In this article, the author discusses the development of a Noh study program, the practice of this program at a local school, and the state of learning and transforming children. In the Onuki District of the city of Osaki, Miyagi Prefecture, utai, which incorporates the flow of the shundo style, has been handed down. The Noh study program is targeted within this area. The author planed the overall composition of the study program, including subjects, created in collaboration with transmitters from the local preservation societies, Noh actors, and teachers. The classes based on the program were conducted from 2015 to 2016. This study verified the outcomes of the program through the observation of lessons and descriptions on worksheets. Using methods of instruction, which are suitable for children, and by adopting continual instruction on utai, linked to the popular body movement called the “newspaper punch”, the children were able to produce the rich singing style with vibrato evaluated from Noh actors. Further, by participating in regional festivals and singing utai, the children demonstrated the results of the lessons.

  The present study was undertaken in order to investigate the differences of listener’s collective hand clapping responses to different performance forms of live performance and DVD reproduction performance mainly from the viewpoint of beat synchronization. The experimental tune is a piano performance of “Twelve Variations on ‘Ah vous dirai-je, Maman’” (k. 265) (Mozart). The clapping pulse of the listener was digitally recorded to a computer using gloves with electrodes attached. The clap of quarter note level was extracted and analyzed. As a result, it was found that the beat synchronization degree of the listener group in the live performance was higher than the DVD reproduction performance, and the live performance group was better aligned with the timing of the clapping. As a result of Fourier series expansion of the chronological data for Variation 12, the live performance group hierarchically changed the clapping structure in the time interval. It indicated that they recognized that the beat changed from 2 beat to 3 beat.

  The purpose of this study is to reveal the teaching methods employed by music teachers for building relationships at a school site where children with various roots coexist. In line with this purpose, interview surveys were conducted with nine music teachers who worked for public elementary schools in the Murcia Region of Spain, in which cultural diversity has been increasing. It was found from the interviews with such teachers that they were aware of a variety of types of friction among the children, including the manifestation of feelings of competition and the behaviors of isolated children. For resolving such challenges, the music teachers had been making efforts in class plans and the choice of teaching materials so that children with different roots were able to become accustomed to intermingling and cooperating with each other. In addition, the teachers provided an opportunity for the students to change their way to perceive other students and build self-confidence. This paper introduces the considerations and efforts made by the music teachers in Spain, who have been engaging in activities to contribute to the reduction of psychological distance among the children while facing the challenges attributable to multiculturalization of schools.

  Although there are a lot of researches about an acceptance of Western music in Meiji era, there are little research about an introduction of Japanese school songs to Europe and a harmonic addition to those songs in the same period. In this study, I would like to clarify how Isawa Shuji’s Shogaku Shoka Vol. 1 was translated by Rudolf Lange, a Japanologist, and arranged by Georg Capellen, a musician. Isawa’s Shogaku Shoka Vol. 1 aimed to make clear understanding of the Imperial Rescript on Education by singing. From my research on Lange’s paper “Japanese school song” (1900), it was found that Lange translates Isawa Shuji’s Shogaku Shoka Vol. 1 with a profound learning. Moreover, from my analysis of Capellen’s arrangement Shogaku Shoka - Isawa Shuji’s Japanese melodies (1903), it was found that Capellen discovers several chords or several tonalities in Japanese school song’s melodies and tries to harmonize those melodies in his original way.