@article{oai:sucra.repo.nii.ac.jp:00017668,
 author = {伊藤, 誠},
 issue = {2},
 journal = {埼玉大学紀要. 教育学部, Journal of Saitama University. Faculty of Education},
 month = {},
 note = {The purpose of this research is to shed light on the characteristics and trends of simple accompaniments for 219 songs in the singing texts from all six volumes of Teacher's Manuals currently in use in lower grade elementary school music classes. The reasoning for using simple accompaniments as research materials is based on the hypothesis that, since the proportion of supervising class teachers that are in charge of classes in lower grades is relatively high (compared with middle and upper grades), they will have many opportunities to use Teacher's Manuals, which are close at hand. In other words, it is easy to imagine that a teacher who is not adept at music would probably refer to the simple accompaniments included in the manuals (and not to the serious accompaniment parts).
The main items for analysis in this study were as follows: the number of measures; speed; key; existence of shifts; range; note density; accompaniment pattern; primary note fingering; harmony type; proportion of primary triads; and frequency of dominant seventh chord use. In virtually all accompaniments, except for certain songs, the right hand plays the melody (the same line as the melody of the song) and the left hand accompanies. Therefore, the “characteristics of simple accompaniments” in this paper will be limited to mentioning the result of analysis of the left hand (the music in the bass clef).
Our analysis focused mainly on primary triads. From the aspect of harmonic structure, the219 songs were divided into two groups. The materials that can be accompanied using only primary triads and dominant seventh chords were assigned to the Basic Harmony Group (92 songs), and the materials that consist of chords other than primary triads and dominant seventh chords were assigned to the Applied Harmony Group (127 songs). the bass notes were recognized, as were songs with a bridge passage that lent a feeling of extra color to the mood.)
Even with classes for lower grades, it is still important for teachers to give singing instruction while being aware of the harmonic flow. (It is also probably not a bad idea to make use of the chord symbols that are included in almost all of the materials.) If that is the case, then teachers should acquire the skill to play the parts given to the left hand, which are of relatively low difficulty, in advance of their everyday practice sessions. The results of analysis of these left hand playing methods made it clear that the Basic Harmony Group songs present a more simple way of accompaniment (based on rudimentary laws of harmony), and that among the left hand's movements of the Applied Harmony Group, those elements that put a “face” on a particular song, have been in serted in various places. It is perhaps important for one to get a taste of the beauty of the world of music created with functional harmony through one's own playing., text, application/pdf},
 pages = {51--60},
 title = {歌唱教材(低学年教科用図書掲載219曲)における簡易伴奏譜の特徴と傾向 : 主に「主要三和音の扱い」と「左手奏法」に着目して<教育科学>},
 volume = {62},
 year = {2013},
 yomi = {イトウ, マコト}
}