초등음악수업에서의 창작 포트폴리오

석문주(Moon Joo Seog) 한국음악교육학회 1998 음악교육연구 Vol.17 No.-

Portfolio assessment, a most popular system of performance assessment, has recently become most of attention in music education, Some educators have agreed that portfolio assessment in classroom is suitable evaluative tool, particularly music subject where process is important. The purpose of this study is to develop and to apply a composition portfolio in general music class as an evaluation tool for the fifth grade students in a elementary school. The subjects were the fifth grade students in a elementary school in Seoul, Korea. In this study, the subjects had have little experience for composing or improvising music in class. Also half of them could not play a piece with melodic inst겨ment, and read and write music. The subjects received instruction from a classroom teacher for 45 minutes twice per week from March to December, 1997. All the class was videotaped for assessing and maintaining a record of both individual and class progress. For the research, the teaching strategy for composition to the student`s portfolio was a performance-based, student-centered, and integrated curriculm. `I9ie fifth grade music teacher and the researcher planned the instruction for the performance-based music classroom and the specific tasks to develop the students creativity and the contents for a portfolio. As analyzing each class and lesson plan, the researcher supervised the teacher for better instruction. The composition class was diveided to two types of instruction : individual composition and small-group composition(4-5 students in group). Portfolio assessment had two essential parts-the performance tasks and the perforniance criteria. In the research, the researcher developed composition tasks and the criteria for some task was established. Perforniance tasks were activities that student engaged in, in order to demonstrate what they know and can do. Performance criteria in a list were to be used judge the quality of a product or performance from a task. Performance tasks in this research were `improvising music, using with learned musical concept`, `changing the verse`, `rhythm and melody question and answer`, `ABA form`, `rondo`, `theme and variation`. The composition portfolio was included the following materials: 1) planing for composing music by individuals or small groups based on the reflective thinking. 2) writing compositions down with icons, traditional notation, or the child own devised notation. 3) the assessment criteria for the composition and the performance of compositions created by individuals or small groups, making student de챠sions regarding rhythm melody, form and musical expression. 4) the response form or journal : written responses to events in music class demonstrated by an individual or group. Based on the analysis of the study, the conclusions were as follows : 1) Thorough composing music, the students encouraged self-expression and bolster self-esteem. 2) Thorough composing music, the students became more intimate and actively involved with the raw materials of creative work and as a result, they began to widerstand how the musical elements interact and interrelate. 3) Through composing the student`s own piece, they understood the ways of music elements contribute to the form and the musical expression. 4) As the students created their own compositions and perform them, they experienced the roles of conductor, composer, and performer as a professional musician. 5) The students became aware of the need to notate the musical sounds so that the sounds could be remembered and be played by others. 6) Through the composition portfolio, the student`s ability of composing and performing music was progressed gradually. 7) The students reaction to the portfolio were generally favorable. and writing self-assessment led them to think about their learning in new and deep way. 8) The students strived toward intrinsic goals of excellence instead of being primarily interest in better grades. 9) The st

음악교사 전문성 신장을 위한 음악교사 기준 고찰

석문주 ( Seog Moon-joo ) 미래음악교육학회 2016 미래음악교육연구 Vol.1 No.2

본 연구의 목적은 최근 시대의 변화에 따라 논의되고 있는 음악교사의 전문성 함양을 위한 음악교사기준을 고찰하는 것이다. 교사교육과 관련된 여러 기관과 학자의 연구를 바탕으로 음악교사에 요구되는 전문성의 기준을 교과 지식(Subject Matter Content Knowledge), 실천적 지식(Practical Knowledge), 반성적 지식(Reflectional Knowledge)으로 나누어 각 영역에 대한 특징과 구성을 논의하였다. 교과 지식은 음악교과를 가르치는 데 필요한 음악교과 내용학과 음악교과 교육학에 대한 지식으로 구성된다. 실천적 지식은 교사가 교육현장에서 형성하는 지식이며, 반성적 지식은 교사가 자신의 수업을 관찰하고 교수-학습활동을 비판적으로 반성하고, 자신의 전문성을 신장하기 위한 노력하는 지식이다. 음악교사 기준은 음악교사의 전문성 함양에 기여하고, 음악교사 양성기관의 다양화 및 내실화를 기하게 되어 궁극적으로 학교에서의 음악교육의 발전에 기여하게 될 것이다. The purpose of this study, in response to changes in recent times, is to investigate music teacher standards for music teachers professional development. Based on the research of various agencies and scholars related to music teacher education, music teacher standards for professionalism is divided into subject matter content knowledge, practical knowledge, and reflectional knowledge and it discusses the characteristics and components. The subject matter content knowledge is consisted of music content knowledge and pedagogical knowledge to teach music. Practical knowledge is the knowledge for teachers that forms in the school, and reflectional knowledge is the knowledge for teachers that observe their teaching and to critically reflect on the teaching and learning activities, and to cultivate the professional development. Music teacher standards for professional development suggest a desirable direction for music teacher education curriculum and ultimately contribute to the development of music education in schools.

