The purpose of this research is to pragmatically clarify the development process of the image in constructive music expression from the viewpoint of the articulation. This research consists of the following two sections. 1. To define image articulation, organizing the concept of "Articulation." 2. To analyze the development process of the image in constructive music expression from the viewpoint of articulation, practicing experimental music class to study the variation of the motive. The analysis has brought the following results. (1) I defined the "image articulation" as "identifying the various aspects of image in the overall relations and describing characteristics that make certain image suitable for each one." Moreover, the action of image articulation has two aspects, "identify" and "organize." (2) From the viewpoint of image articulation, I clarified that the development process of the image in terms of constructive music expression has the following four processes. (i) The various aspects of image are identified because the quality in daily lives is recognized. (ii) As a result, the performance will change by operating the music constructive elements that have something in common with the quality recognition. (iii) The aspects which are identified from the image will be organized by arranging music form. (iv) Furthermore, the changes of performance will evoke other new life experiences and create another image articulation again. I would like to study the image articulation in expression of performances. I also would like to study the application of image articulation in other subjects.

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In a music class in an elementary school, handicapped chirdren synchronized a rhythmic pattern to singing subjects by clapping. I analyzed their rhythmic synchronization to determine the kind of rhythmic pattern. Seven children (from 1st to 5th grade) of a special support class at an elementary school participated in this study. Children could begin beating time with their hands to the tune "Te to Te to Te to". For "Nigitte Hiraite", the sifting rhythmic pattern caused participants to desynchronize. For the tune "Kotori no Uta", participants timely hit their palm with their fingertips according to the rhythmic pattern of the note of birds. For "Ashibumi Tan Tan", the rate at which they could synchronize the rhythm by marching in place was low. An analysis of individual rhythmic synchronization showed that two of the seven children were not accurate with their rhythmic synchronization, another two had their own rhythmic synchronization, while another three children were accurate in their rhythmic synchronization. The course of the rhythmic synchronization showed that there were two types; one was where they omitted the eighth note from the rhythmic pattern, and the other was where they had delicate clapping. Further, the Children recognized their errors and made corrections to synchronize with the rhythmic pattern.

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The purpose of this research is to clarify the effectiveness of introducing "the dramatic activity" into the music learning by the student of the muscular dystrophy. It decreases that the high school student that the symptom of the muscular dystrophy gets worse can do it by oneself. Therefore, that the activity to pursue the completeness of the performance to "make a constant frequency timbre and a sound physically and arrange them well in terms of time," such as "singing a song", "playing a musical instrument" and "dancing" is the music learning which is desirable really for them is a problem. Then, the author thought that the student of muscular dystrophy tries to discover an expression method to be able to make use of "their power of expression" in by oneself or pursue the possibility from the learning process by introducing "the dramatic activity" to the music learning and he set a scene.

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The purpose of this study is to clarify how the mechanism of 'formation' on creative expression works through the learning process of making the accompaniment part of songs on discussions. The process of 'formations' on creative expression through the learning process of making the accompaniment part of songs was generally perceiving and feeling the contents of text and melody → the 'fomations' of harmonic structure → the 'formations' of accompaniment part → the constitutional 'formations' on whole piece. The connections of 'fomations' on student A・B were the 'formations' of harmonic structure → the 'fomlations' in contents of text → the 'formations' in the flow of melody → the 'fomlations' on reflecting the image of sound. In the 'formation' on student C・D between the introduction and the main part, there were the connections of the different image of sound through the listening of same musical performance → the similarity of pictorial image → the constitutional 'formation' on whole piece sensed the unity of image.

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The purpose of this report is to show how to develop the lesson plan while motivating students playing Warabeuta. There are four parts of this report. (1) To study the educational essence of Warabeuta, and to plan how we can put the play into the class from the previous studies. (2) To summarize the research and the practice of Warabeuta as a teaching material. (3) To analyze the research and the practice focusing on "how the students'reaction to Warabeuta has been changed in plays and in the structured activities" This research especially focuses on how they study the elements of music and the students' energy while they study. (4) A conclusion based on the analysis of the main parts. The conclusions are as follows: There are four points of this lesson plan. At first, set up the time to (1) "play" and (2) "review the play". Then, set up the time to (3) "do the structured activities" and (4) "review the structured activities". Students can learn without losing the energy of Warabeuta play by combining the activities and reviewing the activities. When students to the review, their energy of the play is transferred to their interests in the music. Those interests promote the perception, feeling of the elements of music, and it leads to the student's higher consciousness of music. Consequently those four activities show a relationship to each other. Further studies are needed on how to develop a lesson plan with other different elements of music.

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