@article{oai:kobe-c.repo.nii.ac.jp:00005745,
 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 = {本稿はソプラノ歌手永井郁子（1893～1983）と箏曲家宮城道雄（1894～1956）が1926年以降に行った共演の実態と意義を解明する。新聞・雑誌の記事と演奏会プログラムの調査から次の4点が明らかになった。 
　1）最初期の共演3回（1926年10月31日、11月7日、1927年2月27日）は異例とも言うべき大きな反響を呼んだ。
　2）永井の邦語歌唱運動（1925～1941）において、邦楽奏者と共演した実績を洗い出したところ、 最初の半年余りは専ら宮城と吉田晴風と組んだが、その後、地方都市では各地の邦楽奏者と共演し、 宮城の共演は東京に限られた。
　3）邦楽奏者との共演は32道府県に及び、植民地の樺太・朝鮮・満州・台湾と上海でも行われた。 会場によっては千数百名の聴衆が詰めかけて、永井が歌う宮城歌曲に聞き入り、事前に蓄音器商組合が永井のレコードコンサートを行うなど、レコード産業やラジオ放送の力も相まって、宮城歌曲の演奏と聴取を全国に広めていった。 
　4）永井にとって宮城との共演は、伴奏者の技量と音楽性によって演奏の質と聴衆の反応が大きく変わることを実感させた点で意義深く、互いに大きな財産となった。, This paper tries to describe the reality and significance of the joint performances of the soprano singer NAGAI Ikuko (1893-1983) and the koto musician MIYAGI Michio (1894-1956) since 1926. The following points have been made clear through my examination of the related materials including newspaper articles, both nationwide and local, music magazines, and concert programs. 
　First, their first three performances (October 31, 1926, November 7, 1926, and February 27, 1927) had enormous responses. 
　Second, while Nagai in more than the first half year sang exclusively with Miyagi and the Shakuhachi player YOSHIDA Seifu among traditional Japanese musicians, she later tended to collaborate with local players in the concerts outside Tokyo, and with Miyagi in Tokyo only.
　Third, her collaboration with traditional Japanese musicians took place not only in at least 32 prefectures in the Japanese mainland, but also in Colonial Sakhalin, Korea, Manchuria and Taiwan, and even in Shanghai. In  some concerts, a crowd of over a thousand people listened to Miyagi’s songs sung by Nagai, and Gramophone  trade unions held preliminary record concerts highlighting Nagai. Supported by the record industry and radio  broadcasting, playing of and listening to Miyagi’s songs sung by Nagai spread throughout the country. 
　Fourth, the partnership with Miyagi was significant for Nagai in realizing that the quality of the performance  and the audience’s reaction greatly depended on the skills and abilities of the accompanists. Nagai and Miyagi gained great benefits from each other.},
 pages = {97--114},
 title = {永井郁子と宮城道雄 ――共演の実態と意義――},
 volume = {67},
 year = {2020},
 yomi = {ツガミ, モトミ}
}