（知り合いの武蔵野音大出身の女性がやっと婚約をかわしたので
祝って詠んだ

露に満ちあふれ緑がひたすら地上の喜びを祝福する武蔵野に、玄宗と楊貴妃ではないが
比翼の鳥にならって羽根を交わし、末長い子孫繁栄の礎（いしずえ）を築いてください）

＊やうやう：ようやく、やっと ＊いひかはしければ：婚約したので
＊露しげみ：露が多いので ＊ことほぐ：祝福する
＊羽根を交はして：玄宗と楊貴妃の悲恋を描いた白居易の長恨歌に出てくる雄と雌が
一体となった比翼の鳥にちなんで使われる表現で夫婦の仲睦まじいさまを象徴する
＊おこさめ：始めとなってほしい

Musashino Academia Musicae was established 70 years ago by Naoaki Fukui as the first
private music academy in Japan. When we look back the history of music education
for the past 130 years in this country, we cannot help being amazed by the scope
and depth with which Meiji Period educaters tried to assimilate the western music.
When the group of Yamaha Original Music made a performance in London about two
decades ago, the local reaction was more than cynical. "Those children are good
imitators of our music but what about their own? " It's certainly cruel to ask this
question to the Japanese children because the Japanese have come into the western
music too far-to the point of no return-taking more than a century.There are many
well-known Japanese musicians in the world but each of them has this dillema- "Why,
being a Japanese, do I do the western music?"

When I saw a Kabuki stage by a Kobe American Highschool some decades ago, I was greatly
impressed by their brilliant performance. I think any form of art is a treasure of all human
beings. If you claim its authenticity based on the perticular race or culture of its origin, it's
nothing but a rigourism or, I would say, a racism.