F. Mendelssohn <엄격 변주곡, Op. 54>의 변주 기법에 관한 연구

송미영 忠南大學校 大學院 2012 국내석사

현대 연주 기법을 활용한 리코더 수업 지도 방안 연구

최선아 충남대학교 교육대학원 2016 국내석사

Recorders are easy to make a sound and easy to learn, this is why it is being used often in classes. However, only the basics of making a tune are learned. If contemporary performance techniques are added to the tedious and old fashioned way of learning the recorder, it will help the students to have more interest and be able to participate actively. Also, the students can gain more knowledge in contemporary music by engaging in the music themselves. Therefore, the purpose of this thesis is to develop an understanding of contemporary music and apply contemporary performance techniques in recorder class to allow more interest in music classes. The following conclusions are derived from thesis that have applied contemporary performance technique to recorder classes. First, the techniques that are used for contemporary recorder performance are flutter tonguing, singing and playing, tongue ran, and key glissando. Second, contemporary performance techniques helps students to understand contemporary music better and allows more interest in classes. Third, allowing small groups of students to use contemporary performance technique music to perform together increases team work and sense of belonging among the students. The goal of this thesis is to show how applying contemporary performance techniques to recorder classes helps middle school students to express music diversely, gain interest by developing musical abilities, and participate more actively. For an active recorder education using contemporary performance technique, few proposals are made. First, continuous research is order for more efficient recorder class. Second, in order to generate the student’s interest on recorders for university students, diverse styles and techniques should be researched. Music textbooks and teacher’s manual content should be systematic and diverse in styles and techniques. Third, competitions or recitals inside the school allows to express music more creatively and give more opportunities to perform recorders helping music to be part of one’s life.

비더마이어 음악 작품에 나타난 시대적 배경 및 특징 연구 : F. Schubert, F. Mendelssohn, A. Lortzing을 중심으로

최선영 忠南大學校 大學院 2016 국내석사

Bidermeier is a vocabulary indicative of the life pursuing stable and petit bourgeois leisure away from the politically asocially depressed reality, period between years 1815 to 1848. During this time period, citizens coveted for being freed from the conflict of Restoration of Monarchy and feel happy back in their own hometown and family and artists expressed this dark reality and wish for freedom and hope of the internal worlds. In the musical field, Bidermeier propensity was revealed from the life style of house music. People enjoyed their leisure by playing different instruments at home with their families, thus forming fellowships. Later on, as the range of this house music was enlarged, people could communicate and interact. People wished to obtain social position and inclusivity through the group, salon gatherings and other large scaled musical activities. Bidermeier music has been made to be simple and popular characteristics that people can feel comfortable with and by making and enlarging the territory of the music that the majority wants, it contributed to the musical educations. These characteristics have big differences with the time period’s usual Romantic music in creativity and progressiveness. Compared to the Romantic music, which was of individual creativeness and experiment as well as progressiveness, thus was only allowed for a few audiences, Bidermeier music was considered as imitation due to its simplicity and lightness of the music itself. However, Bidermeier musicians tried hard to sympathize with the people in the time period’s dark situations with their own music. From this paper, Bidermeier composer Schubert, Mendelssohn and Lortzing’s Bidermeier characteristics revealed in their works are as follows. Firstly, in Schubert’s Winterreise, “Fruhlingstraum”, realistic lyrics and expressive accompaniment tells the Bidermeier characteristic. Lyricist Muller tried to convey the message of hoping freedom in the Bidermeier time’s instability and anxiety which contained the people’s emotion to the poem. Schubert, based on this poem, expressed through the music of this dark reality and the dream out of the reality. Also in the piano accompaniment, it puts emphasis on the lyrics, thus actively conveying the lyrics even more. Secondly, Mendelssohn’s piano pieces Songs Without Words, “Jagerlied” and “Spring Song” contain short piece propensity and that of the Bidermeier. By making a Piano novel of Songs Without Words he composed most of the pieces having simple compositions of A-B-A’ style, repetitive melody of song form with simple accompaniment. During the time, piano pieces were usually for showing off the master’s ability of performance pieces, but Songs Without Words was composed with simple and small performance pieces, and this allowed popularity with its easy-to-listen style and comfortable performances. Third, from the Lortzing’s Opera Tsar and Carpenter Bidermeier characteristic is seen from the fact that it is a comedy opera, thus being sarcastic. Opera Tsar and Carpenter contains bright music and the contents itself is enjoyable and satirical Comedy opera, having different characteristics from the usual ones. It became a proper work for the audiences’ taste with its simple melody of Aria and by having Tsar and carpenter in the same position, thus giving familiar image with funny and exciting scenes. Bidermeier music takes important place in the history of music, politics and social issues. However, the sides of Bidermeier music are not well known. This analysis was only limited to Schubert, Mendelssohn and Lortzing’s few works, but through this, it is hopeful that more Bidermeier music analysis for various composers and music occur.

