The purpose of this study is to clarify how children learn the instructional contents in music classes that include "play" when the teacher is conscious of the instructional contents. First, the concept of "play" based on J. Dewey's theory and the four aspects of the instructional contents of music education are discussed and clarified. Next, a lesson on "Oteawase" has been planned and carried out by the researcher at a first-grade music class at Hirano Elementary School and is analyzed. The instructional content of the lesson is "steady beat". The results of the analysis show that the learning process of instructional contents in a music class including "play" consists of the following three stages. 1) The stage of "play": The aspect of sympathy is satisfied by the three aspects of instructional content (the aspects of form, content and skill) forming a harmonious whole. The children are unconscious of "steady beat" at this stage. 2) The stage of making "Oteawase": The aspects of form and content of the instructional content are recognized through movements. 3) The stage of reconsideration of one's own movement: The aspects of form and content of the instructional content are recognized through verbal description.

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The purpose of this study is to clarify the process of learning in musical performance activities that entail active student involvement. The researcher has analyzed an experimental music class "Let's Play Eteraku." The four aspects (form, content, culture and skill) of instructional contents of music education have been used as the framework for the analysis. The results show that in musical performance activities, the instructional contents are learned through the process of"unifying→focusing→becoming aware of the aspects in relation with each other. "The results also show that the learning is further facilitated by repeating the process of "focusing→becoming aware of the aspects in relation with each other."

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It needs to think about the relationship between music and a culture for students in school music education, because music, especially 'world music', is deeply related to people's lives. From this point of view, this paper examined the effect of the music learning by relating cultural context and musical structure in learning of 'world music'. It was analyzed how the students get the ability by learning music through the relation between the music and the cultural context. As a result, through the practice related to the cultural context, the students have learned as followed. Students were deeper understanding of musical structure to grasp the relationship between musical structure and cultural context. And they got the more effect by studying through understanding of the relationship between musical structure and cultural context as followed; 1. They were understanding of the propagation, the transformation of the music, and the acceptance that was led to the recognition of culture difference; 2. They obtained and stepped up the developing technique for composing of various music elements through making music.

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The purpose of this research is to grasp the characteristics and value as a teaching material of "traditional, regional music," which is compulsory in musical education in schools, from the following four aspects. -Characteristics of the music itself -Performance qualities -Cultural and social involvement -Individuality. The value of traditional, regional music as a teaching material was considered from the following two standpoints on the basis of the above characteristics. -in terms of relationship with courses of study -from the point of view of personal bonding and development Understanding music in terms of its relationship with oneself Noticing the relationship between music and the people with whom one is closely linked Forming the ability to see from a relative point of view the music with which one is closely linked and other people's music Noticing the traditions with which one is closely linked Awakening and developing musicality rooted in the traditions of one's own region

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The state of minute pitch changes is transformed into sight by sound analysis. Its variedness of a vocal performance in popular music became a hint for me to practice a song lesson by "pitch change patterns" between syllables. The conclusion about the possibility of the lesson for high school students shows as follows: 1. In learning to use "pitch change patterns" that are not bound by an interval sense of a semitone unit, a pattern identification ability difference among students does not effect. 2. In music constitution by "pitch change patterns", students are divided into positive groups and passive ones. Furthermore, technical limitation and ideal differences on music expression existed, but a common image of each "pitch change pattern" for a lot of students became clear according to each syllable by analysis.

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The purpose of this paper is to analyze the music textbook in Japan from the aspect of "Hidden curriculum". In this paper, we analyze the music textbook from the following two points. First, we use the technique of the "explication de texte" for the research framework. Second, we analyze "Hidden curriculum" from the aspect of "Gender". We analyzed the following five points. 1) Sex of those who write songs and comparison 2) Sex of Characters of lyricsand 3) Sex of photograph and cut-in illustration 4) Context of textbook making 5) Context of use in classroom Through this process, we can propose the aspect of "Music education as the gender reproduction device". The teacher and the researcher in the music education should pay attention to "Hidden curriculum" included in the music textbook. We should examine that whose is knowledge in the textbook, and whose knowledge is it excluded in music education.

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New music textbooks used in schools for the mentally retarded were published from the Ministry of Education, Culture, Sports, Science and Technology in 2001. There are three textbooks for elementary department, titled music ☆, music ☆☆ and music ☆☆☆, There are 169 pieces of music in the three textbooks. They were classified into four fields of singing, body movement, instrumental music, and listening, and analyzed from the viewpoints of the theme of music, meter, tempo, number of bars, and kind of rhythmic patterns. Results are as follows: In regard of percentage for four fields, singing increases from music ☆ to music ☆☆☆, while body movement decreases from music ☆ to music ☆☆☆. In comparison of three textbooks, the upper grade has more variety of tempo, number of bars, kind of rhythmic patterns. The results correspond well to the children's musical development. The analysis shows that the textbooks are well edited and useful.

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This research's aim is to demonstrate the factors involved in the process of improving musical expression in a lesson where actual singing lessons are conducted. This research was conducted by analyzing and examining the data gathered using qualitative research methods and by the author's continuous participant-observation and interviews. As a result, I set five aspects of students' improvement; "Skill of elocution," "Voice resonance," and "Quality of voice resonance" as expression of elocution, and "Constructional aspect of music," "Content aspect of music," as expression in music. I observed two important factors in students' improvement, one is influenced by teachers' guidance and the other is influenced by student's initiative. When I analyzed the data and summarized the result, I concluded that the perception of the teachers' instruction greatly affects the students' improvement. Consequently, verbal communication between teacher and student in a singing lesson, which has not been emphasized in the past, is an efficient method to develop mutual understanding. The teachers' instruction and communication leads to "positive attitude" and significant improvements in students' musical expression.

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The purpose of this paper is, in the first place, to devise the content and method on piano performance at the department education to develop of musical ability, and second, to prove what sort of progress the students made. At first I examined such 10 different elements of musical expression, as "phrasing", "articulation", "agogik", "repetition" etc. Then I constructed a simple, general logic as a hypothesis. I put piano lessons in practice based on that hypothesis. The lessons were held in the form of group lesson with pieces for 4 hands. To prove the effects of these lessons, the author analyzed (1) self-evaluation card, (2) self-revised score, and (3) performance by the students. The following conclusions were drawn: 1. Self-revised score was effective on the understanding and the application of the elements of musical expression. 2. The consciousness and the independence in performing the piano were improved. 3. This content and method were effective for development of musical ability.

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