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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Cultivating Japanese people who are educated to live in the international community in the 21st century, it should be handled to encourage pupils to cultivate their basic abilities for understanding the goodness of Japanese traditional music, listening and appraising to musical tastes or characteristics of music, and performing music expressively. To understand and appraise the goodness of our own traditional music culture will be to foster an attitude to respect other traditions and cultures after all. We should plan the consistent curriculum from the elementary level to the secondary level, taking the conditions of each school and ability of pupils into consideration.
I would examine the current conditions of teaching traditional music in Japan, the revision of educational regulations as background, the instructional plan of 9 years, and 3 case studies.
Considering the instructional unit examples through nine years, in primary school we plan that starting from traditional children’s songs and studying folk songs, Koto, Wadaiko, and in 5 or 6 grade learning music of Japanese old tale. In secondary school we plan activity that appreciating classics of traditional musics, Etenraku, Roku-dan etc., or studying folk songs and festival music handed down in each locality as music in our life.
It is difficult that cultivating performing skills of Japanese traditional instruments continuously, because the time allocation for music classes is restricted. Especially in secondary school it is necessary that we should secure the time for music classes, i.e. selective music classes (abolished in 2012) or club activities, or “the time of Integrated Learning”. And it is necessary by all means that authentic examples of instructional planning of foreseeing nine years are settled, as a result the study in primary school is connected with study in secondary school.
From 3 case studies, we know firstly that the significance of teaching an essential part of music, i.e. the basic skill of performance or posture, the usage of the body. Secondly, teachers should cooperate with the regional talent for obtaining their help. Thirdly, we should plan the instructions that encourage pupils to make music and explore various musical ideas, for example in music play making. Traditional music and traditional culture is the one succeeding to, and the source of a new creation too. It is important that traditional music lives in now and changes.
Learning the advanced approaches taken up by this report, it might be necessary that the research network between teachers is strengthened further, and the universities are positively related there, too. In Chiba Prefecture, General Education Center is doing various training classes for teachers. Additionally, it is faced that it would play the part of the center maintaining, managing, and lending out Japanese instruments, and making of the data base collecting the teaching plans.
Children in Japan that bears the next generation being proud to talk about their own music culture by their own words, and to perform, steady and systematic efforts are necessary by all means.
I would examine the current conditions of teaching traditional music in Japan, the revision of educational regulations as background, the instructional plan of 9 years, and 3 case studies.
Considering the instructional unit examples through nine years, in primary school we plan that starting from traditional children’s songs and studying folk songs, Koto, Wadaiko, and in 5 or 6 grade learning music of Japanese old tale. In secondary school we plan activity that appreciating classics of traditional musics, Etenraku, Roku-dan etc., or studying folk songs and festival music handed down in each locality as music in our life.
It is difficult that cultivating performing skills of Japanese traditional instruments continuously, because the time allocation for music classes is restricted. Especially in secondary school it is necessary that we should secure the time for music classes, i.e. selective music classes (abolished in 2012) or club activities, or “the time of Integrated Learning”. And it is necessary by all means that authentic examples of instructional planning of foreseeing nine years are settled, as a result the study in primary school is connected with study in secondary school.
From 3 case studies, we know firstly that the significance of teaching an essential part of music, i.e. the basic skill of performance or posture, the usage of the body. Secondly, teachers should cooperate with the regional talent for obtaining their help. Thirdly, we should plan the instructions that encourage pupils to make music and explore various musical ideas, for example in music play making. Traditional music and traditional culture is the one succeeding to, and the source of a new creation too. It is important that traditional music lives in now and changes.
Learning the advanced approaches taken up by this report, it might be necessary that the research network between teachers is strengthened further, and the universities are positively related there, too. In Chiba Prefecture, General Education Center is doing various training classes for teachers. Additionally, it is faced that it would play the part of the center maintaining, managing, and lending out Japanese instruments, and making of the data base collecting the teaching plans.
Children in Japan that bears the next generation being proud to talk about their own music culture by their own words, and to perform, steady and systematic efforts are necessary by all means.
목차
Ⅰ. Background
Ⅱ. Curriculum Plan
Ⅲ. Three Case Studies
Ⅳ. Conclusion; The Significance and Problems
References
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