재외한국학교의 예술교과 교육과정 운영에 대한 개선 방안 탐색

장근주 ( Jang Gunjoo ),이미숙 ( Lee Misook ) 한국피아노교수법학회 2017 음악교수법연구 Vol.18 No.2

본 연구는 재외한국학교의 예술 교육의 내실화와 정체성 교육의 실현을 위하여 예술교과 교육과정의 운영 방안과 효과적인 지도 방안을 탐색하는 것이다. 이를 위하여 중국의 북경한국국제학교와 천진한국국제학교, 러시아의 모스크바한국학교, 일본의 동경한국학교와 건국한국학교, 인도네시아의 자카르타한국국제학교의 교원과 학생, 학부모를 대상으로 재외한국학교 교육과정 편성ㆍ운영의 난점과 관련한 심층면담을 실시하였다. 심층면담 결과 예술 및 체육 등의 교과 시수 부족이 지적되었다. 따라서 한국인으로서의 정체성 교육을 효율적으로 실천할 수 있고 예술교과 교육과정 운영의 내실화를 추구하기 위한 방안으로 주제 중심의 교과 통합 교수ㆍ학습 활동과 우리나라의 전통 문화, 예술을 배우고 익히는 교육과정을 다른 교과, 창의적 체험활동, 방과 후 학교와 연계하여 운영하는 통합적 예술프로그램을 제시하였다. 또한 2015 개정 음악과 교육과정의 성취기준 중 재외한국학교의 특성을 고려하여 수정할 부분을 탐색하여 실제 예를 제시하였다. The purpose of this study is to examine overseas Korean school curricula to provide a plan for curricular implementation and policy improvement. To fulfill this purpose, the present study interviewed overseas Korean school teachers, students, and parents regarding the schools’ educational direction and curricular management, and any difficulties they had in implementing ‘Guidelines for curricula organization and implementation of overseas Korean schools’. According to the interviews, music classes had fewer hours than allocated. The present study offers the following recommendation. First is to provide theme-based convergent art education programs for students to experience Korean tradition culture and customs to help establish their Korean identity. Second is to change the achievement standards of 2015 revised music curriculum and present the actual examples in consideration of the characteristics of Korean schools abroad.

2015 개정 음악과 교육과정 운영 실태에 대한 초등학교 5~6학년 교사들의 인식

장근주(Gunjoo Jang),임혜숙(Hye-Suk Lim) 한국음악교육공학회 2021 음악교육공학 Vol.- No.48

본 연구의 목적은 2015 개정 음악과 교육과정의 운영 실태를 파악하기 위하여 초등학교 5~6학년 교사들의 인식을 분석하여 지원 방안을 제안하는 것이다. 이를 위하여 설분조사와 면담을 실시하였고, 연구 결과는 다음과 같다. 첫째, 초등학교 5~6학년의 음악과 개정 교육과정의 쟁점은 생활화 영역에서 ‘음악과 건강’ 내용 요소의 도입, 음악 요소와 개념 체계표 내용의 양과 수준의 적정화, 심화된 국악 실기 내용으로 인한 학습 지도의 어려움으로 파악되었다. 둘째, 음악과 교육과정 운영 실태에 대한 설문조사 결과 음악은 교과 역량, 학습 내용 수준과 양이 적절하다는 의견이었지만, 음악 수업의 어려운 점으로는 ‘악기 관리, 시청각 기자재 확보 등 음악 교육 환경의 부실’, ‘학생들의 수준차를 고려한 수업 실행’에 대한 응답이 가장 많았다. 셋째, 음악 교육 내실화를 위해서는 ‘음악 교육 환경 지원’과 ‘5~6학년 음악 실기 지도를 위한 교원 전문성 연수 실시’라고 나타났다. 넷째, 초등학교 5~6학년 음악과 교육과정 운영상의 문제점 및 개선 방향에 대한 자유 응답에서는‘교과서 및 교수·학습 자료의 부족’에 대해 가장 많은 의견이 제시되었다. 이러한 연구결과를 중심으로 블렌디드 러닝 체제의 원격수업을 위한 음악 교육용 콘텐츠 개발과 콘텐츠 활용을 위한 플랫폼이 마련, 초등학교 교사들의 국악 교육 역량을 강화하기 위한 다양한 국악 연수 프로그램 마련과 교사와 예술 강사의 협력 수업 체제 개선을 지원 방안으로 제안하였다. The purpose of this study was to analyze the perception of 5th and 6th grade teachers of elementary school and suggest the ways to support the operation of the 2015 revised music curriculum. The survey and interview were conducted and the result of this study is as follows. First, the major changes and issues of 2015 revised national curriculum have been identified as the introduction of “music and health” in the area of daily life, the relevance of the amount and the level of the contents of musical elements, and the difficulty of teaching due to the intensified practical skills of traditional Korean music. Second, it was found that the amount and the level of learning content are appropriate as the result of survey on the implementation of music subject curriculum. However, as difficulties of music teaching, there was the highest response to poor music education environment such as ‘manage musical instrument’, ‘secure audio-visual equipment’, ‘teaching music considering students’ level’. Third, it was explored that ‘supporting the environment of music education’, and ‘providing teachers’ professional training on performance skills for 5th and 6th graders’ were needed in order to seek substantiality of music education. Fourth, according to the result of free responses on problems and the ways of improvement for implementing music subject curriculum, it was discovered that the textbooks and teaching and learning material were very insufficient and the support on those areas was needed. Based on these findings, develop music educational contents for distance class on blended leaning system and provide platform to apply contents, provide various Korean traditional music training programs for elementary school teachers, and improve the cooperative teaching system of teachers and art instructors can be suggested.