학교 음악예술프로그램 개발을 위한 초등학교와 중학교 학생들의 음악예술향수에 대한 실태 및 요구분석

석문주 ( Moon Joo Seog ),최은식 ( Eun Shik Choi ),박장미 ( Jang Mi Park ),손미현 ( Mi Hyun Sohn ) 한국예술교육학회 2011 예술교육연구 Vol.9 No.1

학교 안에서 이루어지는 음악수업과 각종 음악교육 프로그램, 그리고 학교 외에서 이루어지는 다양한 음악예술프로그램이 성공적으로 이루어지기 위해서 가장 중요한 것은 그 프로그램의 실질적인 수혜자인 학생들의 참여와 동기를 높여 주는 것이다. 본 연구의 목적은 초·중학교 학생들의 음악 관련활동의 실태 및 요구를 조사, 분석하여 학생들의 예술향수의 수준을 높일 수 있는 음악예술프로그램을 개발하는 데 필요한 기초적인 연구자료를 제공하는 데 있다. 본 연구를 위한 설문조사는 초등학교 학생 441명, 그리고 중학교 학생 480명을 대상으로 하였으며, 2009년 11월부터 12월까지 두 달에 걸쳐 실시되었다. 연구분석 결과, 초등학생이 중학생에 비하여 음악경험이 많았다. 학교유형별과 학교소재지별로 보면, 연구학교가 일반학교보다, 읍면지역의 학생이 대도시나 중소도시의 학생보다 음악학습경험이 많은 것으로 나타났다. 학생들은 음악활동 영역 중 감상활동에 대한 선호도가 가장 높았으며, 창작활동에 대한 선호도가 가장 낮았다. 선호하는 음악장르는 대중음악이었으며, 학생들이 배우기를 희망하는 프로그램은 기악프로그램으로 나타났다. In order to succeed various music-arts programs in and out of schools, it is the most important to increase the participation and motivation of students who are the real and main beneficiaries of those programs. In this regard, the purpose of this study was: 1) to examine students` interest and demand with regard to music education and music-arts programs; 2) to develop the programs that can be used continuously as communication media between school teachers and professional musicians, and; 3) to explore meaning and provide explanations for national (or provincial) curriculum. Four hundred forty one elementary school students and four hundred eighty middle and high school students responded a survey that designed questionnaire used to ascertain their experience of musical activities in and out of school except regular school music classes; their music-arts enjoyment; and the music-arts programs they would like to participate in. The data revealed: 1) elementary school students had more musical experience in and out of school than secondary school ones; 2) elementary school students had more chance to have music-arts enjoyment than secondary school ones; 3) the overall students preferred listening to music the most and creating music the least; 4) elementary school students preferred playing music to listening it, whereas secondary school students preferred listening to music the most; 5) both students had an overwhelming preference for popular music to any other music; 6) the overall students did not have much chance to attend musical concerts and events; and 7) most of the students willing to participate in singing and/or playing programs. The conclusions and implications are as follows: it is of necessity to develop various music-arts programs to provide students with integrated musical activities and practical musical experience based on their interest. Diverse musical genres should be utilized in music-arts programs. The programs that students are able to enjoy high-quality music should be given in school. It is desirable that those programs should be offered in varied areas in order to prevent them from concentrating in few areas.

