In modern Japan period, ‘Changga(唱歌)’ made a key role in modern music education system. In this paper, I tried to review an attempt called ‘Japan-western compromise(和洋折衷)’ which is applied on ‘Changga’ making focusing on the period from 1872 to 1881. ‘Changga’ education started from the kindergarten. The first kindergarten in Japan ‘Tokyojyosisihangakkou(東京女子師範学校)’ commissioned kunaishosikiburyokagakuka(宮内省式部療雅楽課) to develope Changga curriculum. At that time, musicians in kagakuka made a ‘Changga’ for the purpose of using it in a very limited educational institution called Tokyo Women’s Education School, which nurtures the kindergarten of the Tokyo Girls’ Education School and the kindergarten teacher. At this time, the main educational subjects were the upper classes including the Imperial Family. In this background, since the work of making the ‘Changga’ was progressed by the Kunaisho(宮内省) Kagakuka(雅楽課), the compromise between Western music and Japanese music was inevitably based on ‘Kagaku(雅楽)’. Although they refer to the Western original, they applied the Kagaku scale theory to create a song, or to bring an old Japanese song, and accompanied by a Japanese instrument called Shakubyoushi(笏拍子). On the other hand, the Isawa shuji(伊澤修二)’s Changga(唱歌) was different from the Kagakuka(雅楽課). Isawa shuji’s group insisted on the compromise of eastern and western music. This would have been the difference between the presupposed educational subjects. Isawa shuji’s group targeted the children in elementary schools throughout Japan. Because of that, it would be difficult to choose traditional Kagaku(雅楽) music element for a small number of upper classes. Isawa shuji(伊澤修二) was more interested in the ‘Japanese folk music(俗楽)’ in the respect of education of Changga. He argued that the Japanese folk song at that time was vulgar and obscene and that it should be improved for school education. In the production of the Changga(唱歌), Isawa shuji(伊澤修二) more wanted to compromise the western and japan in Japanese popular music rather than the Kagaku(雅楽) music. Because of this situation, the Changga(唱歌) from the Kagakuka(雅楽課) was excluded from the Isawa shuji’s publishment 『Shougakushoukashu(小学唱歌集)』 in 1880. Since then, the songbooks 『Shougakushoukashu(小学唱歌集)』 have been distributed to elementary schools throughout Japan, so that the songs in this book were given the impression of the typical ‘Changga(唱歌)’ to the Japanese people. Most of the Changga from the Kagakuka which was tried to compromise with Kagaku(雅楽) music were buried in the back of history. Perhaps I suppose, the various musical attempts by the Kagakuka(雅楽課) and the Isawa shunji(伊澤修二)’s group, which were conducted for the purpose of creating a Changga at that time, have influenced the history of Japanese music. Although the harmony between the Western musical elements and the Japanese musical elements has been attempted for the Changga(唱歌), it seems to have great significance in relation to Japanese music history in that modernization of traditional music could be started.