This study is going to find out how much influence the "evaluation" has on the inner emotions of students who express themselves through music. Essentially, the purpose of "evaluation" is to show to what extent they have achieved certain aims and to think about further teaching and improvement, and to ascertain areas in which they excel, not just simply to score or mark them. However, in fact, students strongly believe the "evaluation" is for "scoring," and there is some doubt that it has much influence on students' activities in music classes and their expression. Therefore, in this paper I'm going to focus on the inner emotions of students who work in music classes, and to find out how the "evaluation" as a hidden curriculum influences on their expressions, through the music class fieldwork at junior high school. This study will reveal four aspects. First, students strongly believe that everything in the classes is to be evaluated by the teacher. Second, their awareness of "being evaluated" has much influence on their expression and their intentions. To be more exact, what they want to express ideally becomes the foundation of their expression intention and it should come out. However, students think first "The teacher might give me a higher score if I sing like this," or "This might not be evaluated," and as a result, it distorts their output, even though they have their own desires such as "I want to sing like this." Third, students want to get a good evaluation and that has influenced their music. Fourth, it is a strong belief of students that "evaluation" means "examination" or "test".

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The purpose of this study is to examine an effect of music learning aimed to be conscious of message property in lyrics. The researcher has analyzed the learning process of high school students and the value of Mr.Children's songs as teaching materials. The following results were obtained: 1. The student recognized lyrics as an element of music, and its interpretation changes their perception and susceptibility in various ways. 2. The learning process to categorize lyrics into "Four-field-frame" was effective for examining of message property in lyrics. Furthermore, we succeeded in creating positive attitudes on receiving a message by this method. Therefore, this kind of learning accords not only with instructional contents of music education, but it was a good opportunity for the students to realize varions of values. In other words, we may say that it was experience of "Deconstruction" to have an opinion of oneself through learning the popular music.

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It has been mandatory to introduce the teaching of playing Japanese musical instruments in junior high school in Japan since 2002. Consequently, it has become necessary to teach the college student to be music teacher, including practical learning, in their education. In this education, it is necessary for them to acquire the performing techniques and to appreciate the characteristics of sound culture in Japan. When teaching, it is important to confirm to what extent the students acquire the performing techniques and how they appreciate the tones of the Koto. In this study, through getting the students to perform the Koto and asking them how they are performing it well, we investigate to what extent the tones of the Koto can be appreciated by them, the beginners attending the Koto performing class seven times. The results from this investigation will be made the best use of in the teaching and study-planning of the Koto. This study makes the following clear: the students feel the characteristics of both the Japanese sounds and the Koto-tones related to them, conceptualize those characteristics, and acquire them as knowledge.

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The purpose of this paper is to clarify the process of musical generation in musical performance activities in order to improve instructions given at teacher training courses. The data was gathered through videotaping a group activity in which the learners worked on a keyboard ensemble performance at a teacher-training course at a college in Osaka. The procedure involved the analyses of the recorded performances and conversation between the group members in terms of (A) the chronological changes in the musical performance of the group, (B) the chronological changes in musical elements being perceived and images being evoked, and (C) the relationship of these changes. The results are as follows. (A) There is three aspects in the changes in performance: (1) performers' trying to express their individual parts, (2) performers' trying to express the texture by combining each part, and (3) performers' trying to express the entire piece as a whole by altering the texture. (B) Changes in the perceived musical elements evoke different images, which change from vague to concrete to dynamic ones. (C) There is an interaction between the above two changes. The performance gives the opportunity for the perception of different musical elements that evokes a new image, which in tern gives the foundation for the changes to be made in the performance.

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The purpose of the study is to investigate what kind of children's abilities Music Making has expected to develop in Japan after the world war II , and to reconsider the educational implications of Music Making from the viewpoint of Constructive Music Expression which has been generally regarded as Music Making. The study consists of three sections: (1) The history of Music Making and Constructive Music Expression; (2) The view of ability which Music Making intends to develop and Constructive Music Expression intends to do; and (3) From the viewpoint of Constructive Music Expression the implications of the activity of constructing sounds from the non-restricted ideas and the improvising way. The following conclusions were drawn: 1. The view on ability which Music Making has expected to develop is based on the knowledge and skill which are outside ability. 2. The view on ability which Constructive Music Expression has expected to develop consists in the relationships of inside abilities which are the interest, the thinking and decision-making, with outside ability which is the knowledge and skill. So it can contribute children's total development. 3. Music in school should make contributions to children's total development. The activity of constructing sounds with the non-restricted ideas and the improvising way should improve not only musical ability but also children's total development. 4. If the educational implication of the activity of constructing sounds with the non-restricted ideas and the improvising way is taken that children could reconstruct their own inner world through constructing sounds into music work, it could be the effective method for children's total development. Further study on the practical investigation of Music Making and Constructive Music Expression is under way.

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