著者

千成 俊夫

出版者

奈良教育大学

雑誌

奈良教育大学紀要 人文・社会科学 (ISSN:05472393)

巻号頁・発行日

vol.33, no.1, pp.p87-107, 1984-11

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Contmporary society is changing fundamentally and rapidly. We feel it is changing so fundamentally and rapidly that we have difficulty fitting ourselves into the present and projecting ourselves into the future. We, as educators, take on a responsibility that make children grow up in all aspects and help them live in the future. For the sake of fulfilling our such responsibility, it is always important for educators to be aware of international recent developments and trends in education. From the beginning of public school education to the present, Japanese music education has been owed the United States of America a great many things. Especially after World War II, we have to say its influence is very prominent. It may be said that the contemporary period of music education in the United States have begun in 1957. In that year the Ford Foundation began to explore the relationship of the arts and American society. The Music Educators National Conferrenc submitted a proposal to the Ford Foundation that a project about curricula innovation of music education, named the Contemporary Music Project for Creativity in Music Education be inaugurated. In 1963 the Ford Foundation accepted the proposal, and since then until today various projects have been started. There are various differences between music education in America and Japan, and therefore it is difficult to make many problems which have been taking place one after another in American music education clear. But we will be able to get many important informations from the movements of music curricula innovation in the United States. Curriculum is the structure and sequence of learning experiences in formalized instructional settings. Its immediate problem is the quality, content, and organization of in school learning experiences. We, as music teachers, have to arrange curricular experiences in music. We manage instruction and manipulate the learning enviroment for optimum achievement of predefined objectives. The intent of this study is to give essential suggestions which help us make better music education curriculum in Japan of today. The study divides into three parts. Part one, this treatise, presents an overview of the music curricula innovation movements of the United States concerning the period from the 1960s to the present. Part two, the next treatise, explores the contents and teaching methods of music education being related to the music curricula innovations. As the results of two prestudies Part three, the final treatise, will present the concrete suggestion for building music instructional programs.