외국의 음악과 교육과정 분석을 통한 우리나라 음악과 교육과정 개발에 대한 시사

석문주 ( Moon Joo Seog ),최미영 ( Mi Young Choi ) 한국교육과정학회 2011 교육과정연구 Vol.29 No.2

본 연구는 2009 개정 교육과정의 방향에 따라 음악과 교육과정의 개선방안을 제시하기 위해 4개국(미국, 영국, 핀란드, 일본)의 음악과 교육과정을 비교 분석함으로써 음악과 교육과정에 대한 최근의 세계적인 동향을 파악하고, 향후 우리나라의 음악과 교육과정 개발에 시사점을 얻고자 하는데 그 목적이 있다. 본 연구를 위하여 각국의 다양한 교육과정 문서와 문헌 자료를 수집하여 각국의 음악과 교육과정에 대한 문서체계, 목표, 내용, 평가 영역을 분석한 후, 각국의 유사점과 차이점을 논의하고 이를 바탕으로 우리나라 음악과 교육과정 개발 및 개선을 위한 시사점을 도출하였다. 본 연구 결과에 대한 논의 및 시사점을 토대로 하여 도출된 결론은 다음과 같다. 첫째, 2009 개정교육과정 총론에서 강조하는 ``글로벌창의인재`` 양성을 위해 음악과에서 창의성 교육을 더욱 강조하고 이를 음악과 성격과 목표에 반영하여야 할 것이다. 둘째, 음악과 내용은 ``활동``영역을 중심으로 최소 필수 학습내용과 학습요소를 제시하고, 내용-성취기준 방식으로 제시한다. 셋째, 고등학교 음악선택과목에 대하여 재정비를 하여야 한다. 마지막으로 음악과 평가는 현장에서 활용될 수 있는 실질적인 내용으로 구성되어야 한다. The purpose of this study is to compare and analyze the system, objectives, contents, and evaluation on music curricula of four different countries(the United States, England, Finland, and Japan), and ultimately to understand their latest international trends and suggest the implications for the revision of Korean music curriculum. In order to achieve this purpose, each country`s various documents and literature related to curriculum were collected, reviewed, and analyzed. The findings and implications in this study are as follows: First, the objectives will place more emphasis on creativity in music for the purpose of cultivating ``global, creative persons`` highlighted in a general introduction of the curriculum which was revised in 2009. Second, contents should provide the minimum essential key concepts and skills in music emphasizing on musical activities, and suggest them in the way of contents-achievement standards. Third, music electives in high school ought to be restructured and reorganized. Fourth, evaluation should focus on its practical use in music classrooms. Finally, it is necessary to set up the guidelines for managing creative experience activities.

외국의 문화예술교육 프로그램에 대한 분석 연구: 미국, 영국, 핀란드, 일본을 중심으로

석문주 ( Moon Joo Seog ),최은식 ( Eun Sik Choi ),최미영 ( Mi Young Choi ) 한국예술교육학회 2010 예술교육연구 Vol.8 No.2

문화예술에 대한 깊이 있는 미적 경험은 인간의 삶 뿐만 아니라 사회 전체의 수준과 역량을 높여 나가는데 필수적인 일이다. 최근 10년간 우리나라에서도 문화예술교육을 위한 지원과 정책이 양적으로 활성화되고 있는데, 그 지속성, 체계성, 현장성 등의 질적인 측면에서 이미 오래 전에 시작하여 많이 발전을 이룬 외국의 문화예술교육과 비교해 볼 때 매우 미흡한 실정이다. 따라서 이러한 외국의 문화예술교육 프로그램을 분석해 보는 작업은 그들 프로그램의 내용과 운영방안에 대한 중요한 아이디어를 얻을 수 있고, 그것들보다 더 진취적이고 창의적인 우리만의 문화예술교육프로그램을 생성해낼 수 있다는 점에서 매우 유익하다. 이에 본 연구의 목적은 미국, 영국, 핀란드, 일본의 대표적인 문화예술교육 프로그램에 대한 목적, 내용, 운영방법 등을 분석함으로써 우리나라 문화예술교육 프로그램의 충실성과 선진성을 위한 시사점을 제공하는데 있다. 연구를 통한 시사점은 다음과 같다: (1) 학교와 음악 전문가 및 집단 간의 체계적인 협력 체제의 구축; (2) 국가 음악교육과정에 기초한 프로그램의 기획과 실행; (3) 음악 메디에이터의 역할 규명 및 양성; (4) 통합적 예술교육 교육과정의 개발과 추진. The aesthetic experience of arts education is of importance in that it improves the standard and capacity of society as well as personal life. In recent decade Korea`s support for arts education has been being active in number; however, its quality is still unsatisfactory, compared with the arts education of the advanced foreign countries. Therefore the analysis of arts education programs in those other countries would be very helpful to get some important ideas from their programs` content and operation. Also, it would be useful to make more creative and advanced arts education programs of our own. The purpose of this study is to analyze the representative programs of foreign countries, which are the United States, England, Finland, and Japan, and give some implications in the future Korea`s arts education programs. The implications are as follows: (1) the establishment of cooperative system between school and musician or music group; (2) the development and implementation of music programs based on the national curriculum; (3) the job description of a music mediator and its training; and (4) The development and implementation of integrated arts curriculum.