Case Study on the Practices of Transversal Competence in Korean Music Education

장근주(Gunjoo Jang) 한국음악교육공학회 2018 음악교육공학 Vol.- No.35

본 연구의 목적은 초등학교와 중-고등 학교의 음악 수업에서 인지적 영역 외에 태도와 가치를 포함하고 있는 횡단적 역량의 반영 여부를 조사하는 사례 연구이다. 연구 대상인 4개 학교의 수업을 관찰하고 심층 면담을 분석한 결과는 다음과 같다. 첫째, 대부분의 학교는 행복하고 평화로운 환경을 조성하여 학생들의 창의력과 미래 글로벌 리더 및 인성 개발에 중점을 두고 있었다. 둘째, 학생들은 다양한 그룹 활동을 통해 자신의 문제를 스스로 해결하고, 인터넷 또는 기타 ICT 관련 자료를 사용하여 정보를 수집하며, 토론과 평가를 통하여 횡단적 역량을 함양하고 있었다. 셋째, 교사는 학생들이 스스로 문제를 해결해 나갈 수 있는 안내자로서 역할을 수행하여 학생중심의 수업이 이루어지고 있었다. 넷째, 횡단적 역량을 반영한 프로그램은 1) 여러 교과의 공통 요소를 추출하여 하나의 교육과정으로 융합, 재구성하는 방법, 2) 특정 주제를 중심으로 여러 교과가 관련되는 내용을 추출하여 학습하는 방법, 3) 체험활동과 교과를 융합하여 체험 속에서 관련 교과의 학습 요소를 학습하는 방법 등을 통하여 이루어지고 있었다. The purpose of this study is to present the practices of integrating transversal competencies in Korean music education by utilizing case study approach for analyzing elementary, middle and high school music classes and programs. Findings of the present study can be summarized as follows: First, most of the school mottos and philosophies mostly fostered creativity, future global leaders, and character development by creating happy and peaceful environments. Second, the classes were designed for students to solve their own problems through a variety of group activities, gathering information using the internet or other ICT-related resources to employ and enhance their transversal competencies. Third, changing the instructor’s role from knowledge transmitter into facilitators or coach was designed to promote critical and creative thinking and students oriented classes. Fourth, the integrated transversal competency program consists of a teaching method which 1) integrates commonly shared elements of various subjects to reconstruct curriculum as a whole, 2) identifies the contents related to various courses based on specific topics, 3) contains relevant subject elements in combining activities and subjects together for students to be able to experience.

