심미적 음아교육철학에 대한 비판적 고찰

최은식 ( Eunshik Choi ) 건국대학교 교육연구소 1998 교사와 교육(구 교육논집) Vol.22 No.-

In the last 30 years, the concept of music education as aesthetic education has been almost the sole philosophical basis of music education in the United States and in other countries, including Korea. The basic premises of this music education philosophy have been drawn from aesthetic views of philosophers, called absolute expressionism, such as Dewey, Meyer, and Langer. It was Reimer who adopted these ideas and developed them into a body of music education philosophy-the philosophy of music education as aesthetic education. Advocates of this educational philosophy claims that what music represents is a form of feeling. Consequently, what the learner of music should listen from music is that form of feeling expressed in music. Therefore, to aesthetic music educators, learning music is no more than learning to respond this feelingful form (they call it ‘import’) in music. This philosophical view of music education, which have not been met by any significant challenges until recent, was first criticized by David Elliot of the University of Toronto. According to him, the most serious weakness of Reimer`s philosophy is its basic promise. That is, Reimer and advocates of aesthetic education regard music as an object to be appreciated. One of the results of this perspective is to neglect the procedural aspect of music making. Elliot insists that the process of music making is more important than the resultant product of music. His claim is further supported by ethnomusicological findings which show that the cultural phenomenon of musical appreciation for the sake of musical appreciation is rarely found in the cultures other than the western culture. Elliot suggests ‘praxialism’ as an alternative philosophical perspective to the aesthetical view. The praxialism puts more emphasis on the creative process of music making. Finally, even though the aesthetical philosophy of music education has contributed to the music education field by providing a unifying basis from which each music educator has found rationales. it failed to explain the process aspects of music. The praxialism can compensate the weakness of the aesthetic view.

1992년~2019년 국내 학술지 게재 다문화 음악교육 연구의 동향과 향후 과제

최은식 ( Choi Eunshik ) 한국예술교육학회 2020 예술교육연구 Vol.18 No.2

This study was conducted to analyze the trend of multicultural music education-related articles published in domestic journals for the past 30 years from 1992 to 2019, and to suggest future tasks of multicultural music education research. The research was conducted through the literature analysis method. The categories of analysis were first, publication time, second, subjects, third, research methods, fourth, titles of the published journal, fifth, research topics, and sixth, types of multicultural music education. The results were as follows: First, multicultural music education research was most actively conducted in the 2010s. Second, the subject of majority of the studies were elementary school music textbooks. Third, descriptive research methods were the most frequently used. Fourth, the articles were published in 48 academic journals in 13 academic fields. Fifth, the development of multicultural music teaching-learning materials was the most frequently adopted topic. And sixth, the type of amalgamation among Elliott’s types of multicultural music education was the most frequently adopted. The tasks of future research, which are derived from this research are as follows: First, more music education researchers need to participate in multicultural music education research. Second, literature materials of other multicultural nations and learners of various ages should be included as research subjects. Third, it is necessary to actively introduce qualitative research methods and experimental methods to verify the effects of formerly developed multicultural music education methods. Fourth, It is necessary to expand the research topics to include sovereignty education for learners from multicultural backgrounds, education on cultural diversity for mainstream Korean ethnic students, and multicultural music education for all ages. Fifth, it is necessary to study the feasibility of multicultural music education types suitable for domestic situations, and methodological studies to realize them.

음악창의성 연구동향에 관한 메타분석

최은식 ( Choi Eunshik ),신혜경 ( Shin Hae-kyung ) 한국예술교육학회 2018 예술교육연구 Vol.16 No.3

The purpose of this study was to investigate trends in music creativity research. The meta analysis results of 115 studies published in international journals from 2001 to 2017 for topics such as the level of creativity, category of creativity, areas of music activity, applied media, and cooperative creativity were as follows: first, regarding the level of creativity, 51.3% of the studies focused on Pro-c and 29.6% centered on little-c; second, 36.5% of the studies addressed the creative thinking process, whereas the composite category which covered more than two categories accounted for 28.7%; third, much of the music creativity research focused on music creation, with music activities in the studies consisting of composition (47.0%), improvisation (15.7%), and the category of integrated activities (27.8%) also including composition or improvisation; fourth, traditional media, including musical instruments, accounted for 46.1%, digital media accounted for 22.6%, and the combination of traditional and digital media accounted for 23.5%; fifth, 55.7% of research studies dealt with cooperative creativity.

