Eriko Sasano

The purpose of this paper is to show the process of how students construct their extracurricular music activities. Students at school play or listen to music not only in classrooms but also at after school club activities. Using ethnography as the method, this paper will focus on high school students in popular (band) music clubs and find out how they construct their music activities. The followings are the points that have been shown in this paper. 1) When students construct and maintain their music activities at a popular music club, two contexts operate, "self-achievement of music goals" and "achievement of human relationships". Music club activities can be classified into four sections from the crossing of these two axes. 2) "Achievement of human relationships" is the key to construct and maintain music activities. It was difficult to continue playing music when concentrating on one's self-achievement. In order to construct and maintain the music activity, it was essential for students to make good relationship with other members. 3) When constructing and maintaining music activity, girls attach importance to constructing human relationships whereas boys have strong need for achievement in playing music and becoming more skillful, Girls also tend to play music not only for improving their skills but use music as a way to build relationship with others. 4) The result suggests that group formation would be a major key for successful music activities in school music education. We should not ignore the fact that human relationship plays an important role when actually constructing and maintaining music activity. In other words, forming groups of individual acting separately would not work. Group formation should be based on each individual's meaningful choice and each individual should be able to attach meaning to the group itself. Successful human relationship is the key for construction and maintaining music activities.

The purpose of this paper is to analyze the experience of school music curriculum. In other words, it seeks to shed light on curriculum as learning experience from the context of school members who are in charge of school music curriculum. How is school music curriculum experienced by school members? This is the key question upon which this research is based. This research terms and objectivizes this as an experience of school music curriculum and question's the children's experience of school music curriculum. The specific method for understanding the experience of school music curriculum employed in this paper is quantitative analysis. In addition, comparative analysis of Japan and South Korea is also employed so as to further shed light on the characteristics of the content and structure of the experience of school music curriculum. First, the paper examines the characteristics of systematized school music curriculum in Japan and South Korea. Next, it analyzes the experience of school music curriculum of children in Japan from the results of questionnaires. Third, it analyzes the experience of school music curriculum of children in South Korea from the results of questionnaires. Finally, it examines the relationship between the systematized school music curriculums in Japan and South Korea and the content and structure of the extracted experiences of school music curriculum. Through the above, the author wishes to demonstrate the characteristics of the content of experiences of school music curriculum and the significance of examining the experience of school music curriculum in research on school music education. As a result, the following points became clear: 1) As a result of factor analysis (Principal factor method, Varimax rotation), 6 factors were extracted from Japan. The denominated factors were "collective (cooperative) musical function", "learning method", "classroom rules", "musical sentiment", "interactions" and "self-confidence/feelings of capability." We can say that these factors form the content and structure of experience of school music curriculum for children in Japan. 2) As a result of factor analysis (Principal factor method, Varimax rotation), 6 factors were extracted from South Korea. The denominated factors were "study learning effectiveness/method", "classroom rules", "recognition", "musical sentiment", "socialization" and "skills." We can say that these form the content and structure of the experience of school music curriculum for children in South Korea. 3)In the F1 factors of both Japan and South Korea, factors that have subsumed aspects such as sentiment, recognition and skills were extracted. This signifies the existence of latent variables in school music curriculum that work together with these factors. These factors have not been extracted from preceding studies in other subjects and can be indicated as characteristics of the experience of school music curriculum. The significance of this research is acknowledged by the fact that these factors have been extracted using the major factor method, allowing for the possibility of proposing unique latent variables for school music curriculum. 4) The experience of school music curriculum of children consists of two inextricable aspects: overt dimensions and latent dimensions. Put differently, it is prescribed by both a manifest curriculum and a hidden curriculum. What has become clear from the analysis of the experience of school music curriculum in this paper is that, in children's frameworks, curriculum as an educational plan is one aspect of the dynamic and fluid nature of a curriculum that permeates the meanings, forms and frameworks of experience while forming them at the same time.

The purpose of this paper is to analyze the music textbook in Japan from the aspect of "Hidden curriculum". In this paper, we analyze the music textbook from the following two points. First, we use the technique of the "explication de texte" for the research framework. Second, we analyze "Hidden curriculum" from the aspect of "Gender". We analyzed the following five points. 1) Sex of those who write songs and comparison 2) Sex of Characters of lyricsand 3) Sex of photograph and cut-in illustration 4) Context of textbook making 5) Context of use in classroom Through this process, we can propose the aspect of "Music education as the gender reproduction device". The teacher and the researcher in the music education should pay attention to "Hidden curriculum" included in the music textbook. We should examine that whose is knowledge in the textbook, and whose knowledge is it excluded in music education.