국제이해교육의 음악교과교수법 사례 연구 : 일본 전통음악교수법의 현장연구를 중심으로

홍주희(Hong Joo-Hee) 동북아시아문화학회 2008 동북아 문화연구 Vol.1 No.17

Music is the medium to convey the human emotion directly to the human mind and facilitates the communication of language and custom with others. And it is possible to understand th times and cultural zone in which the music was generated because music itself contains the characteristic of the times and cultural zone in which it was made. Furthermore, it has the advantage that the subject of music can excitingly attain the difficult objective of education, international understanding. The curriculum of Korea has been reorganized seven times since the enactment and declaration of the 1st curriculum according to the Educational Law and its Enforcement Ordinance enacted in 1955. The nature of the music subject in the 7th Curriculum includes an understanding of basic musical concepts, the experience of diverse musical activities, interests in music and the attitude of enjoying participation in it and reflects the education of international understanding and multi-culturalism. 'It is necessary to understand he feature of each musical culture and its historical and cultural value by meeting diverse times, style and cultural zone as well as our music and comparing the heritage of our musical culture and that of other countries. Thereby, it is necessary to succeed to and develop our musical culture and contribute to the new musical culture. This corresponds with an understanding of musical concepts through the music of diverse times and cultural zones. It is a high time to know that the music of other people as well as the music of one's people is valuable. When the musical value of other people comes to be understood in earnest, the musical educator of each country would come to have the 'comprehensive vision' and 'balance'. For this purpose, the musical educators of each country need to exchange information on the present situation and task of the education of their traditional music and can cooperate with each other when their mutual advantages are learnt and understood. This study was intended to understand Japanese music and contribute to the teaching method of learner-teacher of traditional Korean music education by investigating the case of traditional Japanese music education in the seminar in which I participated as the learner. The research method is the field study to understand traditional Japanese music while learning the representative Japanese string instrument of 'Goto' and the percussion instrument of 'Wadaiko'. The field study was conducted concerning the case of music education through the traditional Japanese musical instrument of 'Goto' and the case of the teaching method based on the traditional music performed in the traditional festival conducted in real life in relation to the theory and practice of current traditional Japanese music education provided for children based on the contents of the amended 7th Curriculum. This study is concerned with the contents of the teaching method of the teacher in which I participated in the learner's position because it is the case study of traditional japanese music education concerning the teaching method of teaching-learning. The education of international understanding through music should be focused on enabling students to study the musical characteristic proper to a country and the knowledge or full story related to the music while experiencing the music of diverse countries. The teacher should develop the content and method of teaching and learning by cultivating the ability to know and recognize the value proper to diverse music of several countries. It is thought that the case of traditional japanese music education presented in this study will be helpful for the teaching method of our traditional music as well as an understanding of traditional Japanese music. In addition, subsequent studies should be conducted concerning the cases of field music education of diverse foreign countries.