5G 테크놀로지 시대의 블렌디드 음악수업

최은식 ( Choi Eunshik ),정재은 ( Jeong Jaeeun ) 미래음악교육학회 2021 미래음악교육연구 Vol.6 No.2

Under Covid19 situation, the world is changing rapidly, and music education is no exception. Classes at school are conducted in untact rather than in person and music classes are focused on listening activity rather than integrating various activities, and there are few activities for the communication function of music such as ensemble and chorus. Therefore, blended learning that utilize the advantages of online and offline are suggested as alternatives, and music education also requires consideration to utilize them. In this study, the direction of the use of blended learning in music classes is discussed, and blended learning using the possibility of 5G technology is suggested as an alternative in terms of the content being sound-oriented activities. Because, unlike the learning content of most general subjects that are conceptually configurable, the learning content of music subjects is essentially perceptual. This means that the content of music learning can be presented to learners' senses and perceptions, and that the quality of music learning can be improved by improving the quality of music learning content such as video and sound source. In this study, we will demonstrate the technical characteristics of 5G technology in an online and offline blended educational environment, examine the possibility of music class where it is applied, and suggest a direction of blended learning at school education in the future.

사범계열 음악교사 교육과정의 역사적 변천

최은식 ( Choi Eunshik ),석문주 ( Seog Moon-joo ) 미래음악교육학회 2016 미래음악교육연구 Vol.1 No.1

The purpose of the study was to examine historical changes of the curriculums for music teacher education in the schools of education in Korea. Curriculum data were collected from 9 universities which hold the department of music in the school of education. The data were analyzed with two big categories: (1) changes in music education-related subjects, and (2) changes in music-related subjects. The results were as follows: As to the case of music education related subjects, (1) the number of music education related subjects has been increased; (2) the number of subjects for teaching music by musical activities has increased; (3) the number of subjects for teaching Korean traditional music has increased; (4) music education related subjects have been subdivided; and (5) subjects for teaching new trends have appeared. As to the case of music-related subjects, (1) there have been almost no changes in subjects for performance; (2) the number of subjects on Korean traditional music have increased; (3) the number of in-depth music theories have decreased; and (4) there have appeared subjects which reflect interests of students.

코로나 시기 한국 중등 교사의 음악수업 경험과 음악 테크놀로지 교수내용지식(TPACK)에 대한 인식

최은식 ( Choi Eunshik ),오지향 ( Oh Ji Hyang ) 미래음악교육학회 2022 미래음악교육연구 Vol.7 No.1

This study was conducted to investigate and analyze the status of online distance music education in Korea during the first semester of 2020-2021, the COVID-19 pandemic, and the perception of secondary music teachers on technological pedagogical content knowledge(TPACK). Among 272 secondary school teachers, a detailed analysis was conducted on 264 teachers who responded that they had implemented remote music classes. As a result of the analysis, many secondary music teachers had difficulties in preparing for online remote music classes during the pandemic, and the degree of difficulty did not differ significantly in gender, career, and perception of difficulties according to detailed majors. However, in response to the areas of learning provided online, classes were conducted focusing on the areas of learning corresponding to their detailed majors, except for the easiest appreciation activities to implement due to the nature of online learning. In addition, in this study, secondary music teachers showed a fairly high level of confidence in technological pedagogical content knowledge(TPACK). Nevertheless, it was found that the correlation between the degree of difficulty in preparing for online remote music classes and several sub-factors of TPACK was not very high. The results of this study show that music education in secondary schools during the post-pandemic period needs to respond more systematically to blended learning and TPACK competency education should be strengthened so that not only traditional technology but also digital new media can be effectively used in music classes.

경험중심 음악교육철학과 실천주의 음악교육철학의 비판적 조망

최은식 ( Choi Eunshik ) 미래음악교육학회 2021 미래음악교육연구 Vol.6 No.3

Bennett Reimer’s experience-based music education philosophy and Elliott’s praxial music education philosophy are representative viewpoints that provide a philosophical foundation for school music education from the late 20th century to the present. Reimer's philosophy, which is called the experience-based music education philosophy, represents traditional aesthetic perspective on the nature and values of music and music education. On the other hand, David Elliott has developed the socio-ethical perspective on music and music education through the first publication and the revision of his book ‘Music Matters’. These two perspectives seem to contain very conflicting arguments about the nature of human beings, music, and music education. However, this conflict seems to be complementary, due to multi-layered nature of human beings, music, and music education. That is, for human beings, music, and music education, not only the objective and universal qualities that Reimer claims exist, but also the cultural, contextual, and praxial qualities that Elliott claims exist at the same time. Therefore, music educators need to critically look at the strengths and weaknesses of these two perspectives, and to understand these two perspectives in an integrated way.

