The purpose of this paper is to clarify the mechanism of the formation and transformation of the instructor-learner relationship in private vocal lessons. For this purpose, we used a case study of private vocal lessons in out-of-school music education and conducted an analysis based on G. Bateson’s communication theory. The conclusions are the following four points. First, the instructor-learner relationship begins in an unstable form, lacking a foundation of “prestige. Second, the relationship survives by borrowing existing” teaching-learning “contexts through” abduction. Third, “redundancy” is increased by “double description,” which combines information from different sources to create new information, and an integrated system is formed that subsystems the instructor and the learner to each other. Fourth, because body techniques are deeply involved in the human unconscious, “camouflage” by “shame” occurs, but it also provides an opportunity to transform the relationship in a significant way.

  The purpose of this article is to elucidate the reality of a modern musician career called “Protean Career”, in which a wide variety of music-related jobs are performed. Specifically, it aims to clarify how this career is formed after going through a music university, where the traditional musician career model of actively leveraging specialized skills as a performer is likely to be internalized. Additionally, it seeks to reveal how learning at a music university is attributed with meaning in the Protean Career perspective. To investigate in detail the relationships between various personal experiences without compromising individuality, a case study was conducted using the life story method to analyze the narratives obtained. As a result, in the career perspective of Protean Career, work that deviates from specialized skills is also positively included, and a transformation of values based on relationships with the surroundings was recognized in the formation process. Learning at a music university was perceived as being in opposition to the learning required for Protean Career.

  This paper examines Kiyomi Fujii’s music education practices and views on music education at Musashino Women’s Academy. As primary sources, Fujii’s diary, hand-made patterns for making music teaching materials, and the back sheets used for both collection of manuscripts of folk songs and manuscripts of folk song arrangements were used. Fujii’s music education practice is characterized by the following three points. (1) He gave lectures on musical grammar using hand-made teaching materials and giving exam questions. (2) He had the students listen to songs and write their impressions, and also had them write about choruses and textbooks. (3) He practiced music education of songs and chorus. Fujii used his unique “Japanese-style counterpoint” when converting folk songs into choruses, and for this purpose, it was better to arrange them polyphonically with three-part female chorus rather than four-part male chorus, which mainly uses harmonic processing. I thought it was appropriate. In this sense, the girls’ high school was also a place to experiment with the fusion of Western and Japanese music. At the root philosophy was his view of music education as “songs of life,” and he practiced music education that integrated theory and performance at a girls’ high school.