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「神戸女学院仕込み」のピアニスト小倉末子
https://doi.org/10.18878/00005619
https://doi.org/10.18878/00005619ba45eea1-5121-4d32-b643-93be97e726bd
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KJ00007675359 (1.1 MB)
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神戸女学院大学研究所
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||||
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| 公開日 | 2020-01-15 | |||||||||||
| タイトル | ||||||||||||
| タイトル | 「神戸女学院仕込み」のピアニスト小倉末子 | |||||||||||
| タイトル | ||||||||||||
| タイトル | Suye OGURA - a "Kobe College-educated″Pianist | |||||||||||
| 言語 | en | |||||||||||
| 言語 | ||||||||||||
| 言語 | jpn | |||||||||||
| キーワード | ||||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | 小倉,末子 | |||||||||||
| キーワード | ||||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | ピアニスト | |||||||||||
| キーワード | ||||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | 山田耕筰 | |||||||||||
| キーワード | ||||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | シャーロット・デフォレスト | |||||||||||
| キーワード | ||||||||||||
| 言語 | en | |||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | Suye,OGURA | |||||||||||
| キーワード | ||||||||||||
| 言語 | en | |||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | pianist | |||||||||||
| キーワード | ||||||||||||
| 言語 | en | |||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | Kosaku,YAMADA | |||||||||||
| キーワード | ||||||||||||
| 言語 | en | |||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | Charlotte・De Forest | |||||||||||
| 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 | 10.18878/00005619 | |||||||||||
| ID登録タイプ | JaLC | |||||||||||
| 著者 |
津上, 智実
× 津上, 智実
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| 著者所属 | ||||||||||||
| 値 | 神戸女学院大学音楽学部 | |||||||||||
| 要旨(日） | ||||||||||||
| 内容記述タイプ | Other | |||||||||||
| 内容記述 | Pianist Suye OGURA (1891-1944) was an alumna of Kobe College and a star pianist in Taisho and early Showa Japan. This paper examines three comments on her, one from 1923 by Charlotte B. De Forest and two others by Kosaku YAMADA in 1923 and 1951. In her 1923 book The Woman and the Leaven in Japan, Charlotte B. De Forest wrote affimative comments on Japanese female musicians, Hisa KUNO, OGURA, and Tamaki MIURA. OGURA was 'fascinating her audience by her touches' clearness and correctness, and further by her perfomance with thorough understandings of the composers' intentions'. On the other hand, in an article dated 30 January 1923, Kosaku YAMADA criticized pianists KUNO and OGURA severely, claiming that women are far weaker than men, and that, if a woman conquers this handicap, she loses her merits as a woman. He evaluated OGURA higher than KUNO, seeing her as 'stepping up nearer to the crux of the arts', but still commenting that 'Miss OGURA seems to restrict her precious feelings as woman too much'. Later, in his 1951 book Rhapsody of My Young Days, YAMADA wrote about his study in Berlin Music School that 'Ogura had no problem with the language because she had a German sister-in-law, but she could not receive kind treatment from Professor Barth at first, seemingly because she was educated at Kobe College, in contrast to HATTORI who was welcomed to Barth's class immediately'. However, all the articles and writings between 1912 and 1916, the period of OGURA's living abroad, reveal only favorable treatment by Barth for OGURA and HATTORI's dropping out from his studies in Berlin. YAMADA may have been clever to make use of the prejudice of his readers: HATTORI, a male educated at the national Tokyo Music School in the capital, should be superior to OGURA, a female educated at Kobe College, a private girls school in a western province. YAMADA's writings may have contributed to OGURA's oblivion after her death, so it is important to clarify the facts related to this pianist. | |||||||||||
| 書誌情報 |
神戸女学院大学論集 en : KOBE COLLEGE STUDIES 巻 58, 号 2, p. 113-127, 発行日 2011-12-20 |
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| 雑誌書誌ID | ||||||||||||
| 値 | AN00085725 | |||||||||||
| 出版者 | ||||||||||||
| 出版者 | 神戸女学院大学研究所 | |||||||||||
| 著者版フラグ | ||||||||||||
| 値 | publisher | |||||||||||