음악예술교육프로그램에 대한 교사의 인식 및 요구 분석

석문주 ( Moon Joo Seog ),권덕원 ( Doug Won Kwon ),김명숙 ( Myung Sook Kim ),최미영 ( Mi Young Choi ),정지혜 ( Ji Hye Jeong ) 한국예술교육학회 2010 예술교육연구 Vol.8 No.3

본 연구는 학교에서 실시되고 있는 음악예술교육프로그램의 현황과 문제점을 파악하고, 이에 대한 교사의 인식, 선호도 및 태도를 파악하는 것을 목적으로 하였다. 본 연구를 위하여 초·중등학교 교사 147명을 대상으로 설문조사를 하였다. 본 연구 분석 결과는 초·중등학생의 음악예술향수기회 확대를 위하여 국가교육과정에 기초한 음악예술교육프로그램 개발을 위한 기초자료로 활용하였다. The purpose of this study was: 1) to examine the status of music education in schools, 2) to investigate the preference and attitudes of the music teachers with regard to musical arts programs, 3) to apply the musical arts program that can be used continuously as communication between school teachers and professional musicians and 4) to develop and implement the musical arts program and teaching strategies based on the national music curriculum. One hundred forty seven teachers of elementary and secondary schools responded a survey that designed questionnaire used to ascertain attitudes; musical activities needed for school music education; and the problems the teachers felt in current teaching practices. Most teachers highly agreed that music education improves students` creativity, imagination, and cooperation. The data revealed: 1) over the half of the current music education activities was musical performance; 2) people had low perception of the musical needs; 3) one third of the music education programs in schools was after-school programs; 4) most of the school music teachers would be willing to attend the future-developed musical arts program and 5) music mediators should be professional musicians who lead the musical arts programs with the regard to national curriculum. Based on the data, the results supported and clarified that perception regarding to music education should be changed. Although music educators agreed that music education helps social development as well as personal development, national (or provincial) office of education did not bolster up music educators` claims with curriculum and programs. Musical arts programs should be developed to provide enjoyment, not to cultivate professionals. For activating those programs, local society should join and utilize their resource. Musical arts program should take a role that makes up for weak points of the national curriculum. Music mediators should be cultivated professionally.

