Adaptation Process of Early Nineteenth Century American Music Education: An Anlalysis and

Comparison of Selected Music Textbooks Published in Japan

and the United States

Masafumi Ogawa D.M.E.

Joetsu University of Education

Outline of the Presentation

Introduction Research Background Major Research Questions Methods and Delimitations Structure and Strategies Findings Conclusion Significance of the Study and

Implications

Historical Background in the Beginning of Music Education

in Japan

1868 Meiji Restoration （明治維新） 1872 The Fundamental Code of Education （学

制） 1879 The Music Study Committee （音楽取調

掛） 1879 The Code of Education （教育令） 1880 Luther Whiting Mason’s Arrival 1882 The First Music Textbook--Shôgaku

shôkasû shohen ( 小学唱歌集初編） 1882 Mason’s Leave and Dismissal 1883 Translated Teacher’s Manual--Ongaku

shinan （音楽指南） 1887 Tokyo Institute of Music （東京音楽学

校） 1887 Yôchien shôkashû （幼稚園唱歌集） 1891 Isawa Shuji’s Dismissal 1911 End of the Meiji Period

Major Research Questions

To what extent are early nineteenth century American influences on the beginning of Japanese public music education observed?

To what extent is early nineteenth century American music education related to the music education of Luther Whiting Mason?

To what extent was the beginning of Japanese music education influenced by broader American school music education

before Luther Mason?

Methods

Analyze music textbooks of major 19th Century American music educators, Luther Whiting Mason, and official and private Japanese music textbooks

Find characteristics of philosophy, methods, and song materials for these three groups of music education

Examine official documents related to the topic

Compare obtained data Clarify the adaptation process in music

education and assess the influences

Delimitations

Between 1880 (when the Music Study Committee was established) and 1911 (the end of the Meiji period) in the Japanese music textbooks.

Between 1831(the emergence of the American school music education) and 1864 (when Luther Mason became a superintendent).

The National Music Course and Charts (before Luther Mason went to Japan)

Analyzed American TextbooksBefore L.W.Mason

Lowell Mason (1792-1872) The Manual of Boston Academy of Music (1834)

The Juvenile Lyre (1831) Little Songs for Little Singers

(1840) Juvenile Singing School (1840) The Boston School Song Book

(1840) The Primary School Song Book (1846) The Song Book of the School Room (1849)

Thomas Hastings (1784-1872) The Juvenile Songs (1842)

Elam Ives Jr.(1802-1864) The American Elementary Singing Book

(1832) William Bradbury (1816-1868)

The Young Melodist (1845) Asa Fitz (1819-?)

The American School Song Book (1843)

Analyzed Textbooks of L.W.Mason

The National Music Teacher (1872) The First Music Reader (1872) The Second Music Reader (1872) The Third Music Reader (1872) Teacher’s Manual (1872)

Analyzed Japanese Textbooks(Official Publication)

Ongaku shôkei ( 音楽捷径） (1884)

Ongaku shinan （音楽指南）(1882)

Shôgaku shôkashû I,II, III ( 小学唱歌集） (1882-1884)

Yôchien shôkashû （幼稚園唱歌集） (1888)

Chûtô shôkashû （中等唱歌集） (1889)

Chûgaku shôka （中学唱歌）(1901)

Chûtô shôka （中等唱歌） (1909)

Analyzed Japanese Textbooks (Private Publication)

Shinpen chûtô shôka （新編中等唱歌）（ 1892 ）

Shôgaku shôka I-VI （小学唱歌） (1893)

Meiji shôka bassui （明治唱歌抜粋） (1895)

Jogaku shôka I-III （女学唱歌） (1900)

Shipen chûgaku shôkashû I-III （新編中学唱歌集） (1902)

Yônen shôka I-IV （幼年唱歌）(1900)

American Music Textbooks The Nature of Music

Music as gift from God Everyone has potential for music

(mother tongue theory) Music as expression of feeling

(arousal theory) Rhythm, Melody, Dynamics Music as a source of joyfulness for

life

American Music Textbooks Purposes of Music Education

Lowell Mason (1) improves the voice, (2)

conduces health, (3) improves the heart, (4) produces social order and happiness, (5) produces habits of order both in mentally and physically, (6) cultivates the feelings.

Elam Ives Jr. Training of mental power and mechanical power

Asa Fitz (1) Devotion, (2) Relaxation, (3)

Scientific Instruction

American Music Textbooks Teaching Methods and Materials

Pestalozzianism predominance (as means and propaganda)

Movable-Do, Fixed-Do combined Goals of achievement --to sight-read and

sight-sing German and Italian centered repertoire

(folk songs, opera songs) Nature, Religious, Persoanl Major keys (G, F, C, D) Meters (2/4, 4/4, 3/4, and 6/8) Homophonic style

The Textbooks of L.W.MasonThe Nature of Music and Purposes of

Music Education

Singing as an extension of speaking (mother tongue theory)

Music education cultivates the musical sense.

Music education in schools could enrich the musical life in society.

Music education is for the students' sake and it is its own reward.

