@article{oai:kobe-c.repo.nii.ac.jp:00002007,
 author = {津上, 智実 and TSUGAMI, Motomi},
 issue = {1},
 journal = {神戸女学院大学論集, KOBE COLLEGE STUDIES},
 month = {Jun},
 note = {P(論文), This paper reports the result of a thorough examination of a women's graphic magazine, named Syukujo Gahou,published from the year 1912 until 1923 in Tokyo, in order to make clear how pianist OGURA Suye(1891-1944) and the other female musicians were represented in its gravured and articles, and further to understand what position western instruments, namely the piano, had in female education in Meiji era Japan. Pianist OGURA Suye appeared seven times in the gravure pages, once in an illustration, once in an article and once as  a theme for poetry. Her appearance's frequency is second only to that of prima donna, MIURA Tamaki, as the head of Japanese female instrumental musicians. Female educations in Meiji era Japan made much of flower arrangement, tea ceremony, and koto playing, but gradually also of western instruments such as violin and piano. Its shiftfrom Japanese traditional koto to the new western piano happened from the end of the 1910s until the year 1920. The Piano Club of Osaka, established at  the beginning of the year 1918, showed active movements in Syukujo Gahou in the years 1920 and 1921. It was that time that piano was becoming more and more popular among Japanese women. A phrase in the volume of September 1920 of this magazine reports that every Mary, Jane,and  Laura was hooking up to the piano. It was just the time when OGURA Suye flourished as pianist in many concerts including at Osaka. The ezistence of OGURA and the other female musicians of that time could have encouraged the younger females in their developments as educated ladies.},
 pages = {121--132},
 title = {婦人グラフ雑誌『淑女画報』(1912～1923)に見るピアニスト小倉末子と閨秀音楽家たち},
 volume = {59},
 year = {2012},
 yomi = {ツガミ, モトミ}
}