다문화 음악교육에 대한 음악교사들의 태도, 필요성 및 실천

장근주 ( Jang Gunjoo ) 한국예술교육학회 2016 예술교육연구 Vol.14 No.4

다문화 음악교육의 필요성에 대한 연구는 1990대 이후부터 꾸준히 진행되고 있었으나, 다문화 음악교육에 대한 음악교사들의 자세나 학교 교실에서의 실천 정도에 대한 연구는 미비한 편이다. 따라서, 이 연구의 목적은 다문화음악교육에 대한 음악교사들의 태도, 필요성과 실천에 대한 인식을 조사하는 것으로, 다음과 같은 연구 문제를 제기하였다. 첫째 다문화 음악교육에 관한 교사들의 태도, 필요성과 실천에 대한 의견은 무엇인가? 둘째, 다문화음악교육에 대한 교사 연수의 수준은 어떠한가? 셋째, 교사들을 위한 다문화 교육의 학교교육에서의 실천과 사용가능한 교육 자료들은 어떠한가? 278명의 교사들에 의한 설문에 따르면, 대부분의 교사들은 다문화 교육에 대하여 긍정적인 태도를 보였고, 음악교육에서 다문화 음악교육이 중요성을 깨닫고 있는 것으로 나타났다. 하지만 대부분의 교사는 다문화 음악교육을 가르치는 것에 대하여 준비가 덜 되었다고 느끼고 있으며 다문화교육과 관련하여 충분한 교사 교육이 이루어지지 않는다는 의견이 주를 이루고 있었다. 대부분의 교사는 다문화 음악교육 교사연수에 참여하여 다문화 음악교육과 관련된 정보를 얻고 싶다는 의견이 지배적이었으며, 다문화 관련 학습 자료들이 부족한 것으로 나타났다. 이에 다문화 음악교육 관련 연수 프로그램의 개발과 보급 및 다양한 교수 학습과 교재 개발이 필요하다. The purpose of this study is to examine the attitudes, needs, and practices of music teachers about multicultural music education. More precisely, the present study examines the following questions: (1) What are the common attitudes, needs, and practices of music teachers about multicultural music education? (2) What is the level of training for music teachers for multicultural music education?; and (3) What are the common multicultural music practices and available educational resources for music teachers? Based on a survey of 278 music teachers, the present study finds that an overwhelming majority of music teachers have positive attitudes toward multiculturalism and recognize the need for multicultural music education in classrooms. However, most of the music teachers felt unprepared, uncomfortable, or lacked sufficient music education in multiculturalism, and expressed interest in attending teacher training for multicultural music education. Therefore, developments in teaching and learning methods and materials, and teacher training for multicultural music education are suggested.

12음 기법의 지도 방법 연구

장근주(Gunjoo Jang) 한국음악교육공학회 2004 음악교육공학 Vol.- No.4

The purpose of this study is to introduce and extend the basic method of the twelve-tone method by using Krenek s Eight Piano Pieces . Krenek s work was chosen because of his straightforward use of twelve-tone technique, which serves as a good introduction to the basic principle of twelve-tone music. He introduces the four forms of the basic set of twelve-tone music: prime, inversion, retrograde, and retrograde inversion. The prime form is in Etude , the inversion in Invention , the retrograde in Scherzo , and the retrograde inversion in toccata . In order for students to comprehend the twelve-tone method, they should be able to 1. Comprehend the concepts of prime, inversion, retrograde, and retrograde inversion. 2. Construct the concepts of prime, inversion, retrograde, and retrograde inversion matrix of a twelve-tone series. 3. Discuss, after listening to musical examples, the characteristics of twelve-tone music: melody, form, dynamic, etc. 4. Analyze twelve-tone music in terms of the manipulations discussed previously (see 2). 5. Compose their own twelve-tone music based on these methods. The students will comprehend twelve-tone music by listening, performing and composing them. First, the twelve students form a semicircle facing the chalkboard and play the original row introduced on the chalkboard. Next, play the row backwards. Second, another twelve students seat the same way to introduce the inversion of the row, and play the row first, straight and then backward. Have students compose his/her own short piece by using the rhythm presented on the blackboard and the row already given. For the further activities, students can add harmony by playing the notes in the row at the same time: first, in dyads, then in triads, in tetrads and so on. They also experiment with changing meter patterns and asymmetrical meters. In conclusion, students can understand a twelve-tone composition by participating these activities and creating simple twelve-tone music.

싱가포르 초등 음악교과서의 다문화적 경향 분석 연구 - 초등학교 6학년을 중심으로

장근주(Gunjoo Jang) 한국음악교육공학회 2008 음악교육공학 Vol.- No.6

The purpose of this study is to investigate multi-cultural elements for the elementary school textbook, especially the 6th grade in Singapore. Tune In is the name of text book employed analyzing in this study. Singapore is the country where a lot of races are mixed together and uses English as an official language, but also the three languages, such as Chinese, Malay and Tamil are widely used. Therefore, the text book was mostly written in English; however, two songs were written in Malay and one song with Malay title. One song was written in chinese. Among 20 songs, 13 songs were foreign folk songs. Most of folk songs were from Europe such as England, German, France and so on. Three Japanese music and one Chinese song were included. None of African music was found. Most of music was selected for teaching western music elements, not for teaching multi-cultural approaches. However, the two units, Electric Music and Narrative and Dramatic Music provides multi-cultural contents by introducing other country s puppet show, dance, opera and musical along with other country s instrument and songs. Teaching strategies also focuses on experiencing other country s songs rhythms by playing and creating their own music. Multi-cultural music education is an important topic in current education. To understand our identity and other culture, it is necessary to develope multi-cultural music contents and teaching strategies.

