How They Decide: A case study examining the decision making process for keeping or cutting music education in a K--12 public school district

Major, Marci L The Ohio State University 2010 해외박사(DDOD)

The purpose of this study was to examine and understand the decision making process for keeping or cutting music programs in one selected public school district. Berkley School District, in the Detroit suburb of Berkley, Michigan, has not made extreme cuts to the music program in over ten years, nor have they specifically targeted their music program when budgets cuts do occur. Berkley's profile shows that their numbers for school enrollment, minority student percentage, number of students receiving free and reduced lunch, and percent of English language learners are all situated in the median of these demographics for the surrounding school districts. Similarly, Berkley's budget does not exceed their neighboring districts. The results showed that Berkley Schools District's Administrators have commitment to offering a well-rounded education to all of their students, and that music education plays a large part in that education. To achieve the district's mission, Berkley administrators rely on community support, quality teaching, and creative ways of working with a finite budget. Leaders in the district actively seek ways to generate new revenue, collaborate with other districts to save money and only make cuts to areas that do not affect programming. Research shows that administrators, parents, teachers, and students claim to value music education. Yet, in an age of increasing accountability in core subjects such as math and reading that coincides with economic hardships such as layoffs and rising health care costs, music education faces reduced or eliminated budgets, programs, and staffing. Some schools have eliminated K-5 curricular music, while others cancelled after school programs, cut teachers, or required remaining teachers to work overloaded schedules. While some schools have made drastic cuts, however, other schools and even entire school districts have not cut music, or at least have not targeted music education specifically when trying to save revenue. Hopefully Berkley's success with a fixed budget and limited state support might encourage other music educators and administrators to understand new ways to advocate for, and keep music alive within their own schools.

Music education in homeschooling: A phenomenological inquiry

Nichols, Jeananne Arizona State University 2006 해외박사(DDOD)

The purpose of this study was to explore the music education practices of eight homeschooling families in the metropolitan Phoenix area of Arizona and to provide a better understanding of music education in the homeschooling community for those who are not familiar with this educational subculture. Participants in this phenomenological inquiry were the parents, and children of homeschooling families, and the music education providers retained by the families. Data were drawn from in-depth interviews with these informants, observations of music classes and ensembles in which the homeschool students participated, and artifacts pertinent to these activities. The overarching research questions which guided this study were: (1) Why do parents elect some form of music education in the homeschool curriculum and what do they believe their children will gain from music study? (2) What are the homeschooled students' responses to music education as a part of their studies, and to what extent do these experiences affect continued participation in musical activities? (3) How do families provide music education for the children, and who does the teaching? (4) If the homeschool families engage music teachers outside the home, what are the educators' responses to homeschoolers participating in their music classes and ensembles?. These homeschool families have access to a wide variety of options for musical learning: resources provided by the homeschool community, resources provided by the church, public school resources, and civic or community resources. In discussing why they value the study of music for their child as a part of the homeschool, homeschool parents offer explanations that appear to articulate one of three broad ideas: music is an essential part of the whole, be it a whole person or a whole program of study; music enables connectivity between persons, either through shared knowledge or experience; and that music is an important component of religious expression. The students who participated in this study are generally affirming of their music classes and ensembles; however their motivations for participation vary.

Listening to Music Educators in Sonora, Mexico While Challenging My Privilege: An Autoethnographic Account

Luque Karam, Andrea The Ohio State University ProQuest Dissertations & 2023 해외박사(DDOD)