예술계고등학교 진학희망 중학생의 서울공립예술고등학교 85설립에 관한 인식

최은식(Eunshik Choi),신지혜(Jihae Shin) 한국음악교육공학회 2015 음악교육공학 Vol.- No.24

본 연구에서는 예술고등학교 진학을 희망하는 서울시 중학교 학생들을 대상으로 서울공립예술고등학교 설립 및 교육과정에 대한 인식조사를 실시하는데 목적을 두었다. 서울시교육청의 협조를 얻어 서울시 382개 전체 중학교에 설문지를 배포하였으며, 144개 학교의 1221명의 중학생이 최종 연구 대상이 되었다. 본 연구의 결과는 다음과 같다. 첫째, 응답자의 대다수가 서울공립예술고등학교 설립에 찬성한다고 답변하였으며, 그 이유로 사회·경제적으로 소외되어 있는 예술영재들에게 교육 제공의 기회와 사교육비 경감을 우선 순위로 꼽았다. 둘째, 응답자들은 효과적인 교육과정을 위해서 예술가적 창의성 개발을 위한 프로그램이 제공되어야 하고, 예술현장과 연계된 프로그램 강화가 중요하다고 인식하였다. 또한 서울공립예술고등학교 교육환경 운영 방안과 관련하여 응답자들은 전공실의 확보, 전공교육을 위한 시설구축, 우수한 교·강사의 확보를 매우 중시하였다. 셋째, 응답자들은 서울공립예술고등학교의 교육목표로 실기능력 강화와 창의성 신장을 우선으로 선택하였다. 하지만 응답을 영역별로 묶어 비교 분석한 결과 과반수의 학생들은 실기 및 진로와 직접적으로 연관되어 있는 영역을 서울공립예술고등학교의 주요 목표로 선택함으로써 예술고등학교가 예술가 인재 양성을 위한 주요한 역할을 감당해야 한다고 인식하였다. 넷째, 서울공립예술고등학교의 개설전공으로 순수예술과 관련된 전공을 우선적으로 희망하였다. 하지만 응답자들은 또한 연극영화, 문예창작, 만화창작 뿐 아니라 뮤지컬, 실용음악, 모델학과, 영상제작, 방송영상 등 다양한 종류의 대중예술과 관련된 전공이 개설되기를 희망한다고 답변하였다. 다섯째, 과반수의 응답자들은 내신성적과 실기시험 위주인 현 예술고등학교 선발방식의 만족감을 나타냈다. 또한 이외 추가적인 선발방안으로 면접, 표준화검사, 포트폴리오 등이 도입되기를 희망하였다. The purpose of this study was to investigate the opinions of middle school students who hope to attend arts high schools about the establishment of a public arts high school in Seoul. The survey was distributed to 382 middle schools in Seoul, and 1221 students in 144 schools participated in the study. The major findings of this study were the following: First, the majority of the respondents agreed to the establishment of a public arts high school in Seoul, which would provide students with better opportunities to learn arts and reduce private education expenses. Second, the respondents thought that the programs which stimulate students creativity and are closely related to arts fields as well as educational environments including secure educational space, facility for arts education, and excellent instructors should be provided. Third, the participants considered performance skill improvement and creativity development to be educational objectives of a public arts high school, but it was also shown that the majority of the responses were closely related to students performance and career. Fourth, the respondents primarily hoped pure arts majors to be provided in a public arts high school in Seoul, but they also thought that various public arts majors, including musical, model, and broadcasting, needed to be provided. Finally, the majority of the respondents answered that they were satisfied with the current entrance examination of arts high schools, and when asked to choose additional methods of selection, they preferred interview, a standardization test, and portfolio.

