The purpose of this paper is to analyze the viewpoint of teaching materials used in a vocal music class (SHOKA) by Zengo Aoyagi, a music teacher from Attached Elementary School of Tokyo Higher Normal School. In particular, the study refers to Zengo Aoyagi's criticism of DOYO (a children's song composed in Taisho era in Japan).

  His viewpoints on the criticism of “DOYO” are as follows :

    1) It was not permitted by the Ministry of Education.

    2) Its composition form was not based on the Western music.

    3) It was very difficult for primary school children to sing.

  By analyzing these viewpoints, this study suggests that his criticism is based on “Musikalische Aesthetik”.

  Music education and music culture in German-speaking Switzerland in the first half of the nineteenth century were characterized by the reform of school music education, based on Pestalozzianism and the rise of the choral movement. Hans Georg Nägeli (1773-1836) was closely involved with both of these movements. The aim of this paper is to revaluate the historical meaning of his ideas and activities from both of these viewpoints. Although researchers of the history of music education have formerly tended to value Nägeli as a methodologist of Pestalozzianism, this view does not fully describe his accomplishments. Nägeli's aim in music education was to elevate human nature. While he began his activities with music education in schools, he subsequently extended the scope of his activities to public art movements, in this manner building up the image of modern Swiss people as possessing both “Selbstständigkeit” as human beings and “Mitständigkeit” with others, through polyphonic choral singing. He formed and practiced a consistent theory to that extent. Moreover, he established and developed this practice as an association movement, which emphasizes the modernity of his music education and choral movement. That is to say, Nägeli's reform of music education was a movement towards the reformation and creation of public culture in a broad sense.