The problem addressed in this critical autoethnographic study concerns the lack of higher education opportunities for musicians in the state of Sonora, Mexico and the ways in which that impacts music educators from the region. In particular, I look at the different paths music teachers take to follow their vocation by critically examining my privileged music education story. I base this critical lens on a framework of capital to understand the types of resources and forms of capital that are needed to study music professionally in Sonora. This study is presented through stories and poems that reflect the realities of my music education journey as well as the stories of this study's participants. The primary research question was: What factors, including social class, impact the availability and accessibility of resources and professional development opportunities for music educators in Sonora, Mexico? To collect my data, I employed individual/personal and what I call "collective" forms of data collection through journaling/creative writing and interactive focus groups. The creative writing I engaged with included letter-writing, poems, and vignettes. I did some of my personal writing before and after conducting the interactive interviews to constantly reflect and embody the practice of meaning-making. This study included 19 participants who are active music educators in Sonora and who were assigned to three focus groups. Upon completion of the nine interview sessions (three per group), I began to engage with the collected data by relistening to interviews, reading Spanish transcriptions and thinking about the possibilities for selecting and translating such stories. After identifying important moments in participants' narratives, I reread my selections to identify different forms of capital that were represented. The four forms of capital with which I framed my analyses are economic, social, cultural, and human capital, which I based on literature by Becker (1964), Bourdieu (1986), Coleman (1988), Lin (2001), Portes (1998), and Schultz (1971).Based on this study's data and my personal reflections, I concluded that the factors that positively impact the accessibility of resources to study music in the state of Sonora are mostly tied to social and cultural capital. Those who studied music at the college level had some kind of support system that influenced when and how they started learning music, as well as providing them with information about where they could continue studying music. When it comes to professionalization, however, social and economic capital seem the most impactful based on our reflections. I consider my family's economic capital as an ultimate differentiator between the schools I had access to at the elementary and college level, informal education settings like private lessons, and those schools and opportunities accessed by participants. Furthermore, I share how it was evident in participants? interactions that western music education practices are what they consider as legitimate, regardless of their education attainment or the musical genres that they engage with.

The Kodaly method in Taiwan: Its introduction and adaptation to elementary music education, 1987--2000

Liu, Ying-Shu Arizona State University 2008 해외박사(DDOD)

The purpose of this study was to examine the introduction and adaptation of the Kodaly method in Taiwan through the year 2000, with special emphasis on elementary music education. Elementary music education in Taiwan evolved through five major periods. The influences came from the Netherlands, Spain, Ming/Qing China, Japan, and the Republic of China. The Taiwan democratization movement helped to pave the way for acceptance of new international music education methods. The Kodaly method arrived in Taiwan during a democratic era: the 1980s. This was a period of dramatic social changes and major reforms in elementary education. This Hungarian method came to Taiwan through North America. Although the method was introduced by several foreign Kodaly teachers it had little influence until several foreign-trained Taiwanese Kodaly teachers cooperated to promote the method through the Taiwan Kodaly Society (TICS) and several teacher in-service training programs. As a result, the method became better known among elementary music educators than before, but it was still not widely accepted. Kodaly enthusiasts faced many challenges in Taiwan, and the adaptation of the Kodaly method there has been difficult. The challenges were similar to those faced by other international music educators when introducing the method to their countries. Among other problems, inadequate collaboration with foreign music educators and insufficient participation in international events resulted in a partial understanding of the Kodaly method on the part of Taiwanese music educators. The lack of governmental support contributed to the lack of general acceptance in Taiwan as well. Despite the problems encountered, the Kodaly method would seem to be highly suitable for teaching indigenous folk music because it relies on movable-do systems, something it shares with traditional music teaching techniques. It could be adapted as the framework to develop an elementary music education system for Taiwan. The incorporation of traditional tools used to teach Taiwanese indigenous folk music could add authenticity and provide diversity in learning music.

Student Citizens: Whiteness, Inequality, and Social Reproduction in Marketized Music Education

Stoumbos, Mary Catherine Columbia University ProQuest Dissertations & These 2023 해외박사(DDOD)

