta, the same tendency as the one found in Donato will be highlighted: they clearly distinguished between figurative madrigals in tempo ordinario and non-figurative madrigals in diminutum sign. After the introduction of note nere madrigal notations in 1540s, the central note values for compositions shifted into smaller values. Thus, compositions have approached the values which were used in improvisational diminution. Willaertians differentiated the style of their madrigals in mensuration signs and developed the style of the figurative madrigal in note nere notation.

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   Focusing on the church music theory written in the 1970s by Joseph Ratzinger, Pope Benedict XVI （r. 2005–2013）, this paper explores how he theologically summarized the “conflicts” between the liturgy and the arts ever-present in the history of the Catholic Church and attempted to overcome these “conflicts”.
   After the Second Vatican Council where the laity’s “active participation” had been encouraged, Ratzinger saw a problem with the tendency to think that practical songs were suitable for the liturgy regardless of their artistic value, while artistic and majestic church music was considered otherwise. He viewed church music as neither easy “Gebrauchsmusik （utility music）” for the congregation nor esoteric “Kunstmusik （art music）” that only the elite could understand. He considered church music as audible and sensible “menschliche Musik （human music）” which differs from “Musik des Kosmos （music of cosmos）” ─the praise of God hidden in the “cosmos”─ made possible through “Transposition （transposition）” achieved during the liturgy. He thought that “human music” had the same purpose as the icon, namely, an image of Christ as a visible and physical human being representing invisible spiritual God. Ratzinger maintains that in both church music and the icon, there was an actual replacement of spiritual beings by sensible beings, that is, “Transposition” as “Inkarnierung （incarnation）”: church music was not just a human product but a “gift” from heaven for the liturgy seeking to evoke the “voice of cosmos”.
   For Ratzinger, contemplating the relationship between the liturgy and the arts was nothing more than contemplating how the connection between spiritual and sensible beings should be understood, a question that had been critical in the theology since the time of the Church Fathers. The author believes that research on the postconciliar theology and liturgy facing the problem of how to reconcile with contemporary culture will profit greatly from findings on Ratzinger’s concept of liturgical music.

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   This study focuses on the singing culture of the prewar merchant marine schools and elucidates the interaction process between this and the culture of folk tunes. The author here defines the singing culture of schools as including not only the singing of school anthems and the likes（cheer songs and dormitory songs）, but also the entire repertoire of songs that students sing together. With this as a premise, this paper centers on Shiragiku-no-Uta from the merchant marine schools. This song was initially sung by the Oshima Merchant Marine School, was later turned into Shosei-tune, and finally became represented as the dormitory song which symbolized the Tokyo Nautical College.
   To trace the evolution of this song, this paper examines shifts in its melody, rhythm, and the way it was sung, as well as alterations in the Chinese poem used in the lyrics. The paper also analyzes songbooks and their repertoires published during that time, statements by the Tokyo Nautical College graduates, songbooks printed for the internal use, and comments printed in alumni magazines and newspaper articles.
   As a result, a few distinctiveness of the interaction between the singing culture of the merchant marine schools and the culture of folk tunes has been revealed. That is to say, in the process of oscillating between these two cultures, the song retained its traces as a（merchant marine）school song, even as some transformations occurred when it was turned into Shosei-tune; also, the song’s status continued to change as the singing culture of the Tokyo Nautical College was reorganized, even after it was accepted into this culture as a kind of folk tune. This paper also sheds light on the relationship that develops as the public’s and the merchant marine school students’ own perceptions of the representation of the “merchant marine school students” intertwine.

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   Die musikgeschichtliche Forschung versucht seit den 1980er Jahren, die musikalische Situation des Dritten Reiches insgesamt unter der Makroperspektive der Kontinuität zwischen Weimarer Republik, Drittem Reich und Nachkriegszeit in den Blick zu nehmen. Dagegen stellt die vorliegende Arbeit diese Kontinuität zwischen Weimarer Republik und Drittem Reich in Frage, indem sie aus der Mikroperspektive den historischen und ideologischen Übergangprozess von der deutschen Jugendmusikbewegung in die Weimarer Republik zur Musikarbeit in der Hitler-Jugend betrachtet.
   In den bisherigen musikgeschichtlichen Forschungen wurde die deutsche Jugendmusikbewegung als Wegbereiter der Musikarbeit in der Hitler-Jugend betrachtet. Demnach sei diese Bewegung schon in der Weimarer Republik dem Nationalsozialismus verwandt. Die Musikarbeit in der Hitler- Jugend hat zwar eine Arbeitsform wie die „Offene Singstunde“ und den Arbeitszweck, etwa die emeinschaftsbildung durch die Musikpraxis, von der deutschen Jugendmusikbewegung übernommen. Hingegen wurden Ideen, wie zum Beispiel das Konzept der zum Sozialismus neigenden Volksgemeinschaft, von dem Wilhelm Kamlah geträumt hat, oder das reformpädagogische Ziel, das Fritz Jöde erstrebt hat, nicht übernommen. Jene Fortsetzungen der äußeren Form der deutschen Jugendmusikbewegung sind Wolfgang Stumme dadurch gelungen, indem er das pädagogische Ziel von Jöde in der Hitler-Jugend aufhob und durch die nationalsozialistische „politisch-weltanschauliche Schulung“ als ideologisches Ziel ersetzte.
   Daraus lässt sich ableiten, dass die Musikarbeit in der Hitler-Jugend von der deutschen Jugendmusikbewegung nur die äußere Form übernommen hat, aber nicht deren Inhalt.

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