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A course of study that is the seventh version(elementary and secondary school) was announced in March, 2008 in Japan and enters a shift step from April, 2009. Music teaching in the school education is carried out for the next about 10 years, based on the purpose and content of this new course of study. This study examines the present conditions and problems of Japanese school music education put in the considerably severe situation and then gets the suggestion about a future fundamental idea.At first, I enunciated the current status of academic achievement in Japanese child that was based on PISA (Program for International Student Assessment) investigation and the future trends of new ability required for contemporary learner in Japan in the 21st century. The results are indicated as follows. 1) Japanese child has a problem in reading literacy and open-ended question required the ability to think, judge and express. 2) The dispersion ofthe results distribution in reading literacy spreads. 3) A habit at the home and a custom by thelife affect the background of the cause. In school education spot, we aim to raise generous and independent personalities, and wish our children to be a harmony of academic ability, morality, and sound body. Music education is one of the most important subject matter to enrich human nature and creativity. But Ministry of Education, Culture, Sports, Science and Technology points out the following as a problem of the school music education. 1) Fostering children's sensitivity and ability to think, judge and express themselves, moreover gettingclose to music for a life and taste a good point of the music culture and bringing up the attitude keeping it alive in life and the society. 2) Percepting a sound and music, then using artistic sensibility to acquire an ability of performance skill and understanding of music. 3) Having attachment in Japanese music culture and bringing up the attitude to respect different cultures of other countries by feeling the good point,and planning substantiality of the learning of the traditional music such as the Japanese song and/or musical instrument which have been got close to for a long time.Next, I examined the present conditions and a problem of the Japanese school music education after having described the change of the course of study and outline of new version (music) with a trend of the educational philosophy after 1950. Furthermore, I surveyed the transition of the social backgrounds and the basic concepts of music education in USA after Sputnik Shock in 1957,associating them with some study fields such as aesthetic education, social anthropology, ethnomusicology, behavioral psychology, cognitive psychology, and praxis philosophy that have had significant influences on Japanese music education. Recently, Philosophical issue about aesthetic and praxial approach to music education has been discussing in USA (in Japan also). For a long time the philosophy of music education has been completely dominated by the aesthetic approach "| the chief exponent is Bennet Reimer. But in recent years the aesthetic view has faced severe criticisms by like David J. Elliott, who presents a novel conceptual frame work for understanding music that centers on the notion of music as a practice. His praxial philosophy has influenced among music educators internationally in late years. From the launch of aesthetic education in the 1950s as a response to long-standing functional values to the emergence of praxial philosophy in the 1990s as a reaction theaesthetic movement, the philosophical views guiding the profession have been shaped by the social, political and cultural values of the times. Preferably, I hope that music education should be inspired by the best ideas that originate both near future.In not only Japan but USA, the continuation of the school music education is the considerably critical situation now as having mentioned above. It is necessary for music educator to continue insisting on the significance of existence of the school music education for the school spotand society, and show a practical plan by clarifying the aims of music education. Finally, it is hoped to advance a further study immediately in cooperation with educational administration and some other organizations. I strongly expect more and more development of the school music education.

The purpose of this paper is to bring out the ideas about how multicultural music education should stand in the 21st century of the world. Due to the various movements of populations and fast dissemination of culture through mass media, the boundary of nation is becoming blurred. At the same time, the globalization of the world requests people to understand other cultures and minds as well as understanding their own culture. Therefore, the understanding of multicultural music is essential in today's Korea. This will lead people to comprehend the multiplicity of human world and to obtain appropriate self-confidence for our own culture. In this situation, we should think about importing musics in other culture and exporting our traditional music culture to the other worlds. Many related research subjects to the multicultural music education have conducted by the research team of Seoul National University of Education. They have evaluated the terminology of world music and the situation of multicultural music education on several countries not only in Korea but also in Japan and United States, Germany and so on. Finally, they have published great teaching material for the development of multicultural music education in Korea. Their contributions on this field have been brilliant and will be continued by other following scholars.

This study attempted to design new methods for recording listening activities and to test the effects of these activities. 1. Musical diaries affects the student's development of the expression of aesthetic attitudes, auditory concentration ability, and the internalization of musical values.2. Musical diaries affects the development of not only the students' aesthetic attitude and creativity, but also their sense of achievement and self-esteem.3. Through their musical diaries the students recognized music as a part of their lives by discovering and experiencing it in their daily routine.

The primary purpose of this thesis is combine Dalcroze's eurhythmics teaching method with Boroque music together. The final goal is compare music education teaches an understanding of music its fundamental concepts, its expressive meaning, and its deep connection to other arts and human activities through a path breaking approach incorporating rhythmic, movement, aural training, and physical, vocal, and instrumental improvisation. This education method views the qualities of music as fundamental forces in human life and emphasize music's connection to the thoughts. The thesis highlights in Dalroze's eurhythmics teaching technique with baroque music. To understanding of this theory, specific characteristic of baroque music along with historical music background applies to Dalroze's principle teaching method.