Music education policy and administration attempts to shape the musical sensibilities of young people. Yet, the logics of music education from a socioeconomic standpoint are inadequately understood. This dissertation focuses on the relationship between music education nonprofits and public schools and on the public and private policies that have shaped the formation and perpetuation of these relationships. I analyze the logics of policy documents alongside the discourses and narratives of private organizations that support music education within the specific contexts of New Jersey, a state that mandates music education access for all students, and the COVID-19 pandemic, which has exacerbated societal inequalities, to illuminate how policy makers and administrators shape student experiences in the proto-democratic space of the classroom.I use policy analysis and institutional ethnography, approaching data primarily through the lenses of neoliberal critiques of marketization, critical whiteness studies, and analyses of the intersection of class and race, which I outline in chapter one. I also consider the design of music education programs within the theoretical framework of culturally relevant pedagogy. Education systems are adapting to shifting racial discourses as schools continue to construct citizens within racialized and classed hierarchies. Music historically has been invoked in the construction of societal stratifications to mark ethnic and cultural boundaries. In chapter two, I examine these narratives that have shaped the formation of music education in the United States as a culturally hegemonizing force and persist in debates around the purpose of music education in under-resourced schools that mainly serve students from minoritized communities. Music education remains a site at which policy makers, administrators, educators, and community members negotiate the role of culture in shaping new citizens. State music education policy in New Jersey specifically struggles to support the progressive vision it professes as it continues to suggest a strongly hegemonic curriculum and perpetually underfunds music programs in schools.Within this context, the third chapter considers how funders and advocacy groups are so frequently focused on short-term funding needs that they persistently struggle to address systemic issues in music education, such as issues with administrations that do not represent the communities being served, colonial content and pedagogy, and unsustainable funding solutions. As such, the limited services and non-democratic leadership of privately funded music education programs in public schools reinforce the role of public schools as gate-keepers of exclusionary citizenship norms. At the same time, privatization has also opened opportunities for non-normative, anti-oppressive forms of music pedagogy to enter public schools. In the fourth chapter, I investigate how, though their very existence reinforces the marketizing trends that rank and exclude, some nonprofits do attempt to serve students in culturally relevant ways within this environment, and can even work in ways that support publicly funded programs.Altogether, my research provides insight into the role that the privatization of public spaces within neoliberalism plays in the formation and reproduction of classed and raced citizens, as policy makers, funders, and program administrators determine which young people are given access to which forms of education.

The incorporation of technology into music education in Korea : a mixed method study = 한국의 음악교육에 있어서 테크놀로지의 활용에 관한 연구 : 양적연구 및 질적연구

