Music Lessons through Active and Collaborative Learning : Part Practice Using Tablet Devices

音楽科授業において，よりよい表現を求め，自分の思いが表現できたと感じさせるためには，基礎的な音楽的技能を身につけることが重要である。そのため，効果的に技能を向上させる指導法の開発が必要とされる。そこで，手などの動作を取り入れた発声指導や，比喩的表現を用いたキーワードによる発声指導等の効果の検証に焦点化し，継続して研究を推進してきた。 今年度の研究では，生徒がより効果的に主体的・協働的な学びをするためのツールとして，パート練習におけるタブレット端末の利用を試みた。このことは，生徒が自分たちの演奏を客観的に聴くことが出来るため，生徒が音楽的技能を体得するのに効果的なツールであるという結論を得た。In music classes, it is necessary for students to acquire basic skills so that they can develop the ability to express themselves through music. This demands methods of instruction that allow the effective acquisition of musical skills. In this regard, developing instruction methods for clear vocalization are particularly important. The present study focused on confirming effective vocal coaching methods through the use of hand gestures and figurative key phrases. In the present study, we made use of tablet devices in part practice so that students could learn actively and collaboratively. We concluded that tablet devices are an effective tool for acquiring musical skills because they allow students to listen objectively to their own performances

The Creation of a Junior High School Music Class that Engenders within the Students a Love of Music that Endures Throughout Their Lifetimes - Part II : Through the Planning and Performance of a Joint Concert for Elementary School Children

The purpose of this study is to verify that the implementation of the class curriculum will effectively influence students to love and enjoy music for the rest of their lives. The specific plan to be adopted by the class; ""Let's produce a mini concert"", is one in which the author implemented as an optional subject that continues from last year. In this class, junior high school students plan and hold a mini concert for a group of elementary school students. This year, in particular, they will actually be performing with many of the younger students. The author expects that the concert will make a deep impression on the audience as well as stimulating the students eagerness for performing, thus establishing this experience as their higher eventual goal. The author aims to foster a fine sensitivity for music through this activity during which the performers will realize how wonderful audience-conscious musical expression is. The author also desires to consider the relationship between this study and the study theme of our school

異教科で協働できる教員を育成するための実践的研究（1） : 教科教育学専攻の共通科目の始動を通じて

本研究は，平成28 年度より始まった「教科教育学専攻」における新しい共通科目（「教科教育学研究方法論」，「教科教育学融合プロジェクト」，「教科教育学の実践的展開」，「教科教育学の実践的検証」）が始動する際に得られた知見を分析・考察し報告するもので，その全容は平成29 年３月に公開予定のホームページで公表される。本報告書は，その研究の要旨を，(1)　経緯について，(2)　各教科について，(3)　実践からの考察，(4)　理論からの考察，(5)　学生の振り返りからの考察の五点から述べる

Development of unit for elective subject from fifth to ninth grade to improve cooperative creation (3)

本研究は, 「21世紀型の教科学力」の新たな観点としての「協同的創造力」の育成をめざして, 自分たちで新たな文化を創造する子どもを育てる協同的創造学習のあり方について実証的に研究を進め, 単元モデルと評価方法を開発することを目的としている。そこで, 教科学習を「協同的創造学習」としてとらえ直すとともに, 中学校での従来の選択教科の時間に加えて, 小学校第5・6学年合同の選択教科の時間を新設して「協同的創造力」を特化して育むことにし, 本年度は, 選択教科の単元モデルの充実・改善と評価方法の確立に取り組んだ。その結果, 選択教科において, これまで開発した単元モデルをより充実させたり, 新たな単元モデルを開発したりすることができた。また, 評価の観点を整理し, 子どもの意識調査やカリキュラム評価に継続して取り組むことによって, 子どもの思いを汲み取り単元を見直していくことができた。今後も必修教科と選択教科のつながりや関連性, 各学年の系統性を整理するとともに, 協同的創造力育成の手だてを整理し, 来年度に向けて, これまで培ったものを生かす新たな学習開発を模索していきたいと考えている

The Creation of School Education Bringing up a Student Carrying Tomorrow (3) : The Valuation of "Compulsory Subjects", "Optional Subjects", and "Integrated Subjects"

The purpose of this study is to show the valuation of "Compulsory Subjects", "Optional Subjects", and "Integrated Subjects", to show the relationship between each subjects and "three abilities", "the ability of recognizing othere senses of value", "the ability of self-expression and communication" and "the ability of decision-making" which defined by the project members. The main result of this study is that we should make up the standards which teachers, students and parents recognize as important abilities

A study concerning piano ensemble works of Toru Takemitsu

Among the many piano works by Japanese composers that I have performed, I find a unique sense of sound in the works of Toru Takemitsu. Amid the contemporary trend towards ever greater diversification of sound, his works seem to have been constructed in resolute pursuit of what might be termed 'active space'. Although contact between Takemitsu and many of the avant-garde generation beginning with John Cage was close and extensive, there was a considerable gap between the kinds of 'resonance' they sought. Takemitsu's works give consistent evidence to his commitment to 'sounding across the air', the idea that the gathering of resonance occurs precisely in a momentary insight. Takemitsu, of course, also put his hand to electronic music and theater pieces, but in the end these were not genres that he took to. They were too different from 'sound' realized in unforeseen present. With the piano solo works Lent in Due Movimenti (1950) and Uninterrupted Rest (1951), Takemitsu leapt into the limelight, subsequently producing a stylistically varied body of works. In this study, I have focused on representative works for piano solo and for piano in ensemble, considering the kind of 'resonance' Takemitsu sought from the viewpoint of the performer and the 'idiom' on which his works are founded, rather than 'pianism' or 'technique' The piano is in sense a perfect musical instrument, yielding maximum effect with great economy of means. At the same time, the piano is therefore also a highly rationalized and standardized instrument. It is nonetheless inconceivable that the piano fall into desuetude or that composers cease to write for this instrument. Rather, composers of this century are faced with the challenge of discovering how the piano can be played in order to produce a 'resonance' that is uniquely their own. Taking such contradictions and challenges into consideration and bringing various contemporary ideas to bear on the question, I have sought to demonstrate in this study how an original sense of 'resonance' can be found in the piano works of Toru Takemitsu