著者

千成 俊夫 八木 正一 吉田 孝

出版者

北海道大学教育学部教育方法学研究室

雑誌

教授学の探究 (ISSN:02883511)

巻号頁・発行日

no.3, pp.1-32, 1985-03-26

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.

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.87-107, 1984-11-26

---

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.

著者

千成 俊夫

出版者

日本音楽教育学会

雑誌

音楽教育学 (ISSN:02896907)

巻号頁・発行日

no.16, pp.p122-127, 1986

著者

田中 正 中嶋 恒雄 千成 俊夫

出版者

日本音楽教育学会

雑誌

音楽教育学 (ISSN:02896907)

巻号頁・発行日

no.10, pp.p140-147, 1980-02

著者

千成 俊夫

出版者

北海道大學教育學部 = THE FACULTY OF EDUCATION HOKKAIDO UNIVERSITY

雑誌

北海道大学教育学部紀要 (ISSN:04410637)

巻号頁・発行日

no.25, pp.p191-203, 1975-12

著者

千成 俊夫

出版者

日本音楽教育学会

雑誌

音楽教育学 (ISSN:02896907)

巻号頁・発行日

no.6, pp.p1-4, 1976-12

著者

千成 俊夫

出版者

京都教育大学教育研究所

雑誌

京都教育大学教育研究所所報 (ISSN:02882590)

巻号頁・発行日

no.19, pp.191-201, 1973-03

著者

千成 俊夫

出版者

広島大学教育学部

雑誌

広島大学教育学部紀要 第四部 (ISSN:03863131)

巻号頁・発行日

no.26, pp.p87-97, 1977

著者

千成 俊夫

出版者

奈良女子大学

雑誌

學習研究 (ISSN:09116117)

巻号頁・発行日

vol.292, pp.65-69, 1984-12-15

著者

千成 俊夫

出版者

広島大学教育学部

雑誌

広島大学教育学部紀要 第二部 (ISSN:04408713)

巻号頁・発行日

no.31, pp.p129-138, 1982

著者

千成 俊夫

出版者

広島大学教育学部

雑誌

広島大学教育学部紀要 第二部 (ISSN:04408713)

巻号頁・発行日

no.27, pp.p165-176, 1978

著者

千成 俊夫

出版者

京都教育大学

雑誌

京都教育大學紀要. A, 人文・社会 (ISSN:03877833)

巻号頁・発行日

vol.44, pp.67-99, 1974-03

著者

千成 俊夫 宇田 昌子

出版者

広島大学教育学部

雑誌

広島大学教育学部紀要 第二部 (ISSN:04408713)

巻号頁・発行日

no.29, pp.p189-199, 1980

著者

千成 俊夫

出版者

広島大学教育学部

雑誌

広島大学教育学部紀要 第四部 (ISSN:03863131)

巻号頁・発行日

no.25, pp.p109-119, 1976

著者

千成 俊夫 宇田 昌子

出版者

広島大学教育学部

雑誌

広島大学教育学部紀要 第二部 (ISSN:04408713)

巻号頁・発行日

no.30, pp.p159-168, 1981

著者

千成 俊夫 八木 正一 吉田 孝

出版者

北海道大学教育学部教育方法学研究室

雑誌

教授学の探究 (ISSN:02883511)

巻号頁・発行日

vol.3, pp.1-32, 1985-03-26

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.34, no.1, pp.125-143, 1985-11-25

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The National Executive Board of Music Educators National Conference adopted the following goals for MENC at its July meeting in 1984. 1. By 1990, every student, K-12, shall have access to music instruction in school. 2. By 1990, every high school require at least one Carnegie unit of credit in the arts for graduation. 3. By 1990, every college and University shall require at least one Carnegie unit of credit in the arts for admission. MENC President Paul R. Lehman commented that, "I believed that these goals are reasonable and, in most schools, achievable." He called the first goal "the essence of MENC's agenda" and vowed that MENC would pursue that objective vigorously and persitently. "We can take advantage of the nations current enthusiasm for excellence to make dramatic progress toward these goals," he said, but warned that the goals impose special responsibilities on music educators. As is generally known, the Crisis in Music Education in the United States happened in 1981. For the sake of the federal government budget cuts signed into law by President Regan in the August, hundreds of music education position have been eliminated. The cuts affected school budgets and when school budgets are cut, music program and personnel used to be often one of the first to be proposed for curtailment or elimination. In the preceding treatise, an overview of the music curricula innovation movements of the United States was presented. As the conclusion of the study, writer could condense the basic idea of the music curricula innovation movements to such slogan "Music for every child, every child for music." In this treatise, concerning the realization of the slogan, this writer tried to explain the American music educators activities and endeavors under the previously stated crisis in music education. Second, in addition, the ideas and methods which have been supporting American music educators were examined. To put it concretely, the ideas and methods are embodied in the so-called Comprehensive music program and General music program. We can say the both, CMP and GMP, are the products of the Curriculum Innovations of Music Education in the United States of America.

著者

三上 勝夫 倉賀野 志郎 太田 一徹 高村 泰雄 千成 俊夫 吉野 正敏 前田 賢次

出版者

北海道教育学会

雑誌

教育学の研究と実践 (ISSN:13498266)

巻号頁・発行日

no.12, pp.87-99, 2017-09

著者

千成 俊夫

出版者

北海道大學教育學部 = THE FACULTY OF EDUCATION HOKKAIDO UNIVERSITY

雑誌

北海道大學教育學部紀要 (ISSN:04410637)

巻号頁・発行日

vol.25, pp.191-203, 1975-12