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.

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.

한민족 음악문화의 교육내용과 방향

권오성 영남대학교 민족문화연구소 2008 민족문화논총 Vol.40 No.-

The music is usually called “The common language of the people.” That means music can be accepted as a good thing. Is that so? Music is like a language. It’s a language that is not naturally learned, but must be learned to know about it. Therefore, people in western countries get compulsory education for their own music in school for about 10 years or so. Students learn a lot about singing and the theory of listening to music from elementary school through high school. But unfortunately, a majority of the education is focused on western music. Under the 7th curriculum for Korean students, there is more Korean traditional music in the book. But it’s still about less than half western music. It is considered that students might get a limited point of view about Korean traditional music and western music and moreover it’s far away from globalism. Therefore, in order to educate about Korean traditional musical culture, we should consider the way of education not only just comparing Korean traditional music and western music, but also teaching many different countries’ music. Sharing culture in many countries affects even music as well. It destroys the barrier among many different genres of music and creates new music. It has been continuously insisted by a lot of people that all ages, all genres, all forms and all cultures of music should be included in “The Charter of National Education”. Now under “the 7th amendment of the curriculum for Korean students”. Musical education is expanded to keep pace with globalism by adding more world music. Nevertheless it’s considered that the globalizing of Korean traditional music for multicultural music education hasn’t been discussed enough. We haven’t got to studies about how well Korean music is known in the field of music education in many different countries and how they teach Korean music in their countries. We also should study the amount of information of Korean music and Asian music contained in music textbooks for kids, elementary, middle school, and high school. Additionally, multicultural music education offers a foundation for musical creativity and diversity gaining from comprehensive music experiences. That is a musical point of view. Multicultural music education provides love for all mankind, comprehension and variety of understanding many different cultures through music as culture as well. Therefore we should keep pace with the world’s multicultural music education, and take this as an opportunity to inform and promote our music directly to the world. As the students study the variety of cultures of music in Asian countries, the interest about Korean music should be expanded in their school’s education. Other countries should be encouraged to study Korean culture and art. The primary goal of education in 21st century is liberalization, diversity, continue in the pursuit of new information. Multicultural music education accepting their own music others is the way to be diversified and liberalized. The music is usually called “The common language of the people.” That means music can be accepted as a good thing. Is that so? Music is like a language. It’s a language that is not naturally learned, but must be learned to know about it. Therefore, people in western countries get compulsory education for their own music in school for about 10 years or so. Students learn a lot about singing and the theory of listening to music from elementary school through high school. But unfortunately, a majority of the education is focused on western music. Under the 7th curriculum for Korean students, there is more Korean traditional music in the book. But it’s still about less than half western music. It is considered that students might get a limited point of view about Korean traditional music and western music and moreover it’s far away from globalism. Therefore, in order to educate about Korean traditional musical culture, we should consider the way of education not only just comparing Korean traditional music and western music, but also teaching many different countries’ music. Sharing culture in many countries affects even music as well. It destroys the barrier among many different genres of music and creates new music. It has been continuously insisted by a lot of people that all ages, all genres, all forms and all cultures of music should be included in “The Charter of National Education”. Now under “the 7th amendment of the curriculum for Korean students”. Musical education is expanded to keep pace with globalism by adding more world music. Nevertheless it’s considered that the globalizing of Korean traditional music for multicultural music education hasn’t been discussed enough. We haven’t got to studies about how well Korean music is known in the field of music education in many different countries and how they teach Korean music in their countries. We also should study the amount of information of Korean music and Asian music contained in music textbooks for kids, elementary, middle school, and high school. Additionally, multicultural music education offers a foundation for musical creativity and diversity gaining from comprehensive music experiences. That is a musical point of view. Multicultural music education provides love for all mankind, comprehension and variety of understanding many different cultures through music as culture as well. Therefore we should keep pace with the world’s multicultural music education, and take this as an opportunity to inform and promote our music directly to the world. As the students study the variety of cultures of music in Asian countries, the interest about Korean music should be expanded in their school’s education. Other countries should be encouraged to study Korean culture and art. The primary goal of education in 21st century is liberalization, diversity, continue in the pursuit of new information. Multicultural music education accepting their own music others is the way to be diversified and liberalized.