Diese Arbeit beschäftigt sich mit der Verbindung des elementaren Konzepts des Orff-Unterrichts mit dem Instrument Blockflöte undder Anwendung dieser Methoden im Koreanischen Volksschulunterricht.Zunächst wird der Grundgedanke des Orff-Konzepts hervorgehoben, nicht ein starres Geruest mit festgelegten Abläufen vorzugeben, sondern ein offenes, wandelbares Fundament für einen individuell angepassten Musikunterricht.Es folgen drei beispielhafte Stundenplanungen, die speziell für die Unterrichtssituation in Koreanischen Volksschulen mit Klassengrössen um die 30 Kinder angelegt sind.Für jeden der drei Stundenpläne wird ein anderes Instrument verwendet. Zum ersten die Blockflöte, die als Pflichtinstrument in Koreanischen Volksschulen weite Verbreitung erfährt, in Verbindung mit den klassischen Orff-Instrumenten.Zweitens die Blockflöte in Verbindung mit traditionellen Koreanischen Schlaginstrumenten.Und schliesslich die Blockflöte in Verbindung mit einer neuartigen Methode der Klangerzeugung, bei der das Steuerungselement der Spielkonsole wii mit Hilfe spezieller Software zu einem Percussioninstrument wird, das die Bewegungen des Spielers digital in Töne umsetzt.Weiters enthält die Arbeit Anregungen für Lehrer, selbst derartige Pläne und dazugehörige Hausübungen zu erstellen.Ziel der Arbeit ist es, interessierten Pädagogen die Philosophie des Orff-Unterrichts näher zu bringen, ihnen die Wichtigkeit individueller Unterrichtskonzepte für unterschiedliche Gruppen und Persönlichkeiten sowie der Improvisation zu vermitteln, und Motivation zu geben, genau das zu tun.Wie Orff sagte: "die Musik fängt im Menschen an." Deshalb sollte der Mensch im Mittelpunkt des Musikunterrichts stehen.

The purpose of this study is to examine the relation between the musical views of the Biedermeier Era and Hanslick. It is intended for the better understanding of the historical background and context of Hanslick idea of absolute music.Vienna was under the heavy hands of Metternich from the Congress of Vienna (1815) to the March Revolution (1848). During this "Vormärz (pre-March)" era, so-called Biedermeier culture flourished which can be characterized by the intermingling of the conviviality, simplicity and bourgeois self-display.During the Biedermeier era, the number of public concerts had been increased while the music culture itself had been polarized into two tendencies. One was based on the traditional Viennese classicism established in the late eighteenth century, and the other was inclination to the fashionable Italian opera, virtuosi, and the frenzy of dance music. While the former was declined during the 1820s, while the latter increased its momentum at the same time and dominated the Biedermeier society. In this context, Biedermeier era's musical view point can be summarized as a "Gefühlästhetik" or "aesthetic of feeling." Hanslick criticized the partial inclination to feeling acutely and asserted the idea of absolute music instead. He emphasized the autonomic form of instrumental music. This idea implied that the active mind can be related to the idea of absolute music while the passive feeling can be associated with emotional music. In my opinion, Hanslick's assertion is based on the hope that the social order is necessary in post-revolution Vienna. His intention can be interpreted as an attempt to present the social vision through the music aesthetics.Hanslick criticized the Biedermeier era's view of music through the following questions: "Is to express daily feelings only raison d'être of music?"; "Why don't you pursue the idea immanent in music?" These questions also remind us of the importance of the balance between the emotional and intellectual aspects of music as well as in our lives.

The purpose of this study is to develope the method of analyzing musical instruction, and the aim is to explore a criteria of analyzing musical instruction. The content of this study is to understand the general theory of the questioning, to develope the questionings(model) for musical instruction, to adapt it to teacher's handbook. and to test it of appropriation. The result of study is that the three divisions for questioning - cognitive domain, phychomotor domain, and emotional domain - are appropriate and each sub-division is good for analyze musical instruction.

The aim of this study was to determine the degree of the students' satisfaction with the traditional musical pieces in the elementary music textbooks, which had been included in such textbooks in accordance with the 7th revision of the school curriculum, so that the features of traditional music will be understood when needed, particularly when music textbooks are again to be revised.Four public elementary schools were chosen from among those located in Busan Metropolitan City and in the province of Kyongsangnam-do, and a survey was conducted among 254 6th-grade students from the four selected school.Analysis showed that the average score that was obtained by all the musical pieces in the elementary music textbooks in terms of cognitive-emotional capacity was 3.05, while that obtained by the traditional musical pieces was 2.57. This suggests that the students do not sing traditional musical pieces well. As for the results of preference, the average score that was obtained by all the obtained by the traditional musical pieces was 2.16. In term of usability, the average scores that were obtained by both the Western and the traditional musical pieces were low: 2.02 for all the musical pieces and 1.73 for the traditional musical pieces.Based on the aforementioned findings, the following recommendations are made:(1) Effective measures must be sought to motivate the Korean students to sing the traditional musical pieces in the elementary music textbooks not only in class but even outside of it.(2) Efforts should be made to select the proper music for the students considering that they have a wide range of background variables and preferences.(3) The traditional music must be developed and we should include the effort in the music textbooks.Much effort must be exerted to achieve true education of traditional music, study for satisfaction of students, making materials for teaching, training teachers, and popularization of traditional music.