The purpose of this study was to examine the development of introducing music preference into a singing lesson in an elementary school music class and how that preference relates to the transformation of “enjoyment” of the music-related activities. To do this, I first researched the phrase “music preference” and what has been learned about it in previous studies. Next, I isolated the literature on “enjoyment” in music education and defined the word as it is used in this study. Then, I planned a singing lesson that explored the relationship between “enjoyment” and “music preference” in an elementary school class. Last, I considered whether the students' “enjoyment” continued throughout all the music lessons ; this was based on the students' interest level.

  Based on this analysis, the following conclusions were reached in regards to the transformation of “enjoyment” of introducing “music preference” in a singing lesson : 1) First, the “enjoyment of talking” was apparent because the students felt free to speak. 2) Next, the “enjoyment of understanding” was seen by perceiving and feeling the various musical elements and the images the music created. 3) Last, “the enjoyment of understanding” was transformed into the “enjoyment of remaking” by creating an object on the outside and also regenerating the student's inside experience. It is thought that the most significant reason for this transformation was that “music preference” was continuously working in the background, and it is considered to be the driving force in developing “enjoyment.”

  This study aims to clarify how tradition and creation exist in the practice of folk songwriting from the perspective of Dewey's theory of customs.

  First, the roles of impulse and intelligence in Dewey's reconstruction of customs were examined. Next, a method was devised to analyze the role of impulse and intelligence in lessons, as they are described in the reconstruction of customs. Then the practice of songwriting that uses the hayashi-kotoba (a ‘refrain’ used for rhythmic effect in traditional Japanese music) of Awa odori traditional dance, as a teaching material for elementary school fifth graders, was analyzed.

  From the viewpoint of Dewey's theory of habits, the custom of singing the musical accompaniment of Awa Odori with intonation was passed down to children after its creation. My analysis of this activity revealed that children showcase intelligence by using their environment to recreate songs, thereby composing new creations.

  The purpose of this paper is to clarify the structure of musical thinking from the perspective of John Dewey's theory of inquiry. The method of research is as follows. First, we considered the structure of reflective thinking in Dewey's theory of inquiry. Next, we examined what musical thinking is as reflective thinking in artistic inquiry through an analysis of practical examples of music-making classes. In conclusion, the structure of musical thinking was derived as follows.

  1. When the subject obtains data (perceived or sensed content of sound and music), an idea (a technique based on anticipation [image] of the quality of consequence) originates. And when the idea is ‘experimented’ upon (an inferred technique is tried), the subject obtains new data. That is, a cooperative cycle of data and ideas through ‘experiment’. 2. When observation operates, then ideation comes into play, and when the idea obtained therein is experimented upon, it causes a new observation, that is, a cooperative cycle of observation and ideation through ‘experiments’. 3. 1) Observation leads to data. In observation, the subject perceives and senses sound and music. 2) Ideation (inference, and reasoning) leads to ideas. In inference, the subject comes up with a technique based on the anticipation (image) of the quality of consequence suggestively. In reasoning, the subject refined and selected the inferred idea, and developed it into an exceptionally reliable one through trial-and-error ‘experiment’.

  The purpose of this study to, how to establish collaborative learning in special support class of elementary school by using a traditional Japanese instrument called a koto to make a nursery rhyme and analyze the practice from the viewpoint of the relationship between childpeers.

  Concerning the research method, first consider what “collaborative learning” is, then describe the concept of research lessons to realize collaborative learning. Then, the outline of the research class will be shown, and a practical analysis will be conducted from the viewpoint of the relationship between childpeers. Finally, the analysis results are viewed from the perspective of reciprocal relationships and the reconstruction of experience, and how collaborative learning is established in special needs education.

  The result is as follows.

In this practice, the relationships between childpeers can be considered as the common experience for making a song about marble chocolate as the target, the sharing of questions about the target, and the form of making a song by connecting phrases.

  The future task is to study collaborative learning in special needs education, including the relationship between children and teachers.