실용음악교육의 동향과 실천적 과제

이에스더 한국음악교육공학회 2008 음악교육공학 Vol.- No.7

Applied music takes a high percentage in social, cultural and artistic aspects although it has incomparably shorter history and tradition than classical music. The reason is that it is the core element of a creative industry which creates a higher value-added industry such as culture contents industry owing to popularization of cultural art. Another reason is the objective of education laying emphasis on practical and functional education, the shift of valuation and the attitude of students in accepting the education. These circumstances brought into the modification of the education objective and its curriculum due to commercialization of education and the business management for holding the comparativeness in education. As a result, the number of people who need practical music and more professional distributors increased. That resulted in rapid development of academies or colleges to cultivate professionals. However, the development of practical music in terms of academic aspect and quality is unsatisfactory. Therefore, this study aims to analyze the education objective and curriculums of the departments of practical music in college institutions in Korea and identify how these institutions are administered. Furthermore, it seeks to find the ways to develop colleges as an institution to educate and foster professionals in practical music field by solving pertinent matters which most colleges have. More academic, social, functional and artistic development in practical music field is expected and a more active and deeper study is anticipated. Applied music takes a high percentage in social, cultural and artistic aspects although it has incomparably shorter history and tradition than classical music. The reason is that it is the core element of a creative industry which creates a higher value-added industry such as culture contents industry owing to popularization of cultural art. Another reason is the objective of education laying emphasis on practical and functional education, the shift of valuation and the attitude of students in accepting the education. These circumstances brought into the modification of the education objective and its curriculum due to commercialization of education and the business management for holding the comparativeness in education. As a result, the number of people who need practical music and more professional distributors increased. That resulted in rapid development of academies or colleges to cultivate professionals. However, the development of practical music in terms of academic aspect and quality is unsatisfactory. Therefore, this study aims to analyze the education objective and curriculums of the departments of practical music in college institutions in Korea and identify how these institutions are administered. Furthermore, it seeks to find the ways to develop colleges as an institution to educate and foster professionals in practical music field by solving pertinent matters which most colleges have. More academic, social, functional and artistic development in practical music field is expected and a more active and deeper study is anticipated.

현행 교육과정에 의한 초 중등 음악과 수업에서 대중음악 교육 개선을 위한 의견조사 연구

박정은 한국문화융합학회 2021 문화와 융합 Vol.43 No.9

The performance of global brilliance by Korean musicians, such as BTS, who have ranked number one on the Billboard Chart for 10 weeks, is further strengthening the popular music education. As such, alongside the growth of K-Pop, the weight of the popular music for the school education is growing as the curriculum of Music Education in School is amended. In this study, a study and analysis of the opinion poll of the educational members for the improvement of the popular music classes in school at the current point in time facing the next amendment of the curriculum. Towards this end, measures for the improvement were presented based on the results of the current status and issues of the popular music education for the school education, need to develop the curricular standards, and the strengthening and the expansion of the popular music education, which were confirmed during the opinion poll conducted for the development of the popular music curriculum standards for the elementary and junior high schools. The measures of improvement for the systematic performance of the popular music in school are as follows. First, amend the music curriculum which strengthens the popular music education. Second, increase the number of the sessions held for the popular music education for the music classes in school. Third, assign professional teachers. Fourth, assign teaching assistants. Fifth, strengthen the popular music club activities after school. Sixth, increase the budget for the popular music education. A total of 555 people participated for the opinion poll, and the differences were analyzed in terms of their affiliation, most familiar field, relationship with public education, and gender. Through this study, significant figures for the measures of improvement were derived, and the differences between the groups were confirmed via the ex post analysis. It is expected that the efforts of the educational members and the educational field will be reflected to ensure that the current popular music classes, which are undergoing design after education in advance, may be systematically improved.

