A limited number of studies have been conducted on touching technique by Yogo teachers. The present study aimed to understand current practices of the touching technique and its recognition by Yogo teachers and also to investigate the practice in relation to the nature and the specialty of their duties using a questionnaire survey.

A self-administered anonymous questionnaire survey was conducted to 340 participants of incumbent Yogo teacher workshops held at four cities between July and August, 2010. The questionnaire consists of questions on demographic characteristics, current practices on the touching technique and recognition towards the technique（249 questionnaires collected, return rate: 73.3％）.

Results showed that 95.2％ Yogo teachers use the touching technique while corresponding with students. On the other hand, it has been speculated that Yogo teachers have less opportunities to attend training sessions for the touching technique and relied upon their own experiences. From the factor analysis on occasions which Yogo teachers use the technique, the technique was categorized into “touching for daily communication purpose”, “touching for anticipated psychological effects”, and “touching for physical relations”. Each category was related to each other and showed significant（p＜0.01）correlations with “positive reactions and changes of children”. Factor analysis on perceived effects of the touching technique extracted three factors, namely “effects on mental and physical recovery and drive for mutual trust”, “effects on Yogo teachers and health room”, and “effects on approval, protection and value for existence”.

Associations between the touching and other practices were also examiend and actions including “verbal support using consoling wordings”were significantly（p＜0.01）correlated. It is estimated that touching actions with “verbal support using consulting wordings” is an important element of the touching technique by Yogo teachers.

本稿は、1930年前後のハーモニカ音楽界の状況を、1937(昭和12)年の東京市小学校ハーモニカ音楽指導研究会(東ハ音研)とその上部組織である全日本ハーモニカ連盟(全ハ連)に焦点を当てて明らかにし、小学校へのハーモニカ導入史の一断面を解明することを目的とする。具体的には、当時のハーモニカ界がおかれていた状況を如実に表す事象として、全ハ連の設立と、日本演奏家連盟との間で起った「ハーモニカは玩具か?」騒動に着目した。そして、どのような社会的音楽状況の下で全ハ連が東ハ音研を設立するに至ったのかを考察した。1930年以降に小学校にハーモニカ音楽が導入されるようになった背景には、学校現場からの内的な動機や要求だけでなく、「ハーモニカは玩具か?」騒動に象徴されるハーモニカ界全体の停滞的状況や、これを打開しようとするハーモニカ界の人々や楽器メーカーの思惑という学校外の音楽状況の存在が明らかとなった。