국내 음악영재교육기관 선발기준 비교 연구

오지애 충남대학교 교육대학원 2016 국내석사

2000년 영재교육진흥법이 제정되고 2002년 이 진흥법이 시행되면서 우 리나라에서도 영재에 관한 관심이 높아지고 다수의 영재교육기관이 설립 되어 체계적인 영재 교육을 실시하고 있다. 현재‘영재발굴단’이라는 영 재전문 TV프로그램이 방영되고 이 프로그램이 SNS에 화제의 영상으로 부각될 정도로 영재아동에 대한 일반인들의 관심이 점차 증가하고 있는 추세이다. 특히 수학, 과학 등 지식 관련 분야에서만 영재를 발굴하던 과거의 영 재의 개념에서 확대되어 현재는 음악, 미술, 무용 등의 예술영재에 대한 관심도 증가 하고 있다. 예술영재는 타 분야의 영재에 비해 영재성을 조 기에 발굴하여 육성해주어야 하며 교육의 내용 자체가 매우 특수하여 영 재의 예술적 욕구를 개별적으로 충족시켜주어야 한다는 특성을 가지고 있 기 때문에 예술영재교육을 위한 보다 효율적인 시스템을 구축하려는 노력 이 필요하다. 현재 아동의 예술적 영재성을 발굴하여 교육시키는 예술영재교육기관에 소속된 예술영재는 2015년 기준으로 약 11만 명이다. 그 중 음악영재를 교 육하는 대표적인 기관으로는 시·도 교육청 산하 음악영재교육원, 대학교 부설 음악영재교육원, 각 지역 예술의전당 영재아카데미 등을 들 수 있다. 시·도 교육청 산하 음악영재교육원은 협력학교로 지정된 초등학교에서 영재교육이 이루어지고 있다. 대학교 부설 음악영재교육원은 각 대학교 주 관으로 해당 지역 교육청의 지원을 받아 운영된다. 또한 각 지역의 예술의 전당 영재아카데미는 교육기관과는 관련 없이 해당 예술기관에서 자체적으 로 영재교육을 실시한다. 이러한 음악영재교육기관들은 음악영재를 조기에 발굴하여 차별화된 교육과정을 통해 음악영재성을 개발시킨다는 공통된 목 표를 가지고 있다. 그러나 선발과정이나 교육내용 등의 부분에서는 음악영 - 2 - 재교육기관별로 큰 차이점을 보이고 있다. 음악영재를 교육함에 있어 가장 우선시 되어야하는 문제는 ‘음악영재를 어떠한 방식으로 선발 하는가?’하는 점이다. 음악영재의 선발에 가장 적절 한 연령대는 몇 살이며, 어떠한 장르에서 어떠한 과정을 통해 음악영재를 선발해야 하느냐 하는 문제는 음악영재 교육에 있어 매우 중요하다. 음악영 재의 선발기준은 음악영재를 대상으로한 교육내용과 교육방법에 관련된 문제 이상으로 음악영재교육의 성패를 가름할 수 있는 중요한 열쇠가 된다. 따라서 본 논문의 목적은 시·도 교육청 산하 음악영재교육원, 대학교 부 설 음악영재교육원, 각 지역 예술의전당 영재아카데미의 음악영재 선발기 준을 비교분석하여 선발기준의 문제점을 도출하고 그것을 바탕으로 보다 효율적인 음악영재 선발기준의 대안점을 제시하는 것이다. 이러한 음악영 재교육기관의 선발기준에 대한 보완책을 통해 음악영재교육 분야의 발전을 도모하고자 한다.