신라의 ‘예악(禮樂)’ 사상이 현대음악교육에 주는 교육적 의미

하성일 한국음악교육학회 2011 음악교육연구 Vol.40 No.1

This study is focused on the analysis of problems, the searching for a model to 'YE·AK' ideal in Shilla, and presentation of new direction in Korean music education. Korean music education has been in dangerous situation maintained in knowledge for the entrance examination, which has destroyed the main purpose of music education. Shilla dynasty was based on the principle of duty and humanity. The principle of duty and humanity was considered as life itself. Wharang, the organization of education for fit person was served as training school for fighter at war and for student, artist and mourner at peace. Especially the chief of Wharang, Fungwhalzu devoted his private desire and goal to the benefit of public. The contents of this education were swordsmanship, history, song and dance. In these contents song was the most important thing. Song and dance encourage human emotion to be good conditions and enforce the tie of communities. In this point of view Shilla dynasty promoted widely song and dance. Eungsungsue, a government office to promote song and dance was established. The person who can sing and dance well was esteemed by the society. Our music education should be re-recognized in the importance and improved in the entrance examination. Sufficient educational period for music must be guaranteed. In many curriculum including talent music educational course have to be essential. In addition music educational course should be changed from theoretical and functional to activities and enjoyable. Government and educational authorities must supply at administrative and financial supports in music education. The condition of advanced musical educational system should be venture marketed. The research of musical educational system in traditional culture must be inquired and applied to the present music education. Now the reform and normalization of Korean music education are the most important thing in Korean education.

한국의 다문화 음악교육 실태 조사

윤문정 한국음악교육공학회 2009 음악교육공학 Vol.- No.8

The purpose of this study was to determine the current status of multicultural music education in Korea. This primary research questions were based on 1) the music teacher education programs; 2) music textbooks used in grades 1 through12 music classrooms; and 3) perceptions of music education faculty and music teachers. Data were gathered through document analysis, music textbook analysis, and interviews with four music education faculty and six music teachers. The result showed that only seven courses were offered at four universities among their undergraduate and gradate courses. The data analysis of music textbooks from grades 1 through 12 identified several problems: 1) unclear origins of the songs, 2) mistranslation, 3) the lack of non-musical contextual information, 4) the lack of diversity in the regions, 5) limitation of the performance style, and 6) poor quality of photos and other illustrations. The perceptions of music education faculty were identified: (1) definitions of “multicultural music”; (2) issues of authenticity; (3) the need for multicultural music education; (4) the most propitious time for starting multicultural music education; 5) the problems of pre- and in-service teacher education; 6) limited understanding of multicultural music education; 7) quantity and quality of multicultural music materials; and 8) the lack of funding. Professors suggested: 1) change perceptions regarding multicultural music education; 2) offer multicultural music classes specifically for pre-service teachers; 3) systemize materials and academic resources for multicultural music education; 4) provide opportunities for concerts and workshops in multicultural music education; and 5) devote more funds. Music teachers pointed to six problems: 1) the problems of teaching songs in their native language; 2) shortage of time; 3) the absence of cultural context in a music class; 4) the deficit of materials; 5) the lack of pre- and in-service teacher education; and 6) limited understanding of multicultural music education. Music teachers suggested: 1) offer pre- and in-service teacher education for multicultural music education; 2) systemize and offer materials for music class; 3) increase the time for music instruction; and 4) include accurate information of multicultural music in music textbooks. The recommendations of the professors and teachers suggest that with the increasing number of immigrants from various parts of the world now settling in Korea, that Korean schools are facing a multicultural future. The schools are the perfect medium in which world cultures can be explored to the greater understanding of Korean students. this expansion of cultural information depends greatly on music as an important universal feature of all societies. The purpose of this study was to determine the current status of multicultural music education in Korea. This primary research questions were based on 1) the music teacher education programs; 2) music textbooks used in grades 1 through12 music classrooms; and 3) perceptions of music education faculty and music teachers. Data were gathered through document analysis, music textbook analysis, and interviews with four music education faculty and six music teachers. The result showed that only seven courses were offered at four universities among their undergraduate and gradate courses. The data analysis of music textbooks from grades 1 through 12 identified several problems: 1) unclear origins of the songs, 2) mistranslation, 3) the lack of non-musical contextual information, 4) the lack of diversity in the regions, 5) limitation of the performance style, and 6) poor quality of photos and other illustrations. The perceptions of music education faculty were identified: (1) definitions of “multicultural music”; (2) issues of authenticity; (3) the need for multicultural music education; (4) the most propitious time for starting multicultural music education; 5) the problems of pre- and in-service teacher education; 6) limited understanding of multicultural music education; 7) quantity and quality of multicultural music materials; and 8) the lack of funding. Professors suggested: 1) change perceptions regarding multicultural music education; 2) offer multicultural music classes specifically for pre-service teachers; 