유아교사의 유아음악 관련 직전교육과 교사 재교육에 대한 인식과 요구

윤영배,강보라 한국음악교육공학회 2016 음악교육공학 Vol.- No.26

This study set out to investigate early childhood teachers' perceptions and needs for per-service education related to music for young children, the actual state of early childhood music education at educational institutions for young children, and reeducation. For that purpose, the study conducted a survey with 242 early childhood teachers. The findings were as follows: first, early childhood teachers had an experience of taking a course in a subject of music for young children(79.9%) and in a subject of instrumental music(68.2%) through pre-service education, with difference found according to their career and type of institution. They perceived the biggest shortage in music education-related coping measures applicable to the field of education in terms of pre-service education content and showed the greatest need for practice experiences with mock lessons to teach actual music. Secondly, they found the biggest difficulty in giving a lesson with lack or absence of music education materials needed for the implementation of early childhood music education at educational institutions for young children. The music activity they taught most was singing, and the music activity they had difficulties with teaching was "music drama." They also raised a need for body expression programs for the activation of early childhood music education. Finally, they had a high perception of need for reeducation on early childhood music education and expected that their efficacy in music teaching would increase through reeducation. They requested for methods to utilize music teaching materials or media for the content of reeducation and wanted methods of progress based on lesson videos and materials for reeducation. 본 연구는 유아교사의 유아음악 관련 직전교육, 유아교육기관에서의 유아음악교육 실태, 재교육에 대한 인식과 요구를 알아보고자 하였다. 이를 위해 유아교사 242명을 대상으로 설문조사를 실시하였다. 연구결과 첫째, 유아교사들은 직전교육을 통해 유아음악교육 관련 과목은 79.9%, 기악 관련 과목은 68.2%를 이수한 것으로 나타났다. 이는 교사의 교육경력 및 기관유형에 따라 차이가 나타났다. 유아교사들은 직전교육 내용으로 교육현장에 활용 가능한 음악교육 관련 대처방안이 가장 부족하다고 인식하고 있으며, 실제적 음악을 가르칠 수 있는 모의수업 실습 경험을 가장 많이 요구하였다. 둘째, 유아교사의 유아교육기관에서의 유아음악교육 실행 시 필요한 음악교육 자료가 부족하거나 없는 상태에서 수업을 하는 일이 가장 큰 어려움으로 나타났다. 유아교사들이 가장 많이 지도하는 음악활동은 노래 부르기이며, 지도하기 어려운 음악활동은 ‘음악극’으로 나타났다. 유아음악교육 활성화를 위해 신체표현하기 프로그램을 요구하였다. 셋째, 유아교사들은 유아음악교육의 재교육의 필요성에 대해 높게 인식하고 있으며, 재교육을 통해 음악교수 효능감이 증진될 것으로 기대했다. 재교육 내용으로는 음악교수자료 또는 매체 활용방법을 요구하였으며, 수업 동영상과 수업자료를 바탕으로 한 재교육 진행방식을 원하는 것으로 나타났다.

유아음악교육 실제에 영향을 미치는 유아교사 변인의 구조적 관계

김지언,한유미 학습자중심교과교육학회 2025 학습자중심교과교육연구 Vol.25 No.5

목적 본 연구는 유아교사의 음악흥미, 음악적 자아개념, 유아음악활동에 대한 지식, 유아음악교육에 대한 태도, 그리고 유아음악교육 실제 간의 구조적 관계를 규명하는 데 목적이 있다. 이를 통해 유아음악교육의 질적 향상을 위한 교사 교육 및 지원 방안을 모색하고, 유아교육 현장에서 음악교육의 효과성을 높일 수 있는 실질적이고 이론적인 기초를 제공하고자 한다. 방법 연구 대상은 서울과 경기에 소재한 유아교육기관에 재직하고 있는 유아교사 278명이며, 자료는 SPSS 18.0과 AMOS 18.0 을 사용하여 분석하였다. 연구모형의 타당성을 확보하기 위해 집중타당성과 판별 타당성을 검증하였으며, 구조적 관계 분석을 위해서는 연구모형 적합도 지수를 확인 후 경로분석을 시행하였고, 직접효과와 간접효과, 총효과를 검증하였으며, 부트스트랩핑(bootstraping)을 통해 매개효과가 통계적으로 유의한지를 확인하였다. 결과 그 결과, 유아교사의 음악흥미와 유아음악교육 실제와의 관계에서 음악적 자아개념, 유아음악활동에 대한 지식, 유아음악교육에 대한 태도는 매개효과가 있는 것으로 나타났다. 결론 본 연구 결과는 유아교사가 음악에 흥미를 가지는 것을 넘어, 자신의 음악적 능력에 대한 긍정적인 인식과 체계적인 음악활동에대한 지식, 음아교육에 대한 긍정적인 태도를 함양하는 것이 중요함을 시사한다. 유아음악교육 실제의 질적 향상을 위해서는 유아교사의 음악에 대한 흥미를 촉진하는 동시에, 유아음악활동에 대한 지식을 확장하고 음악교육에 대한 긍정적인 태도를 형성할 수 있는교사 교육 프로그램과 교육적 지원을 강화하는 노력이 필요하다. Objectives The purpose of this study is to identify the structural relationship between early childhood teaches’ musical interest, music self-concept, knowledge for early childhood music activities, attitude toward early child hood music education, and the practice of early childhood music education. Through this, this study seeks the ways to support teacher education, and intended to provide a practical and theorietical basis for increasing the ef fictiveness of music education in early childhood education. Methods The participants of this study were 278 kindergarten teachers in Seoul, Gyeonggi, and the data was ana lyzed using SPSS 18.0 and AMOS 18.0. To ensure the validity of the research model, convergent validity and dis criminant validity were verified. In structural equation model, after checking the research model fit index, Afterwards, path analysis was performed and the direct effect, indirect effect, and total effect were verified. And through bootstrapping, the statistical significance of mediation effect was confirmed. Results As a result, it was found that musical self-concept, knowledge for early childhood music activities, atti tude toward early childhood music education had a mediating effect in the relationship between the musical inter est and the practice of early childhood music education. Conclusions The findings highlight the importance of early childhood teachers not only having an interest in music but also cultivating a positive perception of their musical abilities, acquiring systematic knowledge of music activ ities, and fostering a favorable attitude toward music education. To enhance the quality of early childhood music education practices, it is essential to promote teachers' interest in music while simultaneously strengthening teacher education programs and implementing educational initiatives that expand their knowledge of early child hood music activities and support the development of positive attitudes toward music education.

