Inclusive Creative Music-Making is proposed to expand creative music education based on the TAS model (Tsubonou, 2020, 2021) for children with special educational needs. The author clarifies the objectives of Inclusive Creative Music-Making through the- oretical deliberations and suggests a framework based on the TAS model. Moreover, the contributions of a clinical developmental psychologist as an adviser on the TAS model are examined. Finally, the author discusses four practical steps and the collaboration by the TAS team conducting class activities for Inclusive Creative Music-Making by reviewing two case studies.

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Music education in deaf schools in Japan usually focuses on visual information. This study proposes a new curriculum for hearing-impaired children based on Schafer’s A Sound Education which I used to teach music to hearing-impaired children at a deaf school in Aomori over two school years. Throughout the study, participation observation was utilized to discern the behavior of the students. Six elementary and two high school students were selected as participants to practice the sound education exercises. Analysis of the observation data revealed that these exercises helped hearing-impaired children to hear various sounds, suggesting the necessity of music classes based on sound education. Keywords: sound education, hearing-impaired children, participation observation

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The study examined music-creating activities in childcare centers in Japan, focusing on activities involving picture books, and explored new ways of supporting childcare through musical play. We held a trial session on music-creating activities inspired by reading picture books, and conducted a questionnaire survey on participating parents to clarify the musical play between parents and children at home. The results showed that hand-clapping, belly-drumming, and foot-tapping sounds found in picture books were easy for children to imitate. The results also suggested that there is a need to develop activities that parents and children could engage in together. Therefore, we conducted an analysis of picture books and suggested several such musical activities.

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Focusing on the educational value of the pentatonic scale, we conducted two workshops to clarify how participants use the pentatonic scale to “create,” “share,” and “develop” music. In the first workshop, high school students created music using various instruments, and in the second workshop, elementary school students created music using Song Maker in the Chrome Music Lab. The results of the analysis of the video data and the evaluation of the emotional aspects of students using the association method revealed the following three points: 1) Almost all the participants willingly joined the activity and created music; 2) Beginners, experienced participants, and musicians listened to each other and shared each other's sounds; and 3) Considering what they had acquired in each activity, they developed their music at each stage.

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