In order to apply the physical 1/f^β fluctuation analysis to the musicological style analysis, we measured the adjusted β-values of the logarithmic plots of the power spectrum density functions, estimated by the Blackmann-Tukey method, from the zero crosses and the energy envelopes of the sound data of all the solo pieces composed by Debussy and Ravel and played by Paul Crossley. The results are that those spectra show approximately 1/f although each has its own individual profile, that on zero cross Ravel' s meanβ-value is, although slightly, significantly smaller than Debussy' s and relatively near 1/f , and that Debussy' s mean coefficient of determination R² of β-values is higher. This slight but significant difference may reflect the close relation of these two composers on musical style.

抄録全体を表示

本稿は空間的広がりを持たない文字テクストのうちジャパニーズ・ロックの歌曲を対象として，「まち」という舞台（空間）がいかなる情緒や想いと結びついているのかについて，記号表現というシニフィアンと記号内容というシニフィエの二つに焦点を当てながら分析を試みた。その際，研究対象時期を2000年以降とし，2000年代と2010年代に区分して，BʼzとMr.Childrenの全歌曲について分析・考察した。分析の結果，2000年代においてはBʼzの歌曲タイトルという記号表現と「まち」表現とが結び付いていないこと，他方，Mr.Childrenの歌曲タイトルは「まち」と何らかのかたちで結び付いた記号表現として出現していることが明らかとなった。また，記号内容としての歌詞の分析からは，BʼzとMr.Childrenに共通して，倦怠感や孤独感といったネガネティブな感情を持ちながら「まち」で生活する様子を綴っている。そうしたネガティブな感情に立ち向かう意思や自らを鼓舞するかのような表現も両グループの歌詞に通底している。2010年代になると，両グループともに歌曲のタイトルの付し方に変化が見られるが，2000年代と変わらず，Bʼzのタイトルでは「まち」表現との関連が弱いこと，そしてMr.Childrenのそれでは日本語タイトルが「まち」表現の記号表現として働いていることが改めて確認された。一方の記号内容としての歌詞分析からは，両グループともに，2000年代に見られた倦怠感や孤独感といったネガティブな雰囲気を纏った歌詞が消えた。また，Bʼzの「まち」表現の曲においては過去・現在・未来のいずれかを歌っている一方で，Mr.Childrenのそれにおいては現在・未来のいずれかに想いを馳せるかのような歌詞となった。

抄録全体を表示

　保育者養成校における「音楽」の授業で学生が習得することが望まれる様々な項目の中にピアノ奏がある。本学ではピアノ実技を通してピアノ演奏の基礎技術を習得し、その技能を高めることにより保育・幼児教育の現場に即応実践力を養い高めることを目標においている。ピアノ演奏技術の習得においては既成の楽曲を弾く演奏技能を高めるだけではなく、弾き歌い、伴奏法、連弾奏、即興演奏等多様な手法を学ぶことで「活用できるピアノ奏法」が身につき保育の現場での実践力となる。音楽専門家教育ではない部分でこそ多様な演奏手法を習得することでピアノ演奏の面白さを知り積極的に演奏する機会が増えてより音楽の楽しさを味わうこととなると考える。本稿ではピアノ奏におけるコード奏（伴奏部分はコードネームを標として自分で和音を付けて演奏する）に着目しその習得の実践からコード奏の指導内容を考察する。

抄録全体を表示

　本研究の目的は, ピアノ初見視奏時の演奏エラーに関わる視線移動の実態を探索的に明らかにすることである。エラーを起こしやすい音程が広く音の跳躍の大きな演奏箇所のある楽曲を用い, (１) 演奏時の視線位置, (２) 演奏エラーの有無, (３) 鍵盤を確認するタイミング, (４) 演奏エラー時の視線移動を明らかにした。上級者と中級者は, 音の跳躍する演奏箇所に入る前に, 演奏エラー防止のため, ほとんどの場合鍵盤を確認した。演奏エラーのない場合, 上級者は0.8拍から１拍前に, 中級者は0.6拍から１拍前に鍵盤を確認した。中級者は, 跳躍した音の前音を延長し鍵盤を確認することも多かった。上級者はほとんどエラーを起こさず, 中級者は多くのエラーを起こした。中級者のエラー後の弾き直しは約半分に見られた。弾き直し前の中級者の視線位置は, 楽譜の方が鍵盤より多かった。結果から鍵盤の早い確認がエラー回避に寄与することが示唆される。

抄録全体を表示

It is largely agreed that the origin of dangdut, the most popular music in Indonesia, is musik Melayu. This paper highlights the changes and development of this musik Melayu, which was played by orkes Melayu in 1950-65.
 In 1951-54, Malayan films were so popular in Indonesia that the music in these films, especially P. Ramlee's songs, were favorites with Indonesian people and many orkes (musical groups) imitated and played P. Ramlee's songs. The most popular orkes Melayu at that time were Orkes Melayu Sinar Medan and Orkes Melayu Kenangan. In 1954-58, Orkes Melayu Bukit Siguntang reached the peak of its popularity, through such popular singers as Hasnah Tahar, Nur'ain, and Suhaimi. They combined diverse musical influences, including Indian and Latin music, with musik Melayu and composed songs that differed from the previous orkes Melayu. By 1959, Orkes Melayu Bukit Siguntang had declined in popularity under the onslaught of rock 'n' roll, although Serodja, a solemn Melayu song sung by Said Effendi, was a big hit in 1959-60.
 In the development of the concept of “Indonesia” following the “sumpah pemuda” (youth oath) of 1928, polemic about how a new Indonesian culture should be created, arose among intellectuals. This polemic was known as “polemik kebudayaan (Culture Polemic).” Kroncong was regarded as national music (musik nasional) because kroncong songs were composed and sung to encourage the Indonesian people during the war of Independence. But the popularity of kroncong had declined by 1954. Musik Melayu was then popular, but musik Melayu was not regarded as national music. Rather, it was thought of as a lower form than other kinds of music and as one type of ethnic music in Indonesia. The term Melayu had been used to indicate Indonesia, as in Bahasa Melayu (Bahasa Indonesia). But the term Melayu in musik Melayu referred to one of the ethnic groups in Indonesia. Orkes Melayu was called orkes Harmonium before the 1950s. But the name was changed to orkes Melayu because its musical style was largely influenced by Malay (Melayu) film songs.
 Sukarno criticized rock 'n' roll in his speech of 17th August 1959 as decadent and culture-imperialistic. In this leftwing political atmosphere, western culture like rock 'n' roll and film was restricted. In its place, Minangkabau (West Sumatera) songs became popular in 1960 as a good model of Indonesian national culture.
 Under these conditions, Orkes Kelana Ria was formed in 1962 and released a remarkable first album entitled “Kafilah.” Ellya Agus, one of the singers of this orkes, sang several Indian-influenced Melayu songs. Orkes Melayu had usually utilized gendang besides violin, , acoordion, clarinet, contrabass, guitar, and trumpet. But Orkes Kelana Ria utilized suling and gendang, two indispensable musical instruments for dangdut, for the first time. However, these songs by Ellya Agus were banned under the stronger leftwing political atmosphere, together with other young bands like Kose Bersaudara, because of the strong Indian and western influence displayed.

抄録全体を表示

　This paper focuses on the educational content and its characteristics in the training of kindergarten teachers in Fujian and Jiangsu Provinces of China, which were advanced regions for Christian missionary work in the early 20th century.
　First, the paper considers the educational background of Christian women missionaries prior to their arrival in China, and clarifies the specialization of skills of them. Second, the paper clarifies the specific training education that took place in each of the Christian kindergarten teacher training institutions in China at the beginning of the 20th century. In particular, this paper examines the characteristics of educational content and their relation to the professional knowledge of women missionaries.
　Each missionary organization established their own kindergartens in various regions during the early days of kindergarten education in China. With the spread of kindergarten education in China, the demand for kindergarten teachers increased, and each region began to train their own kindergarten teachers. Many of these missionaries were women, trained to become teachers in their home countries. For example, Bertha H. Allen, the first principal of Fuzhou Union Kindergarten Training School, completed her kindergarten coursework at Los Angeles State Normal School. There, she studied subjects related to early childhood education, including science, art, theory, play, handicrafts, storytelling, , psychology, music, observation, education, teaching, programs, and hygiene. Among these subjects, especially in the subject called theory, Froebelʼs educational thought and the teaching methods of Gift were taught.
　Second, this paper focuses on the subjects of Suzhou Kindergarten Training School and Fuzhou Union Kindergarten Training School. The following four subjects are common to both schools :
(1) Subjects related to the essence and purpose of early childhood education: kindergarten principles, Froebelʼs life, play and theory.
(2) Subjects related to the content and methods of early childhood education: play, drawing, music, and stories.
(3) Religious subjects : Bible and Old Testament characters, Gospel of John.
(4) General education subjects.
　The characteristics are as follows. First, Froebelʼs educational thought was taught. Graduates of the kindergarten teachers training institutions had learned and understood the importance of education for mothers, the idea of play, and childrenʼs spontaneous play with Gift, as advocated by Froebel. Second, the establishment of academic subjects at these training institutions related to the women missionariesʼ educational background prior to their arrival in China. For example, the educational content at Fuzhou Union Kindergarten Normal School, including handicrafts, music, play and theory, drawing, as well as the life of Froebel were believed to be based on the expertise that Principal Allen held prior to arriving in China.

抄録全体を表示