포스트 휴먼 시대, 실천적 미적 교육으로서 음악교육의 가치 탐색 - 자기 이해와 타자 이해에의 조망 -

김경화 한국음악교육학회 2025 음악교육연구 Vol.54 No.1

본 연구의 목적은 음악교육의 맥락에서 자기 이해와 타자 이해를 개념적으로 검토하고 실천적 미적 교육으로서 음악교육의 가치를 탐색하는 것이다. 이는 포스트 휴먼 시대로 일컬어지는 동시대에, 실천적 미적 교육으로명명될 수 있을 음악교육의 교육적 가치를 명료화해 보는 작업의 일환이다. 이를 위해 미적 교육으로서 음악교육의성격을 검토하고, 실천적 미적 교육이 제공할 수 있는 음악적 경험과 관련하여 ‘자기를 이해한다는 것’과 ‘타자를이해한다는 것’의 의미를 탐색한다. 그리고 다마지오(A. Damasio)의 연구에 기대어 ‘느낌’의 기제에 내재한 윤리적성격을 논의하면서, 실천적 미적 교육으로서 음악교육의 구체적 역할을 명료화한다. 이러한 역할은 다음의 세 가지로 압축된다. 첫째, 음악적 소리로 접근하는 교수⋅학습의 방향을 음악교육의 출발점으로 놓아야 할 것이다. 둘째, 실천적 미적 교육으로서 음악교육은 학생들로 하여금 ‘예술가성’의 경험을 제공할 수 있어야 할 것이다. 셋째, 실천적 미적 교육으로서 음악교육은 음악적 경험의 공적 공유 과정에 중요한 가치를 두어야 한다. 결론적으로, 연구자는 실천적 미적 교육으로서 음악교육의 접근이 동시대에 요구되는 음악교육의 방향을 제시하는 하나의 교육적 실천이 될 수 있을 것이라 제안한다. As a part of efforts to clarify the value of music education that can be named as practical-aesthetic education, the purpose of this study is to explore the educational value of aesthetic music education as a practical approach in the post-human era, while conceptually shedding light on the understanding selfness and otherness in the context of music education. To this end, after exploring the characteristics of music education as aesthetic education, the researcher delves into the meaning of ‘understanding selfness’ and ‘understanding otherness’ in relation to the musical experiences that can be provided from practical-aesthetic education. In addition, the researcher articulates the specific roles of music education as practical-aesthetic education, while discussing the ethical nature inherent in the concept of ‘feeling’ from Antonio Damasio. The roles of music education as practical-aesthetic education can be summarized in the following three points: First, as practical-aesthetic education, music education should prioritize teaching and learning approaches that begin with musical sounds as their foundation. Second, as practical-aesthetic education, music education should provide students with the experience of “artistship.” Third, as practical-aesthetic education, music education should place significant value on the process of publicly sharing musical experiences. In conclusion, the researcher proposes that the music educational approach as practical-aesthetic education can be an educational practice suggesting the way of music education required in the contemporary era.