집단따돌림 예방을 위한 중학교 음악 만들기 수업 지도방안 연구

유혜리 충남대학교 교육대학원 2016 국내석사

Recently, the aspects of bullying in group become furtive. Its harmfulness also becomes prevalent not only to victims of bullying in group but also to surrounding students. School violence and bullying in group of young people still appear as a main problem of Korean society. As the cases of suicide or murder of victims are reported through a variety of media including news, the society is threatened by the seriousness of school violence. Therefore, the associatedpreparation plan and active education in school should be conducted in active ways. Bullying in group refers to all physical, linguistic, psychological, continuous behaviors of violence occurred inside or outside school in which several students select a single weak student. There are four following reasons of bullying in group: individualㆍpsychological factor, family factor, school factor, socialㆍcultural factor. The problems of school violence committed by groups and multiple attackers become intensified. The plans for the prevention of bullying in group include the enhancement of communication skill, enhancement of interpersonal relationship capability, the development of student-engagement program. This study suggest teaching and learning plans of music composition based on the GI model among collaborative learnings as a solving plan for bullying-in-group problem in school which emerges as a key social issue. Targeting the 2nd graders in middle school, this study attempts to foster the spirit of team work through collective learning, exploring UCC-creation class under the theme of bullying in group. The teachingㆍlearning plans were comprised of total 3 sessions. In the first session, the definition of UCC was examined. The sub-themes of quest subject were selected, small groups were organized, roles of students were assigned, and the activities of determining quest music. In the second session, team projects of small-group collective activities were performed, such as selecting titles according to sub-themes and creating lyrics. In the third session, the final outcomes were presented and appreciated. The activity assessment phase was also carried out. The predicted influences of the classes are as follows. First, students can think about school without violence and be aware of the seriousness of school violence and bullying in group, which leads to the endeavors for healthy and safe school life. Second, students can develop collaborative competence and communication skill with confidence in the process of communicating each other with active and voluntary participation among class members beyond the previous competitive structure. They also cultivate the sense of responsibilities by playing their given roles based on collective learning. Third, the procedure of music composition activities provides the pleasure of creation while freely exercising their individual musical nature, which leads to the cultivation of musical creativeness. It is expected that the teaching plans of this study can contribute to the improvement of music-utilization classes as applied to the actual fields of education so that learners can use their musical knowledge and functions in their daily lives.

만7세-만11세 아동기 발달 단계에 따른 바이올린 지도 방안

지푸르나 충남대학교 교육대학원 2016 국내석사

. The childhood at the age of 7-11 accompanies rapid musical development, which is critical for music education. Teachers who guide children in concrete operational stage should pay much attention to enhance their musical abilities by understanding children’s development stages and teaching them according to their characteristics. This study suggests a teaching and learning guidance plan for learning the sense of harmony and tonality as violin play activities depending on the development stages in total 4-session classes. The results of this study are as follows. First, basic guidance should always come first in constructing violin classes. Basic guidance is important to maintain correct posture in playing violin. It also lead children to play violin more comfortably and smoothly without using unnecessary physical strengths. Thus, teachers should help children not to lose their posture by constantly examining their posture. Second, to consider children’s development stages, the guidance for learning the sense of harmony and tonality is efficient for children at the age of 7-11 who are in their concrete operational period. It is a decisive period of improving harmony-perception ability in a gradual way due to their awareness and understanding of harmony. Moreover, it is also the period of showing the stability in auditory perception as well as the development of tonal sense. The activities of learning the sense of harmony and tonality can foster the musical experiences required for children at the age of 7-11. Third, in terms of playing activities, it is efficient to apply the contents of guidance to allow children a variety of musical experiences. For instance, applying violin bow techniques in the guidance music or understanding transposition and circle of fifth to utilize the guidance order of tonality can contribute more diverse musical experiences. The suggestions of this study are as follows. First, for effective violin playing activities, basic guidance should be conducted continuously and mandatorily. In doing so, teachers should lead children to accomplish learning efficacy. Second, in terms of learning the sense of harmony and tonality, comprehending the development stages and guiding children stage by stage is needed. Since children’s individual capabilities and levels are highly different, teachers should adjust proper learning progress to consider individual students. To recognize the necessity of learning the sense of harmony and tonality in children’s development stages and to lead children’s engagement is also needed. Third, in term of violin guidance, associated guidance based on various playing techniques or auditory sense development activities is required, which can contribute to easier acquisition of violin techniques and a variety of musical experiences. The violin guidance according to development stages can suggest the ways of encouraging children’s efficient learning and musical competence. Therefore, it is expected that the guidance to consider development stages can be expanded to various music education for children including instrumental music or vocal music. The childhood at the age of 7-11 accompanies rapid musical development, which is critical for music education. Teachers who guide children in concrete operational stage should pay much attention to enhance their musical abilities by understanding children’s development stages and teaching them according to their characteristics.

