This study focuses on Tomoki Ueda’s distinctive idea “Jun Ongakuseikatsu no Shido” in order to highlight his theory and practice of musical instrument instruction in the National Elementary School era in Japan.
Ueda’s theory emphasized the importance of rhythm, which was influenced by Satis Coleman’s “creative music” and the philosophy of modern Western aesthetics of music called “autonomy of music”. Ueda was inspired by Coleman’s idea, “the foundation of music is rhythm”, and developed his own approach of musical instrument instruction focusing on rhythm. His approach aimed to encourage unmotivated children to fully express their energy in a form of music. Ueda also espoused the modern Western philosophy, “autonomy of music”. He emphasized that children must understand the structure and fundamentals of orthodox music (rhythm, melody and harmony), beyond primitive rhythm. All of them were necessary for his approach for children to understand and express orthodox artistic music.
The National Elementary School era was a crucial period, when Japanese “music” education was molded into its current form. In this period, Ueda’s approach based on “creative music” could have been a breakthrough for challenging Japanese traditional music education at elementary school, which placed great value on the orthodox musical expression. However, Ueda was not able to depart from the traditional music education because he espoused the philosophy, “autonomy of music”, simultaneously. His theory and practice of musical instrument instruction was predicated on two incompatible ideas, “creative music” and “autonomy of music”, and was succeeded by later generations into elementary music education in the post war era.
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