한국 전통음악의 다문화 음악교육에 관한 고찰: 일본 북해도 청소년을 위한 한국 전통음악 교육 사례를 중심으로

하경미 한국음악교육공학회 2011 음악교육공학 Vol.- No.12

This study, based on the experience of educating Korean traditional music on 2010, studied about how to understand and suggest selected Korean traditional music as Japan's multicultural music education. Korean traditional music, as Japan's multicultural music education, has the ease of Japanese teenagers being able to have a closer and easier approach compared to other countries' music. Korean traditional music education arouse interest and systematic education effect through performance, viewing, and practice. In other words, field of performance and viewing can lead interest and understanding of multicultural music education, through selecting different repertories such as dance with theme or singing with lyrics. Field of education and practice can enhance the educational effect through samulnori and kayagem experience. Also, by using various references, it will be a chance for Japanese teenagers' systematic and deep multicultural music education. This education example of Japan, provides bright future and directivity to multicultural music education of Korean traditional music. Due to this paper, the education of Korean traditional music is expected to become a successful case of multicultural music education, by enforcing specialized education with more realistic and systematic form. 본 논문은 2010년 실시한 한국 전통음악 교육 사례를 토대로 일본의 다문화 음악교육으로서 한국전통음악을 어떻게 이해하고 선별하여 체계적으로 다룰 것인가에 대한 사례 연구이다. 일본의 다문화 음악교육으로서 한국 전통음악은 다른 나라의 음악에 비해 일본 청소년들에게 있어서 비교적 쉽고 가깝게 접근할 수 있는 용이함을 가지고 있다. 이러한 한국 전통음악의 교육은 공연 및 감상을 통하여 흥미를 유발하고 교육 및 실습을 통하여 체계적인 교육 효과를 높일 수 있다. 즉, 공연 및 감상 영역은 테마가 있는 무용과 가사가 담긴 병창 등 다양한 레퍼토리를 선정하여 다문화 음악교육에 대한 관심과 이해를 유도할 수 있다. 교육 및 실습 영역은 사물놀이와 가야금 체험학습을 통하여 구체적이고 심도 있는 교육 기회를 제공할 수 있다. 또한 다양한 자료를 활용함으로써 일본 청소년들에게 보다 폭넓은 다문화 음악교육을 제시하게 될 것이다. 이러한 일본의 교육 사례는 한국 전통음악의 다문화 음악교육에 대한 밝은 미래와 방향성을 제공하게 된다. 따라서 한국 전통음악교육은 앞으로 이와 같은 현장 교육 경험을 토대로 좀 더 실질적이고 체계적인 형태를 갖추어 전문적인 교육을 실시한다면 일본의 다문화 음악교육으로서 성공적 사례가 될 것으로 기대한다.

