{"created":"2024-02-06T04:54:36.579609+00:00","id":2000150,"links":{},"metadata":{"_buckets":{"deposit":"b51ee0ff-614a-47c9-8247-4f28b25efac5"},"_deposit":{"created_by":21,"id":"2000150","owner":"21","owners":[21],"pid":{"revision_id":0,"type":"depid","value":"2000150"},"status":"published"},"_oai":{"id":"oai:kobe-c.repo.nii.ac.jp:02000150","sets":["40:1693203673259:1693203904796"]},"author_link":["5889"],"control_number":"2000150","item_10002_biblio_info_30":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2023-12-20","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"2","bibliographicPageEnd":"69","bibliographicPageStart":"53","bibliographicVolumeNumber":"70","bibliographic_titles":[{"bibliographic_title":"神戸女学院大学論集","bibliographic_titleLang":"ja"}]}]},"item_10002_description_28":{"attribute_name":"要旨(日）","attribute_value_mlt":[{"subitem_description":"本稿の目的は、ヘンデルのオラトリオ《メサイア》の本邦演奏史において、先駆的な役割を果たしてきた同志社の初期の演奏について、その実態を現物史料に基づいて明らかにすることである。同志社交響楽団 OB 会から提供されたメサイア・ファイル第1冊所収のプログラム19点（1933〜1974）と前窪一雄『同志社混声合唱団年譜稿』（2004）を主たる対象として、実際にどの楽曲が演奏されたのかを調査した。\n　その結果、1）戦前の演奏では第2部〈ハレルヤ〉で終わっていたが、戦後は第3部の終結合唱まで演奏されるようになったこと、2）1955年の三大学合同演奏は、同志社の公式カウントでは除外されているが、同志社《メサイア》演奏史上、重要な分岐点となっていること、3）1954年までは同志社混声合唱団主催で合唱指揮者が指揮したが、1955年以降は同志社交響楽団主催で学外か指揮者を招く形となったこと、4）1965年以降の「復活メサイア」で、演奏曲目はほぼ安定し、プラウト版で補遺に置かれた⚗曲をカットする習慣が保持されたこと、等が判明した。\n《メサイア》演奏史は、世相を映すと同時に、同志社の精神史の一端を雄弁に物語ってくれる。","subitem_description_type":"Other"}]},"item_10002_description_49":{"attribute_name":"要旨（英）","attribute_value_mlt":[{"subitem_description":"This paper aims to clarify the actual contents of Doshisha’s early performances of G. F. Handel’s oratorio Messiah (1741), based on historical materials such as concert program booklets, as Doshisha is known to be a pioneering force in the performance history of this oratorio in Japan.\nBased on the nineteen program booklets (1933-1974) in the first volume of the Messiah files provided by the Doshisha Symphony Orchestra Alumni Association and Kazuo Maekubo’s Doshisha Mixed Chorus Chronology(2004), it has been searched which numbers of Messiah were performed in each performance of the oratorio.\nAs a result, the following points were clarified. 1) The prewar performances of Messiah concluded with the final chorus of the second part, “Hallelujah,” omitting the whole third part, but after the war, the performances were expanded to the final chorus of the third part. 2) Although the joint performance of Messiah by three universities（Doshisha Symphony Orchestra, Kwansei Gakuin Glee Club, and the Music School of Kobe College）in 1955 is excluded from Doshisha’s official count of ‘All Doshisha Messiah performances’, it seems to be an important turning point in the history of Doshisha’s Messiah performances. 3) Until 1954, they were sponsored by the Doshisha Mixed Chorus and conducted by the chorus conductors, but after 1955, they were sponsored by Doshisha Symphony Orchestra, conducted by professional conductors invited from outside of the University. 4) After 1965, sponsored by the All Doshisha Messiah Executive Committee, the number of pieces performed for “Revived Messiah” remained almost constant, clearly retaining the custom of cutting out the seven bnumbers placed in the appendix in the popular version edited by Ebenezer Prout.\nThe performance history of Messiah reflects the social situation at the time and simultaneously provides a glimpse into Doshisha’s spiritual history.","subitem_description_type":"Other"}]},"item_10002_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.18878/0002000150","subitem_identifier_reg_type":"JaLC"}]},"item_10002_select_43":{"attribute_name":"著者版フラグ","attribute_value_mlt":[{"subitem_select_item":"publisher"}]},"item_10002_text_31":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_text_language":"ja","subitem_text_value":"神戸女学院大学研究所"}]},"item_10002_text_47":{"attribute_name":"著者所属","attribute_value_mlt":[{"subitem_text_value":"神戸女学院大学 名誉教授"}]},"item_10002_text_48":{"attribute_name":"雑誌書誌ID","attribute_value_mlt":[{"subitem_text_value":"AN00085725"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"津上, 智実","creatorNameLang":"ja"},{"creatorName":"TSUGAMI, Motomi","creatorNameLang":"en"},{"creatorName":"ツガミ, モトミ","creatorNameLang":"ja-Kana"}],"nameIdentifiers":[{"nameIdentifier":"5889","nameIdentifierScheme":"WEKO"},{"nameIdentifier":"1000020212053","nameIdentifierScheme":"CiNii ID","nameIdentifierURI":"http://ci.nii.ac.jp/nrid/1000020212053"},{"nameIdentifier":"20212053","nameIdentifierScheme":"KAKEN-研究者検索","nameIdentifierURI":"https://nrid.nii.ac.jp/ja/nrid/10000##/"}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_access","date":[{"dateType":"Available","dateValue":"2024-02-06"}],"displaytype":"detail","fileDate":[{"fileDateValue":"2024-02-06"}],"filename":"202312_191-06.pdf","filesize":[{"value":"702 KB"}],"format":"application/pdf","license_note":"神戸女学院大学研究所","licensetype":"license_note","mimetype":"application/pdf","url":{"url":"https://kobe-c.repo.nii.ac.jp/record/2000150/files/202312_191-06.pdf"},"version_id":"3ebba2a5-d714-4bae-bcc4-6cd606240789"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"同志社","subitem_subject_scheme":"Other"},{"subitem_subject":"ヘンデル","subitem_subject_scheme":"Other"},{"subitem_subject":"メサイア","subitem_subject_scheme":"Other"},{"subitem_subject":"演奏史","subitem_subject_scheme":"Other"},{"subitem_subject":"合唱研究","subitem_subject_scheme":"Other"},{"subitem_subject":"Doshisha","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"Handel","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"Messiah","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"performance history","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"choir studies","subitem_subject_language":"en","subitem_subject_scheme":"Other"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"同志社のヘンデル《メサイア》演奏史 ―― 初期の試みから復活第10回（1974年）まで ――","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"同志社のヘンデル《メサイア》演奏史 ―― 初期の試みから復活第10回（1974年）まで ――","subitem_title_language":"ja"},{"subitem_title":"Doshisha’s Performances of Handel’s Messiah, from its Beginning to 1974","subitem_title_language":"en"}]},"item_type_id":"10002","owner":"21","path":["1693203904796"],"pubdate":{"attribute_name":"公開日","attribute_value":"2024-02-06"},"publish_date":"2024-02-06","publish_status":"0","recid":"2000150","relation_version_is_last":true,"title":["同志社のヘンデル《メサイア》演奏史 ―― 初期の試みから復活第10回（1974年）まで ――"],"weko_creator_id":"21","weko_shared_id":-1},"updated":"2024-03-08T00:46:39.631122+00:00"}