The Textbooks of L.W.Mason Teaching Methods and Sequences

Pestalozzian principles Movable-Do, Fixed-Do combined Eclectic approach--English (John

Curwen, Joseph Mainzer, John Hullah), French (Galin-Paris-Chévé), German (J.C. Hohmann)

Rote-singing-Sight-singing Experience-Theory-Experience Instruction-Example-Practice

The Textbooks of L.W.Mason Music Materials

Mostly taken from Hohmann German art and folk songs Nature, Religious, Personal Major keys (G, F, C, D) Meters (4/4, 3/4, 2/4, and 6/8) Homophonic style

Japanese Music TextbooksThe Nature of Music and Purposes of

Music Education

Music as promoting health and moral sense

Public schools: promoting health and moral sense

The Music Study Committee: (1) compilation and

composition of pieces, (2)training special students the improvement of our national music in the future (3) introduction of the music into schools.

Japanese Music Textbooks Teaching Methods and Sequences

Modified Pestalozzianism Modified Mason’s Methods Movable-Do, Fixed-Do

combined Isawa’s idea of sequence:

(1) Rote-singing (2) Cipher notation (3) Scale exercises (4)Staff notation exercises (5) Single melody singing (6) Rounds (7) Two-part singing (8)Piano (9) Orchestra

Japanese Music Textbooks Music Materials

Four types-- (1) Western melodies with Japanese original texts, (2) Newly composed songs in Western style with original Japanese texts, (3) Newly composed songs in Japanese modes, (4) Arranged and transliterated songs from the Japanese traditional songs

Many songs identified in American music textbooks

German art and folk songs Nature, Patriotic, Personal, Moral Major keys (G, F, C, D) Meters (4/4, 3/4, 2/4, and 6/8) Homophonic style

Comparison IPhilosophy

American Mason Japan

Purpose Moral,Physical,Religious,Feeling

Joy ofSinging,Quality ofVo ice

Moral Sense

ArousalTheory

Yes Yes Yes

Rationale Everyonehas potentialfor music

Everyonehas potentialfor music

Everyonehas to becultivatedmoral sensethroughmusic

ChristianIdeas ofMusic

Coreprinciple

Assumed tobe core butnot stated

Rejected

PracticalObjective

“Elements ofmusic”

Rote singing Moral sense

PestalozzianPrinciples

PropagandaMeansSuperficial

Closer to theoriginalpriniciples

ModifiedNearlyopposite tothe original

Comparison IIMethods

American Mason Japan

Sequence inStyle

Rote-singingUnisonRoundTwo-partThree-partThree-part(mixed voice)

The same asAmerican

(Rote-singing)UnisonRoundTwo-partThree-partThree-part(mixed voice)

Sequence inTheory

Structure ofthe scale in Cmajor,Beating time,Staff, Clefs,Notes, RestsEach note inthe scale,Chromaticscale,Var ious keys,Minor scale

The same asAmerican

The same asAmerican

Order of thekeyintroduction

Circle of thefifthsprinciple(up to 4sharps &flats)

Circle of thefifthsprinciple(up to 4sharps &flats)

Circle of thefifthsprinciple(up to 4sharps &flats)

Solmization Movable-DoFixed-Docombined

Movable-DoFixed-Docombined

Movable-DoFixed-Docombined

Comparison IIIMusic Materials

American Mason Japan

Top threesong textsthemes

Nature(42.6%)Religious(14.4%)Personal(13.9%)

Nature(46.0%)Religious(25.1%)Personal(7.7%)

Nature(40.3%)Patriotic(14.0%)Personal(12.4%)

Predominantkeys

G (21.6%)C (16.5%)F (15.6%)D (14.2%)A (11.5%)

G (25.1%)C (20.0%)F (12.8%)A (9.8%)Bb (9.4%)

G (24.5%)F (19.2%)C (13.6%)D (13.2%)A (5.0%)

Predominantmeters

2/4 (30.7%)4/4 (21.8%)6/8 (19.0%)3/4 (15.2%)

4/4 (33.2%)3/4 (29.8%)2/4 (17.9%)6/8 (13.2%)

4/4 (48.4%)2/4 (28.7%)3/4 (10.5%)6/8 (9.0%)

Averagemeasures

15.2 13.1 17.6

Averageintervals

8.3 7.9 8.5

Vo cal parts SA (42.7%)SAB (34.6%)R (7.6%)SSA (7.2%)S (6.5%)

S (44.7%)SA (31.1%)SSA (19.6%)R (4.7%)

S (85.4%)SA (5.4%)SSA (4.3%)R (2.8%)SATB (1.1%)

Similarities in Implementation of School Music Instruction between

Japan and the United States

The UnitedStates (1838)

Japan(1880)

Promotor ofSchool MusicEducation

LowellMason

Isawa Shüji

Catalyst WilliamWoodbridge

LutherWhitingMason

Assistants GeorgeWebb

KΩzuSenzaburΩ

Superiors Samual Eliot,GeorgeSnelling

TanakaFujimaro,MegataTanetarΩ

Institutions The BostonAcademy ofMusic

The MusicStudyCommittee

RightTimings

Pestalozzian-ism,EducationalReformMovements

MeijiRestoration,Wa-yô secchû,Wakon yôsai

Message from Ogawa

Music education is a form of cultural transmission and transformation.

We are not only teaching a piece or elements of music, rather we are constantly evolving educational policies, social conditions, and contextualizing in cultural transformations with our students.