이에스더 Kent State University 2001 해외박사

오늘날 모든 분야에서 테크놀러지의 사용이 더욱 더 증가되고 있고, 또한 이러한 테크놀러지의 활용이 음악 교육에 있어서도 필요한 도구가 되고 있다. 따라서 본 논문은 한국 음악교육에서의 테크놀러지 활용에 관한 연구 라는 주제로 질적 연구와 양적 연구방법을 사용하였다. 본 연구에 필요한 Data를 얻기 위하여 한국음악교육학회의 회원을 대상으로 아래와 같은 4개의 연구분야로 나누어 설문조사와 더불어 인터뷰를 실시하였다. 첨부한 설문지는 총 25 문항으로 되어 있으며, 인터뷰는 총 10개의 문항으로 되어 있다. 1)학생들을 가르칠 때에 음악 테크놀러지 사용의 장점들, 2) 다양한 테크놀러지 기기 활용과 이에 따른 실태조사, 3) 테크놀러지 사용에서의 교수법의 적용, 4) 테크놀러지에 대한 교사들의 관심과 지식, 5) 음악 테크놀러지에 관한 재정지원의 실태. 한국음악교육학회의 회원 1000명중 500명을 대상으로 설문을 조사하였고, 설문 응답자들 중 20명을 대상으로 인터뷰를 하였다. 설문과 인터뷰의 결과는 아래와 같다. (1) 응답자들 중에서 대다수가 학생들을 가르칠 때에 음악 테크놀러지 사용의 장점들에 관해서 동의를 했고 또한 긍정적인 면을 진술하였다. (2) 테크놀로지의 기기들을 현재 각 교육기관에서 사용하지만 다양하게 사용하지는 않는 실정이다. (3) 테크놀러지 사용에서의 교수법의 적용은 대학기관이 가장 높은 비율을 나타냈으며 중ㆍ고등학교가 다음으로 높은 비율을 나타냈다. (4) 교사들의 테크놀러지에 대한 관심과 지식에 관한 비율이 높은 것으로 나타났으나, 활용에 관한 두려움, 지식과 기술에 관한 부족, 재정지원의 부족 등으로 활용을 하지 못하고 있는 경우가 많다. (5) 음악 테크놀러지에 관한 재정지원의 실태를 살펴보면 많이 부족하다의 비율이 가장 높은 것으로 나타났다. 고등 교육기관 까지만 살펴보면 음악분야에 재정지원이 많이 부족하다는 의견이 매우 공통적이다. 이 연구결과를 살펴보면 다음과 같다. (1) 음악교육에 관한 정부나 교육부의 지원이 보다 더 구체적이고 현실적이어야 한다. (2) 음악 교육자들의 가치나 신념 그리고 현실에 알맞은 교육방법의 적용에 관한 연구가 더욱 더 활발히 진행되어야 한다. (3) 음악 교육자들을 위해 보다 더 다양한 음악 연구기관과 더욱 더 활발히 진행되는 세미나와 워크샵 등이 필요하다. 특히 21세기에 교육방법에 필수적인 음악교수에 있어서의 테크놀로지의 활용에 관한 연구와 활동이 더욱 더 적극적으로 진행되어야 한다. This study explored how music technology is used within the Korean educational system. Many music programs in Korea have adopted technology into their curricula, but there is little research about the degree to which technology is used in the Korean educational system for music instruction and how highly it is valued as a pedagogical tool. The purpose of this study was to utilize quantitative and qualitative methods to explore five research questions: 1) What are the advantages of using music technology, 2) What are the different types of technological equipment at the various levels of education, 3) What are the possible pedagogical applications of music technology, 4) How familiar is the educator with using music technology, and 5) How adequately is funding allocated for music technology? Half of the 1,000 members of the Korean Music Educators Society (KMES) were asked to participate by survey and interview in this study, gathering informational data based on the five research questions. A majority of the KMES members are music educators, (with fewer consisting of graduate students of music), representing a wide range of levels, from kindergarten through college. This range in education levels is helpful in assessing the extent to which technology is used at various stages by educators. The major findings were as follows. Educators: (1) recognized the advantages of incorporating music technology into the educational life of the student from kindergarten through college, (2) reported uses of technological equipment at the various levels of education, (3) reported their pedagogical uses of music technology, (4) recognized their lack of skills and experience, spurring a need for further education, and (5) recognized the scarcity of funding and lack of support at the government level as major barriers to the acquisition of technology. They also saw that the benefits of implementation far surpassed any possible difficulties encountered in acquisition and maintenance. Implications for resolving some of the issues raised by participants include: (1) petitioning the government for adequate funding and fostering an improved philosophy on the fine arts in Korea, (2) the acquisition of technology, and (3) the training of educators in the use and application of technology in the Korean classroom.

A history of music in the Edmonton (Alberta) Public School System, 1882--1949

Howey, Robert John Arizona State University 2003 해외박사(DDOD)

The purpose of this study was to document the history of music education in the Edmonton Public School System (EPSS) from its establishment in 1882 until 1949. The study covered the most influential antecedents of this history (the histories of music in Canada, general education in Quebec and Ontario, and music education in Ontario), and investigated the following related topics: (1) an historical overview of church, community, and school music in Edmonton from 1880–1901; (2) Northwest Territories and Alberta Department of Education normal and summer school music instruction and directions in music education; and (3) relevant events in the history of the EPSS and the city of Edmonton. The five main historical topics were as follows: (1) EPSS music education before the appointment of the first music supervisor (1882–1909); (2) EPSS music education from the music supervisors' perspectives (1909–49); (3) music curriculum in the EPSS; (4) high school music programs; and (5) EPSS system-wide projects in music education: Piano Class Teachers' Association, EPSS participation in the Alberta Musical Festival and EPSS Festival, string teaching and the Edmonton Public Schools Orchestra, the Edmonton Schoolboys' Band, and school radio broadcasts. Two of the main figures in the history were James Norman Eagleson, who was employed as music supervisor from 1912–49 and regarded as one of Canada's leading music educators, and Thomas Vernon Newlove, who founded the Edmonton Schoolboys' Band in 1935. This band was considered one of the best and largest of its kind in Canada until the early 1950s. Only a relatively small number of historical research projects have been undertaken on music education in Canada. This study is one of the first to document the history of music education in a Western Canadian school system.