음악을 활용한 한국어 교수 학습 연구

장근주(Gunjoo Jang) 한국음악교육공학회 2006 음악교육공학 Vol.- No.5

The purpose of this study is to suggest teaching strategies for Korean through music. There are many ways in which music can contribute to teaching Korean. First, songs can serve as sources for people to read, write, listen, and speak Korean as well as to understand Korean culture. Second, song lyrics can easily chanted or sung, aiding oral fluency and pronunciation because they contain high-frequency vocabularies and universal themes for people to identify easily. Korean traditional music, American popular music and nursery rhythms, Korean popular music, and program music are selected to teach Korean. Music activities using those music are as follows. Korean traditional children s songs can be used for fill in the blank activities. American popular music and nursery rhythms can be sung translated in Korean. The lyrics of Korean popular songs provide excellent sources for teaching vocabulary development and both literal and higher levels of comprehension. Students can learn how to write short essays based on a story they derived from listening to program music.

음악 교육과정 특성화 중·고등학교의 운영실태 비교 및 개선 방안

장근주 ( Jang Gunjoo ),임혜숙 ( Lim Hye Suk ) 미래음악교육학회 2021 미래음악교육연구 Vol.6 No.2

본 연구의 목적은 중ㆍ고등학교 특성화학교의 교육과정 운영 실태를 분석하여 개선방안을 제시하는 것이다. 이를 위하여 6개의 음악 교육과정 특성화 중·고등학교의 교육과정을 학생 선발, 교육과정 운영, 인적 자원의 활용, 물적 자원의 활용, 지역 현황 순으로 분석하였고 이에 대한 개선 방안을 다음과 같이 제시하였다. 첫째, 학생 선발과 관련하여 음악 교육과정 특성화학교의 학생 선발 기준에 있어 지원할 수 있는 학군 단위의 조정과 함께 학생 선발 전형의 변화가 필요하다. 둘째, 교육과정 운영과 관련하여 음악 교육과정 특성화학교의 선택 교과의 활성화 방안과 예술 고등학교와 같은 방식의 성적 산출 방식이 필요하다. 셋째, 인적 자원과 관련하여 음악 교육과정 특성화학교에서는 전문적이며 연속적이고 안정적인 운영을 위해 정규 교사의 충원과 행정 지원, 전담 조직의 지원이 요구된다. 넷째, 물적 자원과 관련하여 음악 교육과정 특성화 중·고등학교 모두 효율적이고 일괄적인 예산 집행을 위하여 매년 균등한 예산지원이 필요하다. 다섯째, 지역 현황과 관련하여 음악 교육과정 특성화 중·고등 모두 홍보 및 학생모집, 정기연주회를 위해 지역과 연계된 다양한 프로그램 운영에 대한 지원이 필요하다. The purpose of this study is to analyze the actual conditions of curriculum operation in specialized middle and high schools of music subject curriculum and discuss ways of improvement. For this study, six specialized middle and high schools of music curriculum are analyzed based on student selection, operation of curriculum, utilization of human resources, utilization of material resources, and regional status. The result of analysis is as follows. First, in regarding student selection, it is necessary to adjust the school district units which students can apply based on the student selection standards of music curriculum specialized schools, and change the admission process for student selection. Second, in regarding the operation of the curriculum, it is necessary to activate elective courses in music curriculum specialized schools and calculate grade in the same way as art high schools. Third, in regarding human resources, the recruitment of regular teachers, administrative support, and support from dedicated organizations are required for professional, continuous and stable operation. Fourth, in regarding physical resources, both music curriculum specialized middle and high schools need equal budget support every year for efficient and collective budget execution. Fifth, regarding the current status of the region, both music curriculum specialized middle and high schools need support on the operation of various programs linked to the regions for promotion, student recruitment, and regular performances.