음악창의성 수업에 관한 담당교사의 인식 연구

최은식(Choi,Eunshik),신혜경(Shin,Hae-Kyung),정진원(Chung,Jin-Won) 한국음악교육학회 2018 음악교육연구 Vol.47 No.3

This study investigated the characteristics of music creativity by exploring the experiences of a teacher of a music creativity class using a qualitative case study method. Analysis of an in-depth interview produced the following results. First, the characteristics of music creativity that the participant-teacher perceived were progressive and generative, revealed through teacher-learner interactions. Second, students’music creativity gradually developed along with each stage of instruction. Third, the teacher recognized musical ability, with a focus on aural skills, and personality traits such as activeness and spontaneity as fundamental factors affecting the development of learners’music creativity. Fourth,the teacher emphasized not only musical ability but also a rapport with learners as important qualities for teachers to have in order to nurture the students’musical creativity. This study is significant in that it examines the pedagogical aspects of music creativity through the teacher s experience of instruction, which were developed for the purpose of nurturing students’music creativity. 본 연구는 음악창의성 수업을 담당했던 교사가 실천적으로 형성한 음악창의성에 대한 인식을 탐구하고,동시에 교사가 인식하고 있는 성공적인 창의성 수업의 주요 요인을 살펴보고자 하였다. 연구 방법으로는 질적 사례연구법을 사용하였으며,심층면담자료의 내용 분석을 통해서 도출한 결과는 다음과 같다.첫째,담당교사가 인식하는 음악창의성의 개념은 교사-학습자 간의 상호작용을 통해서 발현되는 과정적·생성적인 성격으로 나타났다.둘째,음악창의성의 발현은 순간적 발상이라기보다는 수업의 각 단계에서 발현되는 위계적인 성격을 가지고 있었다.셋째,교사는 학습자의 청각 능력 뿐 아니라 적극성,자발성 등과 같은 성격적 요인 역시 음악창의성 발현에 영향을 주는 것으로 인식하고 있는 것으로 나타났다.넷째,담당 교사는 음악창의성 수업을 위한 교사역량에 대하여 음악 능력뿐 아니라 학습자의 아이디어를 끌어내고 학습자 중심의 수업환경을 만들기 위한 관계 형성능력을 강조하였다.본 연구는 음악창의성 개발을 목적으로 한 수업의 교사경험을 통해서 형성된 음악창의성의 교육적 측면을 고찰했다는 점에서 의미를 가진다.

순서도를 활용한 음악 구조 알고리즘의 시각화: 음악형식을 조망하는 또 하나의 관점

안소영(So-Yung Ahn),최은식(Eunshik Choi) 한국서양음악학회 2024 서양음악학 Vol.27 No.2

본 논문의 목적은 음악형식에 대한 알고리즘을 순서도라는 도구를 사용하여 그 흐름을 시각 화하는 것이다. 이를 위하여 제2장에서는 순서도에서 사용되는 기호에 대한 설명과 음악형식에 서 필요한 내용을 처리하기 위한 기입 방법을 제시하였다. 이어 제3장에서는 고전주의 기악곡에 서 등장하는 형식들, 즉 센텐스(sentence)와 악절(period) 등의 주제형식을 시작으로, 2부분/3부 분형식(binary/ternary form), 론도형식(rondo form), 그리고 소나타형식(sonata form)까지의 알고리즘을 순서도로 구현하였다. 또한, 원형(prototype)의 순서도를 실제 악곡의 순서도와 비 교해 봄으로써 실제 음악이 표준화된 형식의 순서도와 어떤 차이를 보이는지 살펴보았다. 본 논문에서는 음악형식에서 중요하게 여겨지는 “반복”과 “대조”, 그리고 “계층구조”의 개념을 순 서도에 반영하였으며, 그 구조가 한눈에 보일 수 있다는 점에서 기존의 전통적인 분석 표기나 방식을 효과적으로 보완할 수 있다. The purpose of this paper is to intuitively visualize the algorithms of musical forms using flowcharts as a tool. Chapter 2 provides an explanation of the symbols used in flowcharts and how to enter the necessary content for musical forms. Chapter 3 implements the algorithms of various forms found in classical instrumental music using flowcharts, starting with thematic forms such as sentence and period, binary/ternary form, rondo form, and sonata form. In addition, by comparing prototype flowcharts with those of actual compositions, the study explores how the music differs from standardized forms. This paper reflects the concepts of “repetition,” “contrast,” and “hierarchical structure,” which are important in musical form, into the flowcharts. The flowcharts, by presenting the structure at a glance, can effectively complement traditional analysis notations and methods.