東京芸術大学に於ける「ロシヤ語声楽教育」の二十二年間から

From 1973, the class of Russian songs was established in the vocal course of Tokyo National University of Fine Arts and Music. I began to teach this class, probably because I was the first Japanese student who sutudied at Moscow Conservatory. At the same time, in the postgraduate course, special master classes for Japanese, Italian, French and German songs were established. In this University, most young singers studied Japanese, Italian and German songs for a long time. A few students took lessons in French songs. I think the first class of Russian songs played a different role from the others. This treatise is a note on my teaching during the past twenty-two years and in it I indicate a few controversial points. To understand this problem, I will divide countries into three categories as regards vocal education. 1. Countries where Italian, German, French and Russian songs are sung. These countries have a long tradition of vocal music and much teaching material for beginners. 2. Countries where vocal music does not flourish. 3. England, America, Countries of Spanish and Portuguese, Israel, Japan, Korea and so on. For Japanese the problem is that most of the repertory is in foreign languages. In the case of instrumental education, it is easier to educate young instrumentalists because there is not a barrier of languages. In education for vocal music, young singers must face the problems of the technique for vocalism and style analysis as well as language. This condition raises the question whether to select songs of foreign languages is good or not. Because of our short history in vocal music, we Japanese must solve different problems from other countries that have long traditions of vocal music. This evidently is our musical destiny. Many universities of music in Japan were established, on the model of conservatories in Western countries. For this reason, we have not found useful solutions for our problems in education. To my thinking, Russian classes at our university are on trial. I hope this situation will continue to progress in the near future. In Japan, a apres-guerre, in the 1960's, few Russian songs or arias were known. But since the 1970's, Russian songs became part of the repertory in a recital or musical concourse. Young singers whom I have taught in my class have contributed remarkably to this situation, owing not only to their efforts but the high level of their performance. Specific sadness, dignified appearance and realism that Russian songs possess must exert a favorable influence on performance or composition in Japan.