창의적 음악 교육을 위한 음악 활동에 대한 연구

장근주 민족음악학회 2004 음악과 민족 Vol.28 No.-

Musical creativity in a child's world may well begin in a play setting where the child sings, dances and dramatizes what he is pretending or imagining. A young child playing alone naturally verbalizes and chants each action. This kind of creativity occurs the world over with the young child fitting creative song and actions to reality he perceives his environment. Unfortunately as the child progresses through his school years, creative musical activity may be deleted from his learning environment. While most music curriculum guides will state that musical activities for elementary children should include singing, moving to music, listening to music, playing music, analyzing music and creating music, all the often the latter does not occur in the classroom, especially at the upper grade levels. Therefore, the purpose of this study is to provide the definition of the creative thinking, and strategies for fostering creative thinking. Convergent thinking skills are the ability to recognize rhythmic and tonal patterns and musical syntax. Certain divergent, imaginative skills are critical, such as musical extensive (the amount of time invested in creative imaging), flexibility (the range of musical expression in terms of dynamics, tempo, and pitch), and originality (unusualness of expression). Teaching for divergent, imaginative thinking is hard that requires careful planning and innovative techniques. It is also harder to measure and to justify accomplishment in lessons of this type. On the other hand, teaching convergent, factual information about music in conventional ways is relatively easy to do and fits neatly into simple accountability schemes. Every creative act consists of three components: (1) the person who is creating, (2) the process of creation, and (3) the product that os created. Creativity is an interaction of a person or persons with a process to produce a product. These three components can be used as bases in a system for developing goals and objectives. Here are some examples of specific strategies that have been found to be effective at music classes. 1. Encourage the study of unique instruments from other cultures and their uses in ethnic musics. Set aside free time for the individual members of the class to explore musical possibilities with different instruments.. Continue the discovery and exploration of musical instruments and new sound sources, including synthesizer, microcomputers, and other technological resources. 2. Encourage individuals to imagine a new musical sound source or instrument and to draw or diagram on paper. 3. Listen to a variety of recordings of music that incorporates environmental sounds recognizable by the students. Encourage the students to imagine and describe a composition that they would make using environmental sound or the sound sources readily available, such as their voices, speech, body rhythms, and classroom instruments. The following is the procedure of writing a song based on the poem. 1. Teacher gives students a paper with 3 larger staves. 2. Students write one line of the poem each staff. 3. Students establish rhythm of the poem by drawing duration lines below each syllable. 4. Students draw a melodic tour for each line. 5. Students convert duration lines to note values. 6. Students convert contours into actual pitches by first writing pitch names on contours. 7. Students combine contours, pitches and durational notation

드뷔시의 음악에 나타난 인상주의 화성 기법의 특징에 관한 고찰 : Prelude I중 "Voiles"를 중심으로

장근주 신음악학회 2001 新음악논집 Vol.2 No.-

The purpose of this study is to investigate the use of Impressionistic harmonic techniques in Debussy's Music by analysing "Voiles" from Prelude for Piano, Book I. There is very little literature employing pure whole-tone scale. Debussy's "Voiles' from Prelude I is a good example of his use of whole-tone and pentatonic scales. Impressionism is a term which was first applied to the work of a group of French artists whose work is characterized by a subtle play of light and color upon the canvas, rather than the clear delineation of specific objects. Impressionistic music which has been aplied to Debussy's musical compositions was to suggest a mood, to evoke an atmosphere, particularly through the use of intensely coloristic devices, and through the avoidance of clearly defined forms and statements. He used the following harmonic techniques, devices, or procedures: 1. Irregular and frequently static harmonic rhythm 2. The whole-tone scale 3. Augmented triads: 9th, 11th, and 13th chords; and chords with added 2nds, 4ths, and 6ths; all of these often moving in parallel motion 4. Pentatonic 5. Non-functional harmony 6. Occasional use of modes "Voile" is based on a ternary (A-B-A) form. The A section begins with whole-tone scale, shifts to the pentatonic scale in the B section, and returns to the whole-tone scale for the A'. Debussy employs the pentatonic scale in the B section to avoid the harmonic monotony characteristic of the whole-tone scale (successive major seconds) which would otherwise make it difficult to create harmonic and melodic direction. The whole-tone harmony of the prelude is presented in a slow tempo and static mood, whereas the brief pentatonic section conveys a sense of tension and climax, partly because of the presence of intervals other than those of the whole-tone section. The prelude is built on three motives: the descending opening motive, the Bb pedal, and the ostinato consisting of ascending major seconds. These three motives are presented in changing contexts throughout the music. The pentatonic scale Gb-Ab-Bb-Db-Eb shares the three notes, Bb, Ab and Gb, with the whole-tone scale, Gb-Ab-Bb-C-D-E. These three common tones function as a transitional passage connecting each section. The fact that both the whole-tone and the pentatonic collections begin with the same notes (used as pivot tones) makes it possible for Debussy to use the same harmonic intervals for the cadential structure. The continuous use of these structures in the cadences provides a sense of tonal unity throughout the music. Debussy's music is regarded as an extention of nineteenth century composition and his nonfunctional use of chords opened new frontiers of freely treated harmonic color.