Studies on the Inventing Process of a Japanese National Music as New and Anti-Christian Traditions

本研究旨在解释组织和个人对创造民族音乐作为一种新的，宗教的和反基督教的传统的贡献，得到以下结果。从明治十年开始，各种组织开始创作校歌，宫廷诗人如井井和斋子在这些组织的歌曲创作中发挥了重要作用，并担任词曲作者。在新英格兰音乐学院的钢琴教学体系中，采用了拜尔的《克拉维斯皮尔斯Vorschule im Klavierspiel》练习。日本的第一所音乐教育机构是在音乐学院的协助下成立的，并作为拜尔的《克拉维斯皮尔斯钢琴学习》教材之一被引进。在明治十一年的《会报》中，首次使用了“日”和“亮”的调式符号系统。明治二十四年和二十五年，宫廷乐师根据海军陆军部的要求，为军事仪式创作了新的旋律。在大正和昭和初，皇室的宗教仪式中，雅乐的练习和表演数量进行了改革，并一直延续到今天。1881年，冈田直介在神奈川县阿夫里神社出版了供神道教信徒使用的歌曲书。根据前言，这本书中包含的歌曲是几年前引入的，作为对基督教赞美诗传播的反应，因此是现代日本最早的歌曲制作例子之一。后来冈田直介被任命为Koten Kokyu Sho的教授，Koten Kokyu Sho是一所成立于1882年的新神道学校，虽然他从未开始在那里教书，但他似乎对学校的音乐教育也有一定的影响。

This research, that intended to explain the contribution of organizations and persons to invent the national music as a new, religious and anti-Christian tradition, got the following results.From the 10th year of Meiji, an approach to school songs was made by various organizations The Imperial court poets as for example Kabe Izuo and Saisho Atsuko took an important part in the song production of these organizations and worked as songwriters.In the piano instruction system of the New England Conservatory of Music the exercises from F. Beyer's "Vorschule im Klavierspiel" were used. The Japanese first institution of music education was assisted by the Conservatory and introduced as one of the instruction books F. Beyer's "Vorschule im Klavierspiel".The modal notation system of the "Ritse and "Ryo" was used first in the 11th year of Meiji in the "Hoiku-Shoka." In the 24th and 25th year of Meiji, the Imperial Court musicians composed new melodies for military ceremonies asked from the Ministry of the Navy and Army. The practiced Gagaku-pieces and the number of performances in religious ceremonies of the imperial-household were reformed at the beginning of Taisho and Showa and then continues till today.In 1881, a song book for the use of Shinto believers was published at the Afuri shrine in the Kanagawa prefecture by Gonda Naosuke. The book contains songs that were, according to the foreword, introduced several years before as a reaction against the spread of Christian hymns and thus are one of the earliest examples of song production in modern Japan. Later Gonda Naosuke was appointed as a professor at the Koten Kokyu Sho, a new Shinto school founded in 1882, and although he never began to teach there, it seems that he had some influence also on school music education.