Music Teacher Education and Gert Biesta’s Three Educational Domains: Qualification, Socialization, and Subjectification

Jordan, Robert Curtis Teachers College, Columbia University ProQuest Dis 2022 해외박사(DDOD)

This dissertation is about an approach to music teacher education that attempts to prepare pre-service music teachers to find employment while also preparing them to improve the realities of school teaching and learning for themselves and their students. Approaches to music teacher education in the United States have moved from broad one-size-fits-all approaches to specialized approaches that track music education majors into vocal, instrumental, and general music specialties. And at some universities, music teacher educators have considered what it might mean to prepare music education students for state licensure policies that favor all-encompassing licenses, (i.e., P–12 Music, and a marketplace that increasingly seeks broadly qualified teachers). To learn more about the latter approach, East Coast University’s music teacher education program was identified through purposeful selection for examination via intrinsic case study. Through snowball sampling, five faculty members were selected for teaching observations and interviews. In addition, focus groups of student and alumni (self-selected through volunteer sampling) helped develop my understanding and description of the case, and identification of a resultant, overarching theme. The research was focused through Biesta’s three domains of educational purpose beginning with the formation of research questions in each Biestian domain: qualification, socialization, and subjectification.The overarching theme presented in this dissertation involves a dualistic approach to music teacher education: East Coast University prepares music teachers with the skills to win and keep the job and to be change agents capable of improving their educational landscapes. As a result of my research and lengthy field engagement, I believe the preparation ECU music education students receive can be expressed as the tension between broad preparation and a personal orientation. It’s not a universal preparation; rather, it’s the ability to move flexibly across large educational domains, and at the same time, develop a kind of personal orientation that is connected to the particular. This connection is the particularness of who they are as teachers, their own biographies—the lives that they’ve lived, and the specifics of how they’ve lived those lives. In fact, that’s the beginning of a justice-based approach—to know oneself and to be able to work strategically within the particulars of a community. Throughout this intrinsic case study, my own pre-service and in-service teaching stories are interwoven with the participants’ stories in ways that are intended to address my positionality, contextualize the theoretical framework, and examine more deeply emergent research understandings. Recommendations are made for future research and practice, and a final personal reflection considers my still evolving approach to music teacher education and how it was influenced by this study.

IDEOLOGIES OF MUSIC EDUCATION: A PRAGMATIC, HISTORICAL ANALYSIS OF THE CONCEPT "MUSIC" IN MUSIC EDUCATION IN THE UNITED STATES (CHARLES SANDERS PEIRCE)

GOBLE, JAMES SCOTT THE UNIVERSITY OF MICHIGAN 1999 해외박사(DDOD)

The influx of students from diverse cultural backgrounds and the appearance of music from many different cultural traditions in the United States have raised a quandary among music educators over what music should be included in the music education curriculum of the nation's public schools. Also, support for public school music classes has been inconsistent throughout the history of the nation, since the varied and changing views held by the nation's citizens concerning the personal and societal importance of music have often made its inclusion in the curriculum difficult to justify. These two problems give rise to the question: What is the societal purpose of public school music education in the United States as an emerging post-modern society?. Applying the pragmatic philosophy of Charles Sanders Peirce to the forms of “musical activity” manifested in different world societies reveals these forms as a diverse cluster of community-specific behaviors or practices involving sound, each of which serves those who meaningfully participate in it as a vital means of psychosocial equilibration relative to the ideology—or ordered conception of Reality—they tacitly embody. It also reveals that awareness of the ideological particularity and the concomitant personal and societal benefit of participation in some form of “musical activity” have been obscured among United States citizens owing to certain factors stemming from the nation's constitutional separation of church and state and its embrace of democratic capitalism as its social system. The progressiveness of this obfuscation is reflected in the changing ways music educators have conceptualized “music” since the European colonization of North America began—first as a means of worship, later as a form of art, and more recently as a mere product of the human mind. Modifying music education curricula in United States public schools to introduce students gradually to different cultural forms of “musical activity” as culturally relative means of psychosocial equilibration would resolve the two problems cited above, raising public understanding of the human significance of “musical activity” and confirming the importance of public school music education for maintaining the egalitarian ideals of the nation.

