Usaburou Mbuchi and Keiichi Kataoka : Vocal Music-Works in the Muhlhausen Period of Johann Sebastian Bach : from the Viewpoint of Symbolic Expression, Ongaku No Tomo Sha, Tokyo, Dec. 1990.
In this study,I investigated the parody-relation of the secular-cantataNo.215<Preise dein Glücke，gesegnetes Sachsen> (BWV 215) (the first tune) and<Messe in h-moll> (BWV 232) (the twentythird tune and the twentyfifth tune asthe repeat-part) (Osanna in excelsis).As a result of this study，I could confirm that Bach did the parody very naturallyand large-heartedly on his mature and pure-musical conception，as the both worksare quite alike in these feelings and the atmosphere of these text.Further，I could recognize the symbolic technique of number on 3 and thesimple symbolic technique of a sensuous level.
In this study，I mainly investigeated the symbolic expressionof the cantata NO.215 <Preise dein Glücke，gesegnetes Sachsen>(BWV215).As a result of this study，I understood the symbolic expression ofthe cantata NO.215 was not all over found out precisely，but meltedlarge - heartedly in the pure-musical idea.Now，after this，I should like to study the parody-relation of thecantata NO.215 and (Messe in h-moll) (BWV232).
In this study，I considerd the parody-problem of 2 tunes (the second tuneof church-cantata No.12 (BWV12) and the sevevteenth tune of (Messe inh-moll) (BWV232)).I examined both tunes synthetically and minutely from the viewpoint ofbar-number，cycle and melody pattern of chacconne，tonality，kind andusing-way of accompaniment-instrument，contents and arrangement of text andchanges of tune-construction...As a result of this study，in Bach's parody-working to (Messe in h-moll)，I understood that Bach did the parody in earnest and he completed theuniversal and deep masterpiece，and his parody-working is always in harmonywith the world of symbolyc expression.Now，after this，I should like to continue to study the problems of parody bythe consideration of another part of parody-working of (Messe in h-moll).
This study follows my old ones on symbolic expression of J.S. Bach's music.In it，I started that the study of the problems on Bach's parody. This time，Iinvestigated the church cantata NO.12 in detail, and examined the contents of itssymbolic expression.(The cantata NO.12 was composed at 1714，and it was prodied to Messe inh-moll=Crucifixus⋯ as the oldest work.)As a result of this study，I understood that the cantata NO.12 is a mature workhabing almost all symbolic method of Messe in h-moll.Now，I should like to continue this study and investigate the parody-referenceof both works.
In this study，I considered the whole organization of Messe in h-moll，being founded on myold studies .→(1) A Study of Messe in h-moll (BWV 232) -General Consideration on theLocation of the Point at Issue basing on the Viewpoint of Symbolic Expression-，Journal of HumanScinces and Arts Faculty of Integrated Arts and Sciences The University of Tokushima Vo1.5 1998Tokushima，Japan pp.153-169 (2) A Study of Messe in h-moll (BWV232) -on theWhole Organization of One-，Journal of Human Sciences and Arts Faculty of Integrated Arts andScinces The University of Tokushima Vol.6 1999 Tokushima，Japan pp.159-208 (3) AStudy of Messe in h-moll (BWV 232) -on the Whole Organization of One- (Series)，Journal of Human Scinces and Arts Faculty of Integrayed Arts and Sciences The University ofTokushima Vol.7 2000 Tokushima，Japan pp.65-113In Chapter Ⅰ，I considered Messe in h-moll from the general viewpoint. (Paragraph 1→The circumstances of coming into existence on Bach's Messe in h-moll (theexistence-year，the intention of composition) ，Paragraph 2→ the structure ofMesse in h-moll (the method of arrangement and organization，the problemson the mental world) )In Chapter I，I considered each tune of Messe in h-moll from the sectional viewpoint.(Paragraph 1→ key， Paragraph 2→ time， Paragraph 3→ the number of the part， Paragraph 4→thenumber of the bar， Paragraph 5→the method of composition)In Chpter Ⅲ，I wrote the conclusion according to the contents of Chapter Ⅰ・Ⅱ .→(1)Bach compiled his last work (Messe in h-moll) ， being resigned to death. (2) In Messein h-moll， all of Bach's view of life・religion・art・music are embodied with the highest level.(3) In this work， we can't find the useless points and the real musical world is in perfectlyharmony with the Christian-metaphysical one. (4) Messe in h-moll is the ecumenical workwhich is Catholic though it is based on the Protestant thoughts. (5) This work is very attractiveand universal，so it is loved by the people of every period，race，religion and culture. (6) WhenI look over this work from the symbolic viewpoint，it seems to me that the all symbolic elementsare contained in it，so I think that we can almost understand the attraction and the university of itby the keyword SYMBOL. (7) It seems to me that the words in this work takea role of the native and original symbol.Now，after this, I should like to study the problems of parody， that is tosay, to study the tunes which are the foudations of Messe in h-moll and through its study, to deepen my understanding on one.
This study follows my old ones on symbolic expression of J.S. Bach's music.To embody the subtitle of this study，I referred to the circumstances of coming into existenceon <Messe in h-moll> in Chapter Ⅰ，and in Chapter Ⅱ，I arranged my ideas inthe form of three clauses (1. a synthetic analysis of < Messe in h-moll > 2. the problemsof parody on < Messe in h-moll > 3. the final philosophical and aesthetic consideration).As the aim of this study is the investigation of the location of the point at issue basingon the viewpoint of symbolic expression in the study of < Messe in h-moll >，so to speak，it carries a part of an introduction to the studies of < Messe in h-moll > in the future.Concerning the studies of < Messe in h-moll > in the future， I foresee the extending overa long period， because it is a work on a grand scale of Bach's later years and its circumstancesof coming into existence is very complicated.Anyway， as for me， I schould like to continue this study little by little within the limitsof my ability.
Previously，I wrote a paper"音楽科教育学の構造について-山本文茂氏の見解をめぐって"(Journal of the Faculty of Integrated Arts and Sciences，The University of Tokushima，Humanities，Tokushima，Japan pp.63-75 1992). In the paper， I investigated Mr.Yamamoto's structure-diagram of music-pedagogy (as subject in school)，and compared itwith one of myself. Through the study，I could confirm that the opinion of Mr.Yamamoto was very persuasive and it would be a very important theoretical-base for thefuture development of this learning，and my previous opinion corresponded to Mr.Yamamoto's one in many respects.After that，the book "音楽教育研究の方法と分野"written by Mr. Yamamoto was publishedon the 25th of October in 1992，which showed the compilation of his study about theproblems for the construction of music-pedagogy (as subject in school). The contents ofthis book are very much similar to his opinion which I investigated in the study "音楽科教育学の構造について-山本文茂氏の見解をめぐって"， and they are more detailed， morewell organized and can be more clearly understood than his previous studies.In this paper，I investigated the contents of the book adjusting the focus of his construction-diagram of music-pedagogy (as subject in school)， and I showed my tentative plan onthe construction-diagram of music-pedagogy ( as subject in school).My plan is fundamentally one which follows Mr.Yamamoto's opinion，but I think thatit is more organized and it has a more dynamic image than his structure-diagram.However，as my construction-diagram is written in the form of a plane figure，I shouldlike to construct the diagram in the form of a three-dimensional picture.