음악 교과서의 평가 기준 탐색

석문주 ( Moon Joo Seog ),승윤희 ( Yun Hee Seung ) 한국피아노교수법학회 2016 음악교수법연구 Vol.17 No.1

음악 교과서는 학교음악교육의 목표에 도달하기 위해 사용되는 가장 중요하고 일차적인 교재로 음악교육 활동의 기본 매체와 기초 자료가 되어야 한다. 음악 교과서의 적합성을 판단하기 위해서 교과서 평가는 필수적이다. 그간 음악 교과서의 개선과 발전을 위해 우리나라와 외국의 음악 교과서를 분석하고 비교 평가하는 연구는 지속적으로 이루어져왔다. 교과서 평가 기준은 나라마다 달라서 절대적인 평가 기준의 제시는 어렵지만, 우리나라와 외국의 음악 교과서를 평가하고 판단하기 위해서는 객관성, 보편성에 근거한 평가 기준 연구의 필요성이 제기된다. 이에 본 연구에서는 다양한 음악 교과서를 평가, 판단하기 위한 음악교과서의 평가 기준 및 항목을 보다 객관적으로 제시하는 것을 목적으로 한다. 이를 위해 본 연구는 일반적의미에서의 교과서 구성 요소와 우리나라, 미국, 캐나다의 교과서 및 음악 교과서의 평가 기준 관련 문헌들을 살펴보았다. 이를 통해 본 연구에서는 음악 교과서를 평가하기 위한 기본 틀에, 6개의 심사 영역, 12개의심사 기준, 35개의 심사 항목들을 제시하였다. 제안된 음악 교과서 평가 기준의 공적인 논의는 학교에서 사용될 질 높은 음악 교과서를 선정하는데 도움이 될 것이며, 평가 준거의 공공성을 확보하는 기초 연구로서 기여하게 될 것이다. As music textbooks are the most important and primary teaching material to attain the purpose of school music education, they should be the basic data and basic medium for music education activities. In order to judge the suitability of a music textbook, evaluating the textbook is inevitable. Until now, studies on analyzing Korean and foreign textbooks and conducting a comparison evaluation between them have been going on continuously for the improvement and development of music textbooks. However, there are some difficulties that are faced due to the fact that the textbook valuation standard differs from country to country, making it hard to display an absolute valuation criteria. Thus, it became clear that an objective and universal valuation basis for both Korean and foreign textbooks is necessary. The purpose of this study is to present the valuation criteria and items of music textbooks to evaluate and judge Korean textbooks along with foreign textbooks in a way that is universal and more objective. To do so, this study examined references not only on the components of the textbook based on its general meaning, but also on the Korean, American and Canadian textbook/music textbook valuation basis. According to the collected data, this study presented a basic framework for music textbook evaluation composed of six evaluation sections, twelve evaluation standards, and thirty-five evaluation items. The suggested official discussion on the evaluation of music textbooks will be of help to selecting high quality music textbooks in schools. Additionally, the official discussion will contribute to the basic study of securing the public character of the evaluation standard.

음악수업에서의 창작 포트폴리오

석문주(Moon Joo Seog) 한국음악교육학회 2001 음악교육연구 Vol.20 No.-

The purpose of this study is to investigate the educational effects of composing in music class for the fifth grade students in a elementary school. For the research, the researcher was constructed the teaching strategies for composition class, the specific tasks to develop the students` creativity, and portfolio as an evaluation tool. The subjects received music instruction from a classroom teacher for 45 minutes twice per week from March to December, 1997. All the class was videotaped for assessing and maintaining a record of both individual and class progress. Based on the results, what aspects of students and teacher changed was analyzed: 1)musical understanding, 2) performance ability, 3) reflective thinking, 4)music attitude, and 5) teacher`s reponses to composition class and portfolio.

음악수업에서 인지적 도제학습이론의 적용

석문주 ( Seog Moon-joo ),권덕원 ( Kwon Doug-won ) 미래음악교육학회 2016 미래음악교육연구 Vol.1 No.1

본 연구는 인지적 도제학습이론을 음악교육론적인 관점에서 고찰하고, 음악개념을 주제로 하는 수업의 예시를 통하여 음악수업에서 인지적 도제학습이론의 적용 가능성을 탐색하는 데 그 목적이 있다. 인지적 도제 학습이론의 이론적 배경과 특성과 선행연구를 고찰하였다. 이를 바탕으로 인지적 도제학습이론의 `설계의 틀`의 방법에 속하는 6가지의 각 요소를 음악수업에 적용하기 위한 모형을 제안하였다. 음악수업모형의 4단계를 모델링(Modeling), 실습(Practicing), 과제완수(Completing Task), 문제탐색 및 해결(Problem Finding and Solving)의 과정으로 제시하고, 각 단계의 특징을 논의하였다. 마지막으로 인지적 도제학습이론의 적용한 음악수업을 예시로 제시하였다. The purpose of the study was to examine the Cognitive Apprenticeship Theory based on music education perspectives and explore the application of the theory to music instruction focusing on music concepts. The beginning part of the study was about theoretical backgrounds and literature review of the Cognitive Apprenticeship Theory. Second, the instructional model based on six elements of the Cognitive Apprenticeship Theory, which could be applied to music classes, was offered. Finally, the example of music lesson plan based on the Cognitive Apprenticeship Theory was provided.

국내 문화예술교육 프로그램의 현황 및 분석: 학교 문화예술교육 관점에서

석문주 ( Moon Joo Seog ),권덕원 ( Doug Won Kwon ),오지향 ( Ji Hyang Oh ) 민족음악학회 2010 음악과 민족 Vol.40 No.-