K. Szymanowski의 <4 Etudes, Op. 4>, <12 Etudes, Op. 33> 분석 연구

김지연 忠南大學校 大學院 2016 국내석사

Szymanowski was a representative composer and pianist of Poland in 20th century. He worked between late Romanticism and contemporary era. His musical style classified into three by different era. In the early ones influenced by late Romanticism, Middle age works influenced by Impressionism and lastly by the patriotism. Among the three, the first ones reveal the most influential composing styles of Chopin and Scriabin for Szymanowski’s works and lyrical style, which is considered to be the most important in Szymanowski’s music is evident. The early days’ work Etude, <4 Etudes, Op. 4> repeats the few motives throughout the whole work and develops into giving a coherency, and through polyphonic technique and diverse dynamic, the work reveals various changes in the motif and shows very well of the emotional and lyrical characteristics. <4 Etudes, Op. 4> The first music is the one having melodic and lyrical components having 3.2 rhythm plot, and the third one contains changing harmony, rhythm, range and dynamics based on a single subject and develops further. During the middle period, whole-tone scale, pentatonic scale, 7.9.11 harmony, bitonality and parallel motions are used as in the contemporary language is preferred and it is assumed that the equivocal sound are preferred as with Debussy and Ravel. The middle age work <12 Etude, Op. 33> contains 12 music all linked to Attaca and except for the fifth, all eleven continue without tonality. This work contains even more various and abstruse techniques as well as contemporary musical languages than the early work <4 Etudes, Op. 4> Thus having more vivid harmonic colour. The middle ages Etude <12 Etude, Op. 33>, Second piece is for practicing 2nd and 7th tone sand the major components of 2nd and 7th tones were used and subordinately 3rd and 6th were used. Through the use of abstruse technique, virtuoso effect is given. <12 Etude, Op. 33>′s third piece has characteristic of Toccata style, having 3rd and 6th tone progress and rapid broken code as well as diatonic passage. Through the analysis of Szymanowski’s <4 Etude, Op. 4> and <12 Etude, Op. 33>, fancy technique and virtuoso style is also shown but deeper, lyrically high artistry and depth of music can be felt.

한국국공립단체 부설 음악영재교육기관 현황 고찰

이수정 충남대학교 교육대학원 2016 국내석사

The education for the gifted in music is important because without a systematic training, musical talent will be lost or can not progress to a higher stage. That is, the educational environment surrounding the gifted students has a significant impact on their future development as artists. It is the duty of all countries as well as individuals to get the full potential of the musically gifted through more efficient and rational systems. The education for the gifted in Korea has been developed through the four stages-infancy stage, growing stage, developing stage, and legislation stage. Various social educational institutions are providing education programs based on 'May 31 Educational Reform Report’ in 1995, ‘Act on the Promotion of Specific Education for Brilliant Children’ in 2000, ‘Master Plan for Gifted and Talented Education Development' in 2000. The government manages the institutions through the Gifted Education Database (GED). This study focuses on, compares and analyses national or public educational institutions, including Daejeon Art Center (Academy for the Gifted in Music), Seoul Arts Center (Academy for the Gifted in Music), Incheon Educational and Cultural Center for Students (Institute for the Gifted in Arts), Chungcheongnam-do Educational and Cultural Center for Students (Institute for the Gifted in Arts). Major findings and conclusions are as follows; First, we need to change the selection methods from the current audition-like approach that focuses on practical skills to a new approach that covers various musical components such as rhythm, harmony, and beats in addition to practical skills. Second, it is needed to broaden the width of the selection by easing the selection criteria so that gifted preschoolers and high school students have more chances to have the education programs for the gifted to sharpen their skills. Third, it is needed to revise the educational curriculum to cover personality and character in addition to practical education. The gifted as a human being needs to be educated about basic manners, socialities, caring for others. Most gifted in music spends a long time practicing instruments and has little chance of communicating and networking with others, which results in the lack of socialities and even bad personalities. Fourth, networking systems that the gifted can further develop their talents after the education for the gifted in music are needed. Through these systems, the gifted will build their careers in various areas, entering upper schools or studying abroad. Lastly, more educational programs and institutions should be provided to the local provinces other than Seoul or metropolitan area so that all the gifted can develop their talents regardless of regions. To make a conclusion, the national or public institutions for the gifted should provide more responsible and trustworthy programs to nurture creative talents to lead our country in the future.

