Research on the Music Education Curriculum in Postwar Educational Reform

本研究分析了20世纪50年代中期战后音乐教育实践的几种课程计划和教案，并对赤桥计划、新方计划、吉木计划等核心课程计划和京都、和歌山县的课程计划进行了研究，探讨了课程理念对音乐教育实践的影响，战时音乐教育的哪些部分在战后没有或发生了变化，音乐表演在整个课程中的作用。特别关注战时和战后如何对待情感教育，以及个人表演和集体表演对情感教育的意义。研究表明，直到1950年，音乐教育出现了一种新的趋势，包括戏剧表演和课堂上的学生研究，总体上更重视个人表演而不是集体表演。集体表演是通过个人的共同努力来实现的。尽管这一新趋势是战后音乐教育的显著发展，但到了20世纪50年代中期，随着人们对准确性和音乐技巧的追求，这种新趋势逐渐消失。50年代中期的S之后，更强调阅读音乐或良好的措辞，从此很难与战时的音乐教育实践区分开来。然而，到1960年，技艺娴熟的集体表演已成为音乐教育的主要活动。

This research analyzes several curriculum plans and lesson plans for classes, in order to clarify the total image of postwar music education practice until the mid 1950's.Some core curriculum plans, such as the Akashi Plan, Niigata Plan, and Yoshiki Plan and curriculum plans for Kyoto City and Wakayama Prefecture were studied for 1)how the idea of course of study affects music education practice, 2)what part of the wartime music education didn't or did change in the postwar period, and 3)the role of music performance in the whole curriculum. The Special focus was on how emotional education was treated in wartime and postwar period, and what personal performance and group performance meant in connection with emotional education.Research showed, a new trend of music education, involving drama acting and in-class student research studies emerged until 1950, and which overall put more importance on individual performance than group performance. Group performance was realized by uniting the efforts of individuals. Even though this new trend was a remarkable development in postwar music education, it gradually disappeared by the mid 1950's as more accuracy and musical skills were pursued.After the mid 1950's, reading music or good diction were more emphasized, from which time it became hard to tell the difference from the wartime music education practice. However, by 1960 skillful group performance had become the main activity of music education.