| Budget Amount *help |
¥1,400,000 (Direct Cost: ¥1,400,000)
Fiscal Year 2005: ¥600,000 (Direct Cost: ¥600,000)
Fiscal Year 2004: ¥800,000 (Direct Cost: ¥800,000)
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| Research Abstract |
Music educators in school have had a strong concern about how school music education is related to everyday musical life of young people. As a solution of the problem, popular music or "semi"-popular music has been introduced into school music classes, because popular music is regarded as the most amusing music for young people in everyday life. However, difference and conflict between school music class and everyday musical life of young people is not only in teaching materials (What), but also in way of music learning and understanding (How).
According to previous studies, copying after pieces of recording music through listening is an indispensable way to catch the music for popular music learners and professionals. "Listening" and "imitation" is likely to be more important way of learning of popular music than reading notation that is in common use in school music class. Therefore, this study focuses on the music learning process of a young amateur popular music band. Observations and video recordings of their practice process were conducted in order to analyze. In addition, unstructured interviews with the members were conducted, watching on the playback video together.
All of the members of this band thought that listening to the recording model was more effective in catching the music than reading notation of musical score, although their ability of reading notation was various. They also concentrated on listening to their own performance during practice, and they discussed and suggested ideas of how to correct errors, what expression and what stage effects should be chosen. There are several implications for school music education in their practice process. These points were discussed, using the concepts of <Classification> and <Framing> by Basil Bernstein's sociological theory of pedagogy.
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