Kobe College Institutional Repository / 神戸女学院大学機関リポジトリ
Not a member yet
3171 research outputs found
Sort by
Musical Activities of the Tenor Soloist Graham Batter (1901-1992)
Get PDF本稿の目的は、昭和戦前期の日本でテノール独唱者として活躍した H. S. グラハム・バターHerbert Stanley Graham Batter（1901-1992）の活動歴を明らかにすることである。グラハム・バターは1925年に来日した英国人で、ヘンデルの《メサイア》（1927、1930、1934～1936、1938～1940年に出演、以下同じ）を始め、バッハ《クリスマス・オラトリオ》（1931）、シューベルト《ミサ曲》（1932）、シュポア《最後の審判》（1932）、ロッシーニ《スタバト・マーテル》（1932）、メンデルスゾーン《讃歌》（1933）、シュタイナー《磔刑》（1935、1939）等でテノール独唱者を務めて、声の美しさと歌唱の確かさで人々に感銘を与えた。英国で少年聖歌隊員として頭角を現し、パリやロンドンでオラトリオのソリストとして活躍した経歴の持ち主であり、優れたテノール独唱者として希少な存在であったことが知られる。《メサイア》の日本初演（1925）以降、次第に高まっていく合唱運動の中で、人々にオラトリオ歌唱の理想的なあり方を示した点で、音楽的・社会的に功績があったと考えられる。The purpose of this paper is to clarify the activity history of Herbert Stanley Graham Batter (1901-1992), who was active as a tenor soloist in Japan in the Showa prewar period. Coming to Japan in 1925 as an British businessman, Graham Batter performed remarkably well as tenor soloist of the following oratorios and sacred music : G. F. Handel’s “Messiah” (sung in 1927, 1930, 1934-1936, 1938-1940), J. S. Bach’s “Christmas Oratorio” (1931), F. Schubert’s “Mass” (1932), L. Spohr’s “The Last Judgement” (1932), G. Rossini’s “Stabat Mater” (1932), F. Mendelssohn’s “Hymn” (1933), J. Steiner’s “Crucifixion” (1935, 1939) and others. He impressed his audience with the beauty of his voice and the accuracy of his singing. He distinguished himself early as a boy soprano in England, and had a career as an oratorio tenor soloist in Paris and London.
He was also good in such light operas as Gilbert & Sullivan’s, giving impressive presentations of them in Yokohama and Tokyo. He often sang at church services, especially at the Yokohama Union Church. His repertoire included songs by Liza Lemann or Roger Quilter.
In contrast to these light or modern songs, which were enjoyed much in the circles of foreigners in Yokohama and Tokyo, oratorios and religious music like Handel’s “Messiah” had greater influence on Japanese society and culture.
When “Messiah” premiered in Japan in 1925, choral singing was developing in Japan. In this situation, he played an important role by showing people the ideal way of oratorio singing, with his excellent diction and musical interpretation as well as his unforgettable voice.departmental bulletin pape
Unmarkable Sentences and Causal Attribution Theory from the Perspective of Contrasting with Chinese
Get PDF中日無標識可能文類の相違を把握することを目的に、本稿は認知的アプローチを用い、日本語の無標識可能文とそれに対応する中国語可能文における知覚者の捉え方について考察を行った。その結果、日本語無標識可能文における知覚者にとって、「環境の属性」に対してより注目しやすいが、対応する中国語可能文では「環境の属性」と「行為者の属性」の双方が同時に注目される傾向があるということが窺えた。この違いは実は日本語無標識可能文による特徴的な視点、「臨時属性」を敏感に捉える性質につながると考えられる。また、「見える」と「見られる」の使い分けについて実証的に分析し、「臨時属性」が顕著に捉えられる可能用法の存在を裏付けた。In order to understand the difference between Chinese and Japanese unmarkable sentences, this paper uses acognitive approach to examine how perceivers perceive Japanese unmarkable sentences and the corresponding Chinese sentences. As a result, it is easier for perceivers to pay attention to “environmental attributes” in Japanese unlabeled sentences, whereas in the corresponding Chinese sentences, both “environmental attributes” and “actor attributes” are displayed at the same time. It can be seen that there is a tendency to attract attention. This difference is thought to be related to the characteristic point of view of Japanese unmarkable sentences, the ability to sensitively capture “temporary attributes.” In addition, I empirically analyzed the proper use of “mireru” and “mirareru”, and confirmed the existence of possible usages of “temporary attributes’’ that can be
conspicuously captured.departmental bulletin pape