노인 학습자를 위한 우쿨렐레 교수·학습 지도안 연구

이수연 충남대학교 교육대학원 2016 국내석사

These days, the rapid increase of aging populations has become a common hot issue in many countries including Korea. When the population of over 65-year-olds accounts for between 7% and 14% in a society, the population is said to be aging. In aging societies, there exist many problems concerning population structure changes, economic issues, public health, national pensions, and welfare for the aged, and others. Along with those kinds of problems, lifelong learning—education for the aged—has become a crucial topic. In aging societies, not just quantitative, but also qualitative improvements in social welfare are urgently required. Education for the aged should be carried out from the viewpoint of lifelong learning that is not only focused on old age. In addition, three areas of education such as 'education for the aged, on the aged, and by the aged' should be considered at the same time being in harmony. Accordingly, it should be 'education for all generations'. One efficient way of giving energy to elderly people is to teach them how to play a musical instrument. Through music, they can relax and develop their cognitive, motor, language, psychological, and emotional skills. Thus, it is a very crucial learning activity in that it has a positive effect on them physically, emotionally, and socially. Music education for the aged not only offers them a chance to learn, and enjoy leisure time, but also directly helps them communicate with society again, restore their self-confidence in a rapidly changing society, and recover their strength. This paper suggests several ukulele learning and teaching methods for the aged in their 60s to 70s, who finished at least primary school. The conclusions on the basis of the results of this study are as follows. First, to teach the ukulele to the elderly, above all, a teaching plan considering their own characteristics should be drawn up. When codes, notes, and musical characters are taught during the lesson, it is more effective to apply stories, figures, rhythms, and oral sounds. This is because it is not easy for them to understand and memorize those things in only a short time. Second, lessons should be taught slowly from a simple beginning at a pace according to how well the learners develop. Running a course too rapidly could give learners a burden. Therefore, it is quite important to develop confidence by selecting one or two repertoires familiar to the learners and making them play the notes, strokes, and arpeggio repeatedly rather than changing the repertoire for each lesson. Third, once they can play the ukulele alone, playing it together with peers as a group is a very efficient way to improve relationships between group members, enhance learners’ memory skills and levels of concentration, and help them to re-establish social relationships. Finally, instructors should consider learners' physical abilities when teaching lessons. Due to weakening body functions caused by aging, elder learners’ strength and endurance may be feeble. Accordingly, when practicing the ukulele, using a pick or a shoulder strap is recommended to lighten the load on their bodies. While playing music, sitting down is preferable to standing up. The Ukulele teaching and learning methods suggested for aged learners in this paper may directly help such learners to understand and express music more easily. Moreover, elderly people could enrich the quality of their later lives physically, emotionally, and socially, and continue their self-development and self-realization by learning and playing the ukulele. Thus, it is reasonable to expect the ukulele teaching methods to be applied to other various musical instrument teaching.

Richard Strauss 오페라 <평화의 날>에 나타난 정치적 이데올로기 연구

이정현 충남대학교 교육대학원 2016 국내석사

After examining the political ideology manifested in Richard Strauss’ opera Friedenstag, this study reached the following conclusions: First, by emphasizing “loyalty to the emperor,” the overall content of the opera Friedenstag strongly emphasizes absolute obedience to Hitler. For instance, the aria of the commandant, “I shall prove myself worthy to God and the emperor,” shows that he equates God with the emperor this is similar to the propaganda methods followed by the Nazi party, which deified Hitler. Second, the last part of Strauss’ opera Friedenstag strongly alludes to the “promotion of peace through diplomacy.” For instance, the songs that cover the narrative from page 22, when the Holsteiner, a commander of the besieging army, appears, to the conclusion of the war through a peace treaty convey “peace.” However, this peace was not “self-obtained,” but gained through the Holsteiner. It was the same type of diplomatic peace that was put forward by Hitler to other countries of the world. After starting World War II, Hitler proposed a “peace treaty” to neighboring countries however, this was only a part of his treacherous plan to justify the war. Third, the image that Nazis had of the ideal woman is clearly expressed through Maria, the female protagonist of the opera Friedenstag. Maria is the commandant’s wife, and she represents the role of women who supported the war along with their husband’s will; therefore, she is akin to a propaganda tool that could achieve the political aims of the Nazi party. In page 17, the commandant and Maria each sing a song. The songs contrast each other at first however, toward their end, in the lyrics “You, the one I love, I shall meet death together with you,” the contrasting voices of Maria and the commandant become one, revealing Maria’s support for her husband’s war. This was the Nazi party’s political ideology for encouraging women to support men who were fighting to the death on the frontlines of the war. Finally, the citizens depicted in this opera live as a community rather than as individuals, following the orders of their leader and obeying the law of the nation to the letter. This is in the context of national socialist ideas, in which there is more emphasis on sacrifice for the benefit of the nation than on the dignity of life. In the opera, the commandant and the soldiers who lead the war to victory suppress the will of the citizens. The commandant’s insensitivity to the sufferings caused by the war to the citizens clearly reflects the ideas of national socialists. In addition, the chorus by soldiers in page 18, “there only lies quiet fog in the day full of gray light,” suggests the Nazi military doctrine of sacrificing their lives while fighting beside their leader for the sake of the nation.