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This article explains about the sources, instrument, and work of music model paradigm. To lead into the focus, it will clarify the essence of the music. The substance such as rationality, intuition, and empiric experiences originates the essence of the music. The objects as the sources of work of the music consist of two kinds of object: material and formal object or perspective. This article also gives an example of work of music paradigm of which elements are self-belief, model, concept, and method. All elements above are material, practical value, and meaning of gist of the epistemological authenticity on the work of music.

Based on evidences from historical documents (including mythology and legend) and archaeological findings (musical instruments and other artifacts), this paper discusses the ritual element in prehistoric music of China, and the connection between archaeology and historiography. Classical texts such as Shanhaijing, Shangshu, and Lüshi chunqiu describe the importance of ritual in the performances of music and dance. These descriptions, when combined with visual images from archaeological findings of painted pottery decorated with dancers’ images in Qinghai and other places, rock paintings in Yunnan, and musical instruments of the Neolithic Age of the Jiahu and Taosi cultures, underline the importance of ritual in prehistoric music of China. The role and meaning of ritual in prehistoric music of China can thus be constructed by analyzing historical documents in conjunction with archaeological findings within their cultural-historical contexts.

Creativity is an important domain in music teaching and learning and also recognized as the most difficult discipline to teach. Music educators in Taiwan recently reevaluate the status of music creativity and let it take place in music teaching and learning, although “what to teach” and “how to teach” are still the problems for the teachers. Among various elements in music creativity, language plays a significant role by its unique characteristic. Chinese is known as “one word, one syllable” and belongs to the family of tonal languages therefore the intonation of Mandarin or Taiwanese usually implies intervals and melodies while inappropriate words in a melody can cause misunderstanding. From musicians’ point of view, the application of Mandarin could be a road leading to music creativity, and Kodaly approach makes a logical procedure to help music learners foster their comprehensive musicianship. From cultural context to music literacy, from part to whole, music educators start with Mandarin words and intervals, and step further to phrases in musical form, eventually achieve a complete song in music writing. Mandarin and music play a perfect match in music creativity. This paper presents step-by-step Kodaly teaching procedure in music creativity while characteristics of Mandarin are emphasized.

There is no doubt that Kangkangsule is the best way to inherit and realize the Korean traditional culture to little children. It is reasonable to apply Kodàly system to Kangkangsule in order to organize a program which fits well with the level of the growth of children and is easy and enjoyable to them. As this research shows, it is possible that little children can improve their musical ability as below. - Children can master the musical notions such as dynamics, tempo, rhythm, pitch, tone color, structure, style, and sound quality. - Children can experience delightful and exciting music through various music activities. - They can learn the flexibility, tenderness, sensibility, and wisdom of life by means of realization of three conditions. - They can develope their instant power because Kangkangsule has variable motion depending on the tempo, excitement, and degree of enthusiasm. - They can master the characteristics of Korean traditional music.