The purpose of this research is to examine the conditions for developing "music game" into music learning unit. The study consists of three sections. 1. Clarify the conditions of a game and for developing a game into music learning unit by reference research. 2. Describe the outline of the experimental music class practice which intends to develop "music game" into music learning unit. 3. Analyze the experimental music class practice from two viewpoints of the feeling of strain and joy and learning achievement. As a result, the conditions for developing "music game" into music learning unit were the following: (1) Set up the stage in which game is reconstructed to constructive activity. (2) Remake a rule continually to keep up the feeling of strain and joy. (3) Be consistently conscious of the instructional contents and integrate intentionally the instructional contents into the rule of cycle of game. A future research is to explore the possibility of "music game" in the upper grades.

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The purpose of this study is to clarify the process in which "Musical Reception" develops into a synthetic "Skill of Appreciation", and to discuss the structure of music appreciation lessons in which the perception and feeling of musical elements become synthesized. The author has conducted a class of music appreciation that incorporated body movements and analyzed student behaviors through the body movements, worksheets and utterances. The results of the analyses are as follows. (1) At the stage of musical reception, perception of characteristic musical elements appears as movements with fragmented or vague images. (2) The factor that facilitates the development of skill of appreciation is the association made by some triggering movements which leads to more vivid images. (3) The view point for structuring lessons to reach the skill of appreciation is to incorporate body movements along with means for making the images more vivid.

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The purpose of this study was to investigate a constitution method and its effect on music learning by relating context. As a concrete method for this purpose, music learning is experimented upon by dividing into three stages respectively: I From the viewpoint of "Pragmatic action". 1. Music learning to bring up sensuous cognition. 2. Music learning to understand meaning. 3. Music learning to study methodology of practice. II From the viewpoint of "Deconstruction" 1. Re-appreciation of music in the past. 2. Understanding of the music of our time. 3. Understanding of music from a comprehensive aspect. This paper analyzed music learning after clarifying nine purposes of learning and that development by combining the above two points of view. The following results were obtained regarding an effect on music learning by relating context and its potentiality: 1. By understanding a context, reception of music became deeper. Furthermore, it should be able to bring up metacognition ability through the experience of the relativity of (musical) values. 2. As methodology of practice in music learning, it is important to have two points of view: "to take notice of an effect" and "to take notice of the good points"

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The purpose of this study is to clarify the educational value of musical criticism in music appreciation courses, and to analyze what kind of language is used for criticizing the musical pieces in the speeches of a high school's students. And we want to provide the results from this study for the music teachers to improve the educational system in music appreciation and assessment. The method of this study is as follows: Firstly, we clarify the meaning of musical criticism in music appreciation courses. Then, we research "Visual and Performing Arts Content Standards for California" and some studies of criticism in art. Secondly, we teach a lot of music appreciation classes at a high school in Osaka to show students how to criticize. And we collect the students' speeches for analysis of whether criticism is included in the piece. If it is there, it will be analyzed for the kind of language mode of expression the speech utilized. The result of this research is the following three points: Firstly, the values of the terms the students should have used for criticism in music appreciation are based on "Perceiving the Aspect of Form" and "Feeling the Quality Generated by the Aspect of Form", "Evaluating Music" through them, and finally "Telling them to other Persons". Secondly, there were various conflicting and confusing styles in the speeches in which criticism appears. However, there was surely a basis in their pieces for at least one or more of the values, e.g. "Evaluating music," in the criticism of the music. Thirdly, we were able provide some suggestions for music teachers. In order for students to be able to criticize music, a large amount of educational guidance in it is required. So, the teacher has to acquire the ability to assess a student's ability for criticism. And the teacher has to prepare the criteria for assessment of this criticism.

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This research tries to clarify how effective it is for a teacher to incorporate the idea of structuralization into the class of music learning for autistic children in order to reduce or eliminate their maladjustive behaviour. The presentation of visually structuralized devices of space and time such as "the meaning of a scene" and "the order of a learning program" to the children by a teacher supplements visual information to music learning which is basically dominated by auditory aspects. It promotes, in its turn, the children's comprehension of what is taught as well as giving them an incentive to learn. The present research is based on putting into practice the incorporation of the idea of structuralization developed by the TEACCH program. How the incorporation affected the behaviour of children was closely observed and the observation was analysed. As a result, it was proved that the incorporation enabled the children to participate more positively in the class and therefore motivated them to work hard.

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