This study examined Fritz Jöde' s teacher education in the Youth Music Movement (“Jugendmusikbewegung”) in twentieth century Germany, by analyzing two historical documents : a report on the teacher education course for “Volksmusikschule” (schools for singing and music making for all ages) in 1925, and a petition for the improvement of the course for “Volksschule”'s (compulsory education) teachers, which was carried out from 1926 onward. Jöde was a leader of the Youth Music Movement. The idea of the movement was to revive the inner senses of “Leben” and “Erosgemeinschaft” among people through active participation in music. The purpose of Jöde' s teacher education was to educate participants to be teachers, so that they conduct their music education based on the ideas of the movement. The main feature of this teacher education was that participants had to acquire not only artists' music abilities and the ability to implement music education, but also understand ideas of the movement with respect to the character-building force of music. The main method of teaching was “Arbeitsgemeinschaft,” in which participants worked out educational ideas and developed their own educational values through cooperative discussion. This method was intended to create autonomous teachers capable of teaching according to their own judgment.

  The purpose of this study is to reveal the substance of the Contemporary Music Project's activities during its final phase. The activities in final phase consisted of three categories : Program 1 “Professionals-in-Residence,” Program 2 “Teaching Comprehensive Musicianship,” and Program 3 “Complementary Activities,” Program 1 “Professionals-in-Residence” was an activity to send resident musicians to communities. In this program, each musician was given a great liberty about the contents of his/her activity, and as a result, the efforts by each musician assumed a different aspect. Program 2 “Teaching Comprehensive Musicianship” had the goal to make some music educators develop new methods for teaching Comprehensive Musicianship. Among them, the project of Standifer and Reeder was important because it intended multicultural education through analytical leaning of the structure of minority's music. Program 3 “Complementary Activities,” as its name indicates, included many types of odd jobs that would complement Program 1 and 2. As I mentioned above, the activity of the Contemporary Music Project during its final phase had two dimensions, i. e., a propaganda aspect that distributes the previous achievements, and a progressive aspect that permits further diversification caused by each actor.