공교육으로서 음악교과교육의 정체성

윤성원 한국음악교육공학회 2010 음악교육공학 Vol.- No.10

The “Revised Curriculum of 2009” has been lately announced. In the Revised Curriculum of 2009, the “music subject” is combined with the “fine art subject,” forming the “art subject.” Such a change presents a crisis in music subject education, which has continued for the last 60 years. However, it should be noted that it was the community of music education itself that caused the change. It is time to search for self-rescue plans through self-reflective discussions. As part of such efforts, this study set out to offer self-reflective discussions and suggestions as to the identity of music subject education as public education in the Revised Curriculum of 2009 or the “uniqueness of the music subject” on the premise of music subject education's “educational universality and implications” in relation to the education of other subjects. Based on the findings, the following suggestions were made:First; music subject education should perceive educational universality when setting a “revised art(music domain) curriculum of 2009.” Second; music subject education should consider educational implications when setting a “revised art(music domain) curriculum of 2009.” Third; the educational institutions to produce teachers need to alter the structure centered on pedagogy and increase the percentage of subject education study in the curriculum of music education department and in the number of professors. And finally; music teachers that meet the required qualification criteria should be secured. ‘2009 개정 교육과정’에서 ‘음악교과’는 ‘예술교과’의 한 영역으로 고시된다. 이는 교수 요목 시기를 거쳐 지난 60여 년간 공교육으로서 위치를 곤고히 고수해 왔던 음악교과교육의 정체성에 대한 자성적 논의의 시점이 된다. 연구자는 어떠한 교과교육이든 ‘교육적 보편성과 교육적 시사성’을 전제로 한 ‘교과적 고유성’이 함의될 때 정체성이 확립됨을 인지하고, 현실을 바탕으로 향후 공교육으로서 음악교과교육의 정체성 정립을 위한 자구책을 제언한다. 제언은 첫째, 음악교과교육은 교육적 보편성을 인지하고, ‘2009 개정 예술과(음악과 영역) 교육과정’을 설정하여야 함; 둘째, 음악교과교육은 교육적 시사성을 고려하고, ‘2009 개정 예술과(음악과 영역) 교육과정’을 설정하여야 함; 셋째, 교원양성기관은 교육학과를 중심으로 운영되는 구조를 바꾸고, 음악교육과의 교육과정 및 전공교수의 배정에서 교과교육학의 비중을 늘려야 함; 넷째, 음악교사자격기준에 적합한 음악교사를 확보하여야 함이다.

포스트 코로나 시대 대응 방안을 위한 온라인 음악교육 연구 고찰

이수연 ( Yi Soo Yon ) 한국예술교육학회 2021 예술교육연구 Vol.19 No.3

The purpose of this study is to examine online music education research for response to the Post-COVID era. For this purpose, the results of analysis of 48 research published in domestic journals from 2011 to 2021 are as follows. First, online music education research increased gradually from 2011, and the performance rate in 2020, right after the outbreak of COVID-19, increased rapidly. Second, the topics and methods were investigating the awareness and demand, satisfaction factors, current conditions and actual conditions of online music education, suggesting plans, development of guidance, class design, verification, content development and class design were conducted. Also, research on the development of teaching materials and contents for online music education was actively conducted. Third, online music education methods were content or site utilization, communication with learners using online platforms and systems, on/offline, real-time/non-real-time convergence learning, real-time online classes, real sound-based or self-directed practice. The online music education effectiveness and satisfaction factors were found the difficulty and appropriateness of contents, e-learning service system, learner participation and learning ability, pedagogical strategies to promote learning, interaction and communication. The advantages of online music classes were to overcome time-space limitations, creative development and use of teaching methods and materials, self-evaluation of academic achievement. The difficulties and problems of online music classes were found to be limitations in software technology, difficulty in conducting music-oriented classes, lower participation, lack of teacher competency. Fourth, the response to the Post-COVID era were music education content development, online education environment improvement, practical sound classes and evaluation methods, multilateral communication, individual learner management and customization, learning system construction, teacher competency development. This study is meaningful to suggest the current state of music education and it is expected that music education research will be conducted in various aspects for the Post-COVID era.