북한의 음악예술인 양성 연구

이효주 북한대학원대학교 2020 국내석사

본 연구는 ‘주체음악’ 구현에 결정적 역할을 하는 북한 음악예술인 양성체계와 교육과정, 그리고 이들의 역할과 활동 등을 분석하는 것을 목적으로 한다. 음악예술인을 양성하는 북한의 음악예술교육기관은 전문 음악예술교육기관과 보통교육의 소조활동으로 양분되어 있으며, 이들 기관과 교육체계는 음악예술의 특성을 감안한 ‘특수교육’을 수행한다. 북한에서는 정권 수립 초반부터 정치적 수단으로 음악예술에 주목하고 음악예술인 양성에 관심을 가졌다. 본 연구를 통해 도출한 결과는 다음과 같다. 첫째, 주체음악은 혁명적 수령관에 바탕을 두며 김일성의 항일혁명음악을 기원으로 삼는다. 즉 조직화된 예술선전대를 통해 예술의 대중화를 실현하고자 한다. 주체음악은 ‘내용이 혁명적이며, 형식이 인민적’인 것으로 ‘내용의 혁명성’의 핵심은 수령을 향한 충실성의 반영이며 ‘인민적 형식’은 김일성의 항일무장투쟁시기 창조한 음악예술분야를 전형으로 삼는다. 이러한 주체음악의 특성을 기반으로 각 행정단위별로 예술선전대를 조직하고 각 기구별로 조직화된 예술선전대 활동을 통해 예술의 대중화를 실현한다. 둘째, 북한의 전문 음악예술교육기관은 ‘독연가’라는 특출한 인재를 양성하는 것을 목적으로 한다. 전문 음악예술교육기관은 보통교육부문과 고등교육부문을 아우르는 특수교육기관으로서 조기교육체계, 피라미드식 교육체계를 운영한다. 예술인의 전문성 확보를 위해 교육성 산하 일반 교육부문과는 달리 문화성 관할 하에서 실전경험을 쌓는 것을 교육과정의 일부로 한다. 연속고등교육체계를 갖춘 김원균명칭 음악종합대학의 박사원은 북한 내 독연가 양성의 최고 단계이다. 셋째, 전문 음악예술인은 전문 음악예술교육기관을 통해 양성되며 노동당 선전선동부(이하 중앙당) 직속 및 총 정치국, 문화성 소속 예술단체에서 활동한다. 전문 음악예술교육기관인 김원균명칭 음악종합대학, 인민군예술학원, 각 도 예술학원은 대상자선발을 엄격히 하고 있으며 교육방법은 특수교육기관의 성격에 걸맞게 1:1개별교수제로 운영한다. 교육과정 이수 이후 전문 음악예술인은 전문 예술단체에서 일반공연과 계획적인 예술선전 등의 활동을 한다. 넷째, 비전문 음악예술인은 보통교육부문의 음악예술소조활동을 통해 양성되며 각 행정단위 및 기관·기업소 당위원회 소속 비전문 예술단체에서 활동한다. 북한은 음악예술의 대중적 참여도를 이끌어내기 위해 각 기관·기업소별 예술소조와 예술선전대를 조직하였다. 중등교육부문 학교음악소조와 사회교양거점인 학생소년궁전(회관)을 통해 양성되는 비전문 음악예술인들은 기동예술선동대와 예술선전대에서 경제선동을 수행한다. 다섯째, 보통교육부문의 개인경연을 통해 전문 음악예술교육기관으로의 편입이 가능하다. 북한은 특출한 재능을 가진 독연가 양성을 목적으로 매해 정례적으로 진행하는 전국학생소년예술개인경연 입선자들에게 김원균명칭 음악종합대학, 또는 금성학원(평양제2음악학원) 입학자격을 부여한다. 이는 보통교육부문과 특수교육부문을 연결하는 통로이다. 체제 운영에 있어서 음악의 중요성은 정권 수립 초반부터 강조되었다. 김정일은 ‘전국의 예술화, 예술의 대중화’라는 기치 아래 ‘음악정치’를 강조하면서 음악예술인 양성 및 교육을 중요하게 다루었다. 북한 음악예술인 양성체계의 시행은 북한 정권의 주도로 이루어지고 있다. The purpose of this study is to analyze music education system, its curriculum, roles and activities of the North Korean music artists, which play decisive roles in implementing ‘Juche Music' in North Korea. North Korean music arts institutions educating music artists are classified into professional music arts institutions and normal education activities in small groups, and these institutions and educational systems perform special education considering its characteristics of music arts. Since the beginning of the administration, North Korea has been interested in training music artists, focusing on music arts as a political tool. The following results are obtained through this study. First, Juche music is based on the revolutionary ideology of the leader and is aimed to originate from the anti-Japanese revolutionary music of Kim Il-Sung. In other words, it seeks to realize the popularization of art through the organized propaganda squad of art. Content of the Juche music is revolutionary and its form is for the people. The core of ‘the revolutionary content' is the reflection of faithfulness for the leader, and ’the form of the people’ refers to the field of music art created in the era of Kim Il-Sung’s anti-Japanese armed struggle. Based on these characteristics of Juche music, the propaganda squad of the art is organized in each administrative unit and the popularization of art is