Osaka Kyoiku University

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    Leading about “Upbringing of Child’s Expression Ability” in the Class of Elementary Music Method of Education ─ Utilizing the Drama Education Method ─

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    音楽科の授業において子どもが表現領域の学習に取り組む際,その表現の基になる「思いや意図」を明確にもつことは,子どもが音楽表現について創意工夫する場面や,知覚・感受をしながら表現の技能を習得していく場面での拠り所をもつことになり,子どもが主体的に学習するための大切な要因と捉えられる。そこで,本研究では表現の原理に基づく音楽表現の学習活動において,子どもが「思いや意図」すなわち自分が伝えたいと思うイメージや心情をもてるようになる指導,そしてその「思いや意図」を歌や楽器の演奏で伝えようと試行錯誤する際の手がかりにするようになる指導について,初等音楽科教育法でのドラマ教育の手法の活用を提案することにした。The purpose of this study is to propose how to utilize the “drama education method” in the class of “elementary music course method of education” for upbringing of child’s expression ability. When children learn singing and playing the instrument in music class, it is necessary to have “Imagination and Thinking” aim for musical expression. And it is important for that imagination to be related to child’s experience in actual life. So I considered the applicability about the technique of the drama education method to the music class. Proposed techniques of the drama education method utilized in the class of “elementary music course method of education” are as follows. (1) Method for children to learn in a class “Teacher in role” (by Dorothy Heathcote) For teacher makes the atmosphere to set the environment that a child can imagines through the relation with experience. “Given Circumstances” (by Konstantin Stanislavski) For teacher makes the environment that a child can think about expression through the relation with experience. (2)Method for teacher to learn utilizing the drama education method “Gibberish” For teacher learn non-verbal expression ability in communication with children

    タブレット端末を活用した校外学習(中学2年生 遠足)

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    On a Case of Generalized Amnesia Viewed from Diagnostic Psychological Testing

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    平成26年度 卒業研究題目一覧

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    編集後記

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    A preliminary study on the generative principle of the oral narrative in rôkyoku ―Through the analysis of Nogitsune Sanji―

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    本稿の目的は,浪曲師の初代東家浦太郎が口演した〈野狐三次〉に焦点を定め,浪曲の「語り」はどのように生成されるのか,という問題の一端を探ることにあった。既発表の「浪曲の『語り』の生成原理をめぐる予備研究(前編)」(北川 2014)では,講談で〈野狐三次〉の物語が形成された経緯をたどるとともに,三次を題材とした浪曲の史的音盤の分析を行い,講談と浪曲のどちらにおいても,物語を構成する「エピソード」の取捨選択,組み替え,変形が,一回一回の「語り」の特徴をなしていることを導出した。後編をなす本稿では,「エピソード」の取捨選択,組み替え,変形と並んで,一点目に詞章文言,二点目に,詞章のほぼ7モーラ+5モーラのひとまとまりに対応する,ある程度の定型性を有した旋律断片1),それぞれに関して,取捨選択,組み換え,変形が見られることを導き出した。譜面を用いることなく伝承と実演が行なわれる浪曲においては,重層的レベルでの「単位」の取捨選択,組み換え,変形が,一回一回の口演現場での「語り」の生成原理として働いている可能性がある。The purpose of this article was to examine the principle by which rôkyoku (naniwabushi) recitation is generated through the analysis of Nogitsune Sanji by Azumaya Uratarô the 1st (1919–2004), who was one of the most well-known rôkyoku reciters. Results of an analysis of ten versions of Nogitsune Sanji by master Uratarô reveal that the episodes, textual pieces, and melodic fragments are rearranged and modified at each demonstration. As such, the rearrangements and modifications of the multi-level ‘units’ serve as the principle that can generate the storytelling narrative of rôkyoku. This principle produces both the diversity and individualistic nature of rôkyoku demonstrations

    呉昌碩の篆書法に関する一考察 ―臨石鼓文作品の書風の変遷をたどって―

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