음악의 가치와 교육적 방향에 관한 소고

박영현 The Pianissimo 음악예술학회 2018 음악예술연구 Vol.8 No.2

As music education focusing on the value and roles of music has been emphasized since the 2007 Revised National Curriculum, the national curriculum has been revised extensively to apply and realize it to school classes. However, it is undeniable that awareness on the value of music has not been raised and music education recognizing the value of music and necessity of music education have been overlooked as music education has fallen behind other subjects when it comes to educational competition for university entrance. This thesis first reconsiders the value and necessity of music and demonstrates a variety of roles and functions of music to contemplate the essence of music with regard to the current situation. By studying a range of roles and the nature of music from their origin and concept and classifying them into an artistic aspect, a social aspect, and a cultural aspect, the thesis is aimed at rediscovering the value of music and reviewing the idea of importance and necessity of music education, thereby considering the direction of music education. The artistic value of music profoundly influences consciousness, spirit, and soul of human beings and helps them create harmony and balance between rationality and emotion and expand philosophical thinking. The social and cultural value of music expresses how music has reflected the life of human beings and has enabled them to perceive the world around us as it is. For that reason, music has been changed according to historical movement and has been functioning as a role of communication channel raising social interaction, a role of reinforcing social solidarity, and a role of strengthening its synergistic effects with other types of art. In addition, music can help to share positive values rapidly in a social community and can be used asa symbol representing a nation. The purpose of public education lies in self-realization, understanding on others, and cooperation with others as well as cultivation of attributes to be democratic citizens. Music education helps students achieve self-realization through self-reflection and is necessary for seeking education to enhance emphatic abilities and communication skills including education for improving emotion and social interaction. Furthermore, music education is one of the required subjects in public school as civic education. Therefore, music education should be an educational method for improving personal growth and maturity as well as for fostering citizen as a member of the social community and the nation based on these values. 음악의 가치와 역할을 강조한 음악교육은 2007 개정 교육과정부터 대대 적으로 개정되어 학교 수업에서 학습하고 실현될 수 있도록 하였다. 하지 만 음악과목이 대학입시 경쟁교육에서 밀려나게 되어 음악교육에서 음악의 가치는 등한시 되고 음악의 가치 실현 교육과 음악 교육의 당위성은 간과 되고 있는 것이 현실이다. 본 논문에서는 음악의 본질을 고찰하기 위하여 음악의 필요성과 가치를 재고하고 음악의 여러 역할과 기능들을 살펴보았 다. 연구의 내용에서 음악의 다양한 역할과 본질을 어원과 개념부터 살펴 보고, 예술적ᆞ사회적ᆞ문화적으로 나눠 살펴봄으로써 음악의 가치를 다시 금 발견하여 음악 교육의 중요성과 당위성에 대해 재고하고, 그에 따른 음 악교육의 방향을 고찰해 보았다. 음악의 예술적 가치는 사람의 의식, 정신, 영혼에 깊은 영향을 주는 것으 로서 사람으로 하여금 이성과 감정의 조화와 균형을 이끌어 내며, 철학적 과정을 실현하는데 도움을 준다. 음악의 사회적ᆞ문화적 가치는 음악이 인 간의 삶을 반영하는 것으로서 세계를 있는 그대로 직면하게 한다. 그리하 여 음악은 역사에 따라 변화되어 온 것으로서 음악이 사회적 상호작용을 일으키는 소통의 기능을 하고, 사회적 결속력을 강화시키는 기능을 하며, 호소력을 강화시키는 기능을 한다. 또한 음악은 사회 공동체 안에서 긍정적 가치를 빠르게 공유시키며, 국가를 대표하는 상징물로 사용되기도 한다. 학교 교육의 목적은 자아실현과 타인에 대한 이해와 협동, 그리고 나아 가서는 민주 시민으로서의 자질을 함양하는 데에 있으며, 음악교육은 자아 성찰과 반성을 통한 자아실현을 이끌어 낼 뿐만 아니라, 감정교육과 사회 적 상호작용 등, 공감과 소통의 교육에도 꼭 필요한 교육이라고 할 수 있 다. 또 더 나아가 음악 교육은 시민교육으로서 공교육에서 필수적으로 이 루어져야 하는 교육이라고 할 수 있다. 따라서 음악교육은 이러한 가치를 기반으로 하여 개인의 성장과 성숙, 그리고 더 나아가서는 사회 공동체와 국가의 한 일원으로서의 시민 성장을 위한 교육 방안으로 그 역할을 다해 야 할 것이다.