accomplished by activities of each organized propaganda squad. Second, North Korean professional music art institutions aim to cultivate outstanding talented musicians called 'soloist'. North Korean professional music art institutions are special education institutions that cover the general education and higher education sectors and operate an early education and a pyramid education system. To promote the professionalism of artists, practical experience is required under cultural jurisdiction unlike the general education sector under the Ministry of Education. The Ph.D. course at Kim Won Gyun University of Music which has a continuous higher education system is considered to be the highest stage in soloist training system. Third, professional music artists are trained through professional music art institutions, and they work directly with the Labor Party's Propaganda Department, the Political Bureau, and the Ministry of Culture. Professional music arts institutions― Kim Won Gyun University of Music, People's Army Arts Academy, and each do art academy are very strict to accept admissions of highly qualified applicants only and operate its education system for 1:1 individual tutoring system per the characteristics of special education institutions. After completing the course works, professional music artists engage in activities such as general performances and planned art propaganda in professional art organizations. Fourth, non-professional music artists are trained through small group activities in the general education sector. And they work in non-professional art organizations in each administrative unit, and party committees of institutions-enterprise. North Korea has organized small art groups and art propaganda squads for each institution-enterprise to encourage public participation in music art. Non-professional music artists educated in the small group of secondary education sectors and the Students Children's Palace(Hall) which is the base for social education. They carry out economy-related campaigns at the Mobile Arts Instigation and the Arts Propaganda. Fifth, it is possible for students to transfer to professional music art institutions through individual contests in the general education sector. North Korea grants admission to the Kim Won Gyun University of Music or the Kumsung Academy(Pyongyang 2nd Music Academy) for winners of the national students and youth individual art contest. The purpose of the annual art contest is to develop soloists with outstanding talents. This is a channel bridging the general education sector and the special education sector. The importance of music in operating the political system was emphasized since the beginning of the North Korean regime. Under the slogan of “The Art of Whole Country and Popularization of the Art,” Kim Jong-il emphasized “music politics” and considered training and education of the music artist as an important matter. The North Korean regime has been proactive to implement education system for North Korean music artists.