The purpose of this study is to clarify the characteristics of the shared meaning as seen in "Music Critical Note-making" appreciation classes by focusing on the function of figurative representation used by students. Research methods are as follows: 1) Organization of previous research and documents concerning figurative representation and processes through which meaning is shared (based on John Dewey's theory of communication) in order to obtain a logical viewpoint for conducting practical analysis. 2) Analysis of processes through which musical meaning is shared through figurative representation in "Music Critical Note-making" appreciation classes. 3) Clarification of the function of figurative representation in processes through which meaning is shared based on the results of analysis. In the process of working towards the sharing of meaning, the results of this study showed, first of all, that music to be shared is predicted and specified through figurative representation and that, consequently, feelings, which are a quality of music, are being shared. Next, the study showed that, if children focus their attention on the predicted or specified part of the music, their awareness is directed not only to feelings that are aspects of substance of that part of the music, but also to aspect of form, which is a condition for engendering feelings. It can be said that, within this, onomatopoeia functions as an expression of unified sensitivity to aspect of substance and perception of aspect of form. According to the above, the characteristic of sharing of meaning is focused on the function of figurative representation in appreciation class of "Music Critical Note-making." Recall the feeling that figurative representation generated in the process occurs in the situation of the interaction between children and music. In figurative representation, onomatopoeia in particular, as an expression of unified sensitivity to aspect of substance and the perception of aspect of form, functions when the awareness of children is directed to the aspect of form of music, which is a condition for engendering feelings.
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