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明治大正期の『婦人画報』(1905～1926)に見るピアニスト小倉末子と閨秀音楽家たち
https://doi.org/10.18878/00001984
https://doi.org/10.18878/000019842555db6e-96f7-4e0c-b78c-1e7af8dbf5b9
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KJ00008226659 (1.5 MB)
|
神戸女学院大学研究所
|
| Item type | 紀要論文(ELS) / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2012-12-01 | |||||
| タイトル | ||||||
| タイトル | 明治大正期の『婦人画報』(1905～1926)に見るピアニスト小倉末子と閨秀音楽家たち | |||||
| タイトル | ||||||
| タイトル | Pianist OGURA Suye and Women Musicians Reported in the Women's Graphic Magazine Fujin Gahou in the Meiji and Taisho Eras (1905-1926) | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 婦人画報/小倉末子/ピアニスト/ピアノ/女性音楽家/明治大正期 | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Fujin Gahou/OGURA Suye/pianist/piano/Meiji and Taisho eras | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.18878/00001984 | |||||
| ID登録タイプ | JaLC | |||||
| ページ属性 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | P(論文) | |||||
| 論文名よみ | ||||||
| その他のタイトル | メイジタイショウキノ『フジンガホウ』(1905～1926)ニミルオグラスエコトケイシュウオンガクカタチ | |||||
| 著者名(日） |
津上, 智実
× 津上, 智実 |
|||||
| 著者名(英) |
TSUGAMI, Motomi
× TSUGAMI, Motomi |
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| 著者所属（日） | ||||||
| 値 | 神戸女学院大学音楽学部音楽学科 | |||||
| 要旨(日） | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | This paper reports the result of an examination of a women's graphic magazine, named Fujin Gahou, in the Meiji and Taisho eras, published since 1905 in Tokyo, in order to make clear how pianist OGURA Suye (1891-1944) and other female musicians were represented in its gravures and articles, and further to understand what position western instruments, particularly piano, held in female education in Meiji Japan. Ogura appeared six times in gravure pages, once in an illustration, three times in dedicated articles and five times in related articles. This number of times ranks, apart from incidental mention made e.g. of accompanists, first among the female Japanese instrumentalists and second, next to the prima donna MIURA Tamaki, among the female Japanese musicians in general. The female education in Meiji Japan made much of flower arrangement, tea ceremony and koto playing, but later also of western instruments such as violin and piano. While koto kept essential, piano became increasingly important as a part of female education, especially for young women who had graduated from high school and were preparing for marriage. The Fujin Gahou in the Meiji and Taisho eras had a reader's section for waka. When 'piano' was given as its theme in 1920, the contributed works showed a sharp contrast in terms of their internalization of this instrument against those in 1912 for the same theme. This difference reveals a gradual penetration of piano into the education and daily life of the Japanese women of this period. Graphic magazines such as the Fujin Gahou, carrying gravures, articles and advertisements, attracted and reflected a variety of interests of the then women at large. The result of this paper suggests that a more extensive examination of them will shed a revelatoty light on the role piano played in the female education in Early Modern Japan. | |||||
| 雑誌書誌ID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN00085725 | |||||
| 書誌情報 |
神戸女学院大学論集 en : KOBE COLLEGE STUDIES 巻 59, 号 2, p. 169-182, 発行日 2012-12-20 |
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