@article{oai:kobe-c.repo.nii.ac.jp:00005857,
 author = {津上, 智実 and TSUGAMI, Motomi},
 issue = {2},
 journal = {神戸女学院大学論集, KOBE COLLEGE STUDIES},
 month = {Dec},
 note = {本稿はソプラノ歌手永井郁子（1893～1983）が1925年に開始した邦語歌唱運動において、訳詞者の堀内敬三（1897〜1983）が果たした役割とその背景の解明を目的とする。
　永井は従来の楽界の慣習であった（1）外国曲の外国語歌唱、（2）特別賛助出演、（3）持ち回りによる切符販売、の3つを破ることを宣言し、黎明期にあった日本の楽壇に論争を巻き起こしつつ、日本語で芸術歌曲を歌う可能性を広く示した。そこには学生時代からの永井の積年の問題意識が先鋭化されている。
　一方の堀内は、若い時から継続的に訳詞を手掛け、開局直後の日本放送協会の洋楽担当者時代（1926〜1931）にも訳語による番組制作に力を注ぐと共に、その必要性を論じた。
　堀内も永井も、当時の日本の楽界および「新しい聴衆」の教養と理解力とに鑑みて、邦訳歌詞から始めることが必要であるとの理解を共有していた。父の死による永井の運動開始と、堀内の日本放送協会入りとが相前後したことも幸いして、両者の協力による邦語歌唱運動は成功裡に始動した。後にラジオ出演を巡って2人が些細な諍いから決別するに至ったのも、各々の自負心の高さの故と理解するべきだろう。, This paper aims to clarify the contribution of the translator HORIUCHI Keizo (1897-1983) to　the “Singing　in Japanese” Movement started by the soprano singer NAGAI Ikuko (1893-1983) in 1925.
　NAGAI declared to break three practices of the Japanese musical world of that time, namely, (1) to sing western art songs in the western languages, (2) to invite guest musician(s) to the recital for special performance, (3) to charge pupils with a certain number of tickets. Arousing controversy in the then young musical world of Japan, she showed the possibility of the Japanese language for sung high-art texts, by giving recitals all over Japan and also by radio performances. It was an actualization of her long-standing conception of her mother tongue from her student years.
　Having translated numerous western song texts from his youth, HORIUCHI made effort to produce broadcasting programs with Japanese translations in his directorship in the Japan Broadcasting Corporation (1926-1931) and also to make it recognized in some journal articles. He translated expressly for NAGAI numerous texts for the songs by Richard Strauss, Hugo Wolf and others.
　NAGAI and HORIUCHI shared the view that it was necessary to begin artistic singing in Japan with Japanese translations of western art song texts, in consideration of the knowledge and understanding both of the musicians and of the “new audience”, which was enormously enlarged by the start of radio broadcasting in 1925. They aimed through it to encourage Japanese musicians to compose high-quality Japanese art songs.
　Fortunately enough, NAGAI started her movement soon before HORIUCHI’s entering to the Japan Broadcasting Corporation. It was by their cooperation that the “Singing in Japanese” Movement made a successful start. Their breakup to come in five years by a trivial conflict may be considered to be a necessary result of their sublime but different ideals.},
 pages = {91--106},
 title = {永井郁子と堀内敬三：邦語歌唱運動の開始とその時代},
 volume = {68},
 year = {2021},
 yomi = {ツガミ, モトミ}
}