The Curriculum of “Fushizukuri” in Furukawa Elementary School in Gifu Prefecture: Focusing on the “Nihondate” approach

The purpose of this study is to elucidate features of the Curriculum of “Fushizukuri” Music Education in Furukawa Elementary School, Gifu prefecture. In 1996, “Fushizukuri” was initiated in Furukawa Elementary School as a pilot school program of Gifu prefecture. After the end of the program, this method has been further developed. The “Fushizukuri” curriculum, named “Fushizukuri ipponmichi”, was elaborated on by all the teachers of the school, led by the chief music teacher, Toshihiro Yamazaki, under the educational policy of the head teacher, Ichiro Nakaya. This curriculum is comprised of 30 phases and 102 steps. The music lessons were composed of the “Nihondate” approach: gradual improvement of fundamental musical competency based on “Fushizukuri ipponmichi” and learning music as material. This approach implements two kinds of activities in parallel to a music lesson. Activity-A: In order to enrich the students’ activities, it derives musical potential from students and teaching of singing, music appreciation and playing instruments. Activity-B: To systematically teach fundamental competency for engaging in musical activities in step with the development of students. This curriculum is a landmark system aiming at systematic acquisition of music competency while maintaining music appreciation. Listening ability, musical sense and musical memory developed in activity-B enable comparison or analysis and distinguish different tones and kinds of music. Then, music knowledge, musical skills and fundamental musical competency obtained from the learning experience in the “Fushizukuri” is applied into learning by teaching material as activity-A. It enables students to realize and evaluate tone and music. All these lessons were implemented based on the students’ autonomy and cooperation with others. The features of “Fushizukuri” are consideration of autonomy, enhancement of self-esteem and the feeling of fulfi llment. Particularly, they enjoyed improved self-worth/self-efficacy, acceptance of others and self-determination with music. Therefore, “Fushizukuri” is an impressive and meaningful music lesson for students

Practices of Music Education by Shigekazu Tsurui, Teacher-in-Charge of Integrated Learning at the Primary School Attached to Nara Women's Higher Normal School : The Pursuit of the Point of Contact Between Progressivism and Essentialism

大正期から昭和初期にかけて, 我が国では, 新教育運動が盛んとなった。それは進歩主義思想に基づいたものであり, 児童の自律性・活動性を重んじるものであった。一方, 音楽教育においては, 唱歌科から音楽科への移行が始まり, 教科としての系統的・論理的な確立が意識されるようになった。すなわち, 大正期の音楽教育は, 本質主義に基づいたものであったといえる。 奈良女子高等師範学校附属小学校では, 音楽教師の幾尾純による音楽の授業と, 合科学習の中で行われる音楽学習との2つの形態が存在していた。そこでは, 進歩主義に基づいた主事木下竹次と, 本質主義に基づいた幾尾純との対立があった。その中で, 合科担任教師の鶴居滋一は, 児童中心主義の立場に立って, 児童の自発的な学習を促しながらも, 教科内容の獲得を目指した。鶴居の実践した児童作曲の授業は, 進歩主義と本質主義との接点を見いだそうとした画期的なものであった。In Japan, from Taisho era to early Showa era, the new educational movement based on progressivism became very popular. As to music education, the change from Singing to Music appeared during this period and at the same time the systematic and logical establishment of it as a subject came to be gradually considered. That is to say, the music education in the Taisho era was practised according to essentialism. At the Primary School Attached to Nara Women's Higher Normal School, there were two different types of music class; the music class taught by a music teacher, Jun Ikuo, and the music learning taught through the integrated learning. However, there existed opposing opinions between Takeji Kinoshita, whose thoughts were based on progressivism, and Jun Ikuo, which is based on essentialism. In this movement, Shigekazu Tsurui, in-charge of the integrated learning, taught children to master the learning contents, while promoting the children's voluntary learning on the viewpoint of the child-centered thoughts. The children's musical composition taught by Tsurui was considered to be epock making since he tried to find the point of contact between progressivism and essentialism

The Music Educational Philosophy of lchiro NAKAYA Supporting 'FUSHIZUKURI EDUCATION' as the Principal of FURUKAWA Elementary School in GIFU Prefecture (2)

'Fushizukuri Education' is a milestone in Japanese music education. It was practiced in Furukawa Elementary School in Yoshiki District, Gifu Prefecture and achieved a brilliant success. In 1966, Furukawa Elementary School was selected as a pilot school for elementary school music education. Ichiro Nakaya, a section chief in the local education office in Hida at that time, is the person who had a great influence on this selection. When Hiroshi Yamamoto, the supervisor of Gifu Prefecture, asked Nakaya's advice for the selection of a pilot school, Nakaya recommended Furukawa Elementary school where he graduated. In 1967, Nakaya became the principal of Furukawa Elementary School and showed his tremendous ability in school management. He consistently supported "Fushizukuri Education" and highly contributed to its development. This paper clarified the untold music educational philosophy of Principal Ichiro Nakaya

“Fushizukuri Education” in Chayamachi Elementary School, Kurashiki City, Okayama Prefecture : Fifth Grade Music Classroom Practice by General Teacher Setsuo Myoraku, 1977

