本論文では、J.S. バッハの作品においてルターのがどのように扱われているかを見ていく。バッハがルターのを多く用いたことは先行研究でも度々指摘されているが、用いられ方の全体像を提示した研究はないため、本稿では一覧表等も用いてその全貌を示し、特徴等を明らかにする。なお、本稿では扱うルターのをルター作詞の44とする（表1）。
    バッハ作の約200曲のオルガン・コラールのうち、53曲がルターのに基づく。『オルガン小曲集』では、当時のがかなり網羅的に選ばれた様子が観察された。声楽作品では、コラール・カンタータ53曲のうち11がルターの全体を土台にしている。それ以外の教会音楽では46作品中の58楽章、四声体コラールの26作品にルターのが使われている。バッハの声楽作品で用いられた370ほどの詩節のうち、100がルター作である（表2-4）。ゲルハルトのとの比較からは、バッハがルターのを高い割合で用いただけではなく、オルガン曲を含めて幅広く用いたこと、コラール・カンタータで多く採用したことが分かる。
    バッハの頃に最も広まっていたのはルターのだとされるが、バッハの参照した4つのが占める割合は1～9％に過ぎない。これらのが挙げられ、ルターのを重視するのは当時の教会、あるいは集編纂の方針にも沿うことであったろう。だがそれでも今日に伝承されるバッハのオルガン・コラールや用いられた詩節の4分の1以上がルターのであることは特筆に値する。本論文では、データの上からもバッハがルターのを頻繁に用いたことを裏付け、用い方の特徴を明らかにし、逆に用いられなかったについてはその理由を考察した。

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Although South Korea has a long history of printing and publishing, the traditional activities of publishing during its infancy, and the influence of Japanese Imperialism have yet to be fully researched.

To clarify the circumstances of the early stages of modern publishing in Korea, this essay will introduce the publishing activities of Christian missionaries, and the influence they exerted. The historical roles played by these missionary activities will also be evaluated.

Chapter One will observe the political arena about the time of the opening of Korea (1876) and the circumstances of publishing in general. Chapter Two will refer to preparatory activities of Christian missionaries in Japan and Manchuria before their entrance into Korea. Chapter Three will outline the activities of American missionaries in Korea during the 1880s and '90s, i.e. the printing and publishing of translations of the Bible and other religious documents. Chapter Four will comment on the publishing of the Christian doctrine, which gradually established itself after the 1890s, and Chapter Five will observe the influence of Christian publishing on publishing in general in Korea.

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子ども文化の中でも，日本の子どもの歌は多種多様で，その豊かさには目を瞠るものがある。それは，かつて近代化を急ぐ日本において導入された西洋音楽と従来の日本の伝統音楽とのせめぎ合いの中で唱歌や童謡が生まれ，さらにはレコードから始まり，ラジオやテレビ，また最近ではゲーム，ネットなどの各種メディアの目覚ましい普及に伴い，子どもの歌が量産されてきたからである。このような多種多様な子どもの歌の混在は日本独自のものとも考えられるが，だからと言って野放図なままに量産と消費を繰り返すだけでことは済まないであろう。とくに保育の場にあって子どもの歌は，発達にも関わり重要である。

本稿は，唱歌の成立に関わったとされる

に着目し，「子ども」を視座に子どもの歌とは何か，さらには子どもたちにとって歌とは何かについて改めて問うものである。

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In recent years, music therapy has come to be applied in the field of medicine, but few studies have focused on psychosomatic disease in senescence. Yet the number of such patients is increasing. A somato-psychological approach can be more effective than verbal communication for aged patients detective in the latter. Thus, in this report, music therapsy is applied for patients of psychosomatic ciseases in senescence. The subjects were 14 patients of psychosomatic diseases aged 65 to 81,or 75.4 on average. The mathod taken was as follows : patients were made to listen to music of their prefernece for 30 to 60 minutes with a body somic apparatus when they visited the hospital for consultation. The affects of therapy were recorded through interviews and questionnaires. Music was found effective for about 70% of patients at short intervals. In the most significant results, favorable chages were found between skin temperature before and after music therapy. "Enka", traditinal Japanese singing, was the genre commonly preferred by most patients. Music therapy was also applied for patients in terminal stages of somach cancer and patients of Alzheimer's disease, and showed favorable effects. Active music therapy involving singing and dancing was subsequently applied for 15 inpatients and outpatients at a hospital for the aged who requested such therapy. Seventy-theree percent of the patients reported feeling "good", while 13.5% of them felt "neither good nor bad" and the remaining 13.5% felt "bad". As described above, music therapy was applied for patients of psychosomatic diseases in senescence as well as gerontic diseases, and it was concluded that music therapy is useful. How to apply music therapy for patients of psychosomatic deseases in senescence and the effects of such application were also discussed and reported.

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Influx, mixture or estrangement of cultures from the West to the East violently took place from the end of the 19th to the beginning of the 20th centuries. Following the currents of Sinoism and Japonism, many Westerners streaming into the Far East brought with them the music and culture of their countries. As a result, contact and cultural exchange occured between China, Japan and the Wset. It is of great interest to trace the development of intercultural communication.
The present paper will focus on three points: 1) after acculturation, how to establish Christian music, and how to incorporate Chinese music into it; 2) in intercultural communication the relation in terms of the influence power of both parties, that is, between the sender and receiver; and 3) how to place this phenomenon in the history of musical study. From theses three perspectives, the writer interprets materials used in her paper and develop a diagramatic framework for the reception of Protestant Christian music in China.
The writer mainly treat the articles on the Chinese recorder as the materials recorded by the sender and the articles in Sheng-ge yu Sheng-yue as recorded by the receiver, and the Hymns in Chinese published in China as the result of acculturation.

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Our vision of Charles Ives's music and his career has been changed by the redating of his manuscripts and many other researches in recent years. With reference to these researches, in this paper, I reconsidered about the chronological date, compositional procedures, techniques, and backgrounds of Ives's Fourth Symphony which had been regarded as a synthesis of his music. Based on the recent chronology, this symphony was started to write in an unusual year: the next year of his serious heart attack. This redating has made it possible to think about the reason of the religious program and massive use of self-borrowing in this symphony. Based on the recent analysis of his composition itself, this symphony is an unusual piece, even for Ives himself. But, from a viewpoint of the compositional procedures, this symphony is the piece that shows most purely one of Ives's own compositional manners, that is, to write some musical backgrounds or contexts that transfigure sounds of the borrowed materials.

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アリス・テグネールは、子ども期特有のものの見方、感じ方や生活や遊びの世界を反映した膨大な数の歌を創作し、「子どもの歌」の概念の形成に寄与した。テグネールによる子どもの歌が20世紀前半までの初等教育における音楽科の授業に与えた歴史的意義は、礼拝で扱うが主な教材であった時代に、 宗教教育に従属した音楽の授業の目標から音楽的感受の形成という教育による人間形成を目指す目標への転換を促す実践的な力となり、新しい目標を実現し得る音楽的環境 (教材を構成する子どものための文化的素材) を学校内外で用意した点にある。本稿で分析した音楽教科書は、編纂過程、曲目の分類や配列、題材、民間伝承歌の集成、押韻詩による音楽的特質、構図や挿絵の効果等、幼児学校用音楽教科書として画期的な特徴を持ち、民衆学校制度発足以降の変遷をたどった音楽の授業における教材の歴史の到達点がそこに表れていると意義づけられる。

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