@article{oai:sucra.repo.nii.ac.jp:00017482,
 author = {神月, 朋子},
 issue = {2},
 journal = {埼玉大学紀要. 教育学部, Journal of Saitama University. Faculty of Education},
 month = {},
 note = {This article will consider the acceptance of the French modern music by the Japanese music society in the nineteen twenties which was on the way to create the tradition of the art music. The French music had become a matter of their concern from the three points : refuse of the predominance of the German classical music ; flourishing of the French music at that time and its own characteristics ; and charm of the city of Paris, the forefront of the arts.
After a brief survey of the acceptance in the fields of（1）composition,（2）concerts and records, （3）music books,（ 4）periodicals and books（including Japanese translations）,（5）education and（6）symbol of the anti-German music, it will be indicated that the Japanese music society recognized the characteristics of the French modern music not only as light, gorgeous, simple but also as inseparable of sensation from consciousness or conception. These are independent from the German sense of value and not its contrary. Such music is created by the French people, réalist and idéalist, as the Japanese people is.
The reflection of Paris in twenties is also an important factor for Japanese musicians : at that time Paris was filled with various music from the various countries, a center of the world music. French music, especially like Debussy or Ravel, is regarded as their mixture and as source of the oriental/Japanese expression. This problem of expression, the creation of our own music, must be examined not from the acceptance of the church mode or the pentatonic scale, but from the point of the world music, or the network of music from the different culture. This may be also an important
theme of our time., text, application/pdf},
 pages = {249--260},
 title = {近代日本の芸術音楽とフランス音楽の関わりについての試論 : 1920年代の『音楽新潮』フランス音楽特集号を対象に<人文・社会科学>},
 volume = {58},
 year = {2009},
 yomi = {コウズキ, トモコ}
}