“Fushizukuri Education,” the most successful music education approach in Japan, began in 1966 at Furukawa Elementary School in Hida, Gifu Prefecture. Fushizukuri Education was developed by a teachers’ group that did not contain a music teacher. In this respect, Fushizukuri Education is fundamentally different from the music education of Orff, Kodaly, and Jaques-Dalcroze. The characteristics of Fushizukuri Education are as follows: ① The independence of will of the learner is regarded as important, ② Class rules are completely secured, ③ Group activities are seriously considered, ④ Solos and remarks are secured, ⑤ Frequent use of repetition, ⑥ Reduced time for teacher remarks, and ⑦ Singing ability and performance power of the learners are excellent. Fushizukuri Education was adopted in many elementary schools, and was practiced in each place of Japan. In this article, we examine Fushizukuri Education as practiced in the fifth grade of Chayamachi Elementary School in 1997. Additionally, we review how the seven points of this style of education as performed at Furukawa Elementary are maintained or transformed

The Music Educational Philosophy of lchiro NAKAYA Supporting 'FUSHIZUKURI EDUCATION' as the Principal of FURUKAWA Elementary School in GIFU Prefecture (1)

'Fushizukuri Education' is a milestone in Japanese music education. It was practiced in Furukawa Elementary School in Yoshiki District, Gifu Prefecture and achieved a brilliant success. In 1966, Furukawa Elementary School was selected as a pilot school for elementary school music education. Ichiro Nakaya, a section chief in the local education office in Hida at that time, is the person who had a great influence on this selection. When Hiroshi Yamamoto, the supervisor of Gifu Prefecture, asked Nakaya's advice for the selection of a pilot school, Nakaya recommended Furukawa Elementary school where he graduated. In 1967, Nakaya became the principal of Furukawa Elementary School and showed his tremendous ability in school management. He consistently supported "Fushizukuri Education" and highly contributed to its development. This paper clarified the untold music educational philosophy of Principal Ichiro Nakaya

A Practice of “Fushizukuri Education”: Focusing on Rhythm Learning at Hiroshima Municipal Hesaka Elementary School

“Fushizukuri Education” is the most successful music education method in Japan, started in 1966 at Furukawa Elementary School in Hida area, Gifu Prefecture. This method was developed by a group of teachers who were not specialized in music. The characteristics of this method are as follows: (1) the curriculum consists of 30 phases, 102 steps; (2) adopting dual approach comprised of performance and music basics; (3) the learners themselves progress the class with minimum intervention by the teacher; (4) special emphasize is placed on hearing; (5) sufficient opportunities for solo singings and remarks are guaranteed for all learners, (6) the teacher’s remarks are minimized, and (7) the learners eventually demonstrate excellent musical and performance ability. This study aims to find how to install “Fushizukuri Education” effectively into current school music curricula in Japan. Both practical and experimental approaches are employed. Children participated in this study were the third graders at Hesaka Elementary School. The four classes were randomly divided into two groups comprised of two classes each. Children in one group learned using conventional staff notation system, whereas children in the other group learned using the “maru-fu” (circle notes) notation system. Rhythm learning activities were organized for both groups based on the “Fushizukuri Education” method. A pretest and a posttest were carried out in July and late September 2017, respectively. Both tests measured each child’s abilities of rhythm reproduction and rhythm reading. In the rhythm reading pretest, both groups were tested with one-line staff materials. In the rhythm reading posttest, the “maru-fu” group was tested with “maru-fu” materials, whereas the staff group was tested with one-line staff materials. Following results were obtained. (1) Both groups have developed abilities of rhythm reproduction and rhythm reading through rhythm learning activities, although the number of activities was not so many. (2) In the pretest, the staff group outperformed the “maru-fu” group on both reproduction task and reading task. (3) It is presumed that the learners have been familiarized with five-line or one-line staff notation system up to the third grade, whereas they might feel novelty in the “maru-fu” notation system. (4) Therefore, the “maru-fu” notation system should be used in the first grade.三村真弓教授退職記念号 Special Number Commemorating the Retirement of Professor Mayumi Mimur

Class Practice Research Aimed at Achieving Proactive, Interactive, and Deep Learning in the Junior High School Music Department: From the Perspective of Teaching Methods in Instrumental Ensemble

The purpose of this study was to clarify which teaching method could produce proactive, interactive, and deep learning, during an instrumental ensemble, and to assess the results of implementing such a program. We developed and presented the instrumental ensemble class plan based on the bottom up instruction method at two junior high schools. Data were collected by using a questionnaire and an M-GTA. We found that each student displayed a proactive learning attitude toward the music while maintaining an awareness of their own development areas and growth. Furthermore, the students showed an interactive learning attitude during collaborative activities by watching and listening to others while observing their performance in an effort to improve the quality of music , and learn through the class experience. In addition, we noticed an attitude that promoted deep learning whereby students attempted to solve problems and create music while utilizing what they learned from negative experiences. In addition, the bottom up instruction approach used during instrumental ensemble training was associated with originality, growth and the acceptance and awareness of others