This study aims to not only devise a lesson structure based on the experience of college students reexperiencing “Warabeuta,” which many students sang in their childhood. These students are taking music classes that train nursery and primary school teachers. In addition, the study also aims to verify the effectiveness of the lesson structures. A practical research method was adopted. First, I planned and practiced music lessons with an emphasis on the experience of playing “Warabeuta” for the first time since their childhood. Next, I analyzed video recordings of classes, student descriptions, and interviews with students. Finally, I verified the effectiveness of the devised lesson structure.

  From the research, the effectiveness of all four perspectives of the lesson structure was recognized : 1) Using “Warabeuta” songs that students have knowledge of and play experience with ; 2) Consisting of two activities, namely, “re-experience of play” and “reconstruction of play” ; 3) Setting up activities to recognize the characteristics of “Warabeuta” after the experience of playing again ; and 4) Setting up mock practice sessions after the activities to understand the characteristics of “Warabeuta.”

  This study aims to gain insight into the role of communicating musical performance images to encourage sharing goals in collaborative musical expression. To achieve this, I analyzed the interactions and goals shared among students as they collaboratively devised ways to perform in a high school music class. This research is a case study using a qualitative research method approach. It is based on the method of lesson analysis from verbatim records (Shigematsu 1961). The results are as follows. 1) Students communicate musical performance images through various interactions via communication with words and onomatopoeia, the act of playing alone or together, and the act of checking the movement of sounds and lyrics together. Such diverse interactions make students aware of the goal of being creative in how they play in order to express their performance image, and encourage them to share their goals. The communication of performance images through diverse interactions continuously generates segmentation and integration of goals, and becomes the driving force that sustains and develops the exploration of collaborative musical expression. 2) Open-ended questions relate performance images for expression and how to perform, serve as scaffolding for awareness and sharing of goals. 3) A learning environment that encourages student spontaneity and dialogue serves as scaffolding for diverse interactions among students.

  The purpose of this study is to focus on the transition from “devices of music expression” to “skills of music expression” in singing classes, and to clarify the function of suggestions for stylistic markings by teachers. In this study, expression marks are considered as words that serve as clues for the devices and interpretation of music, indicating “devices of music expression.” The research method adopted a practical approach. Firstly, it organized the relationship between “devices of music expression” and “skills of music expression,” and the handling of stylistic markings in musicology. Next, after summarizing the descriptions about teachers' suggestions according to John Dewey, a research lesson aimed at providing suggestions for stylistic markings, using the Warabe-uta “Kotorokotoro” for students in the third grade of elementary school, was designed, implemented, and analyzed.

  As a result, two functions were identified during the process of “devices of music expression.” When children formed an image of the music, the teacher offered two suggestions for the stylistic marking. Then, (1) the children selected a stylistic marking and pinpointed “devices of music expression.” Subsequently, the teacher encouraged them to be conscious of “devices of music expression” and to sing immediately. Consequently, (2) the children sang with expression, directly linking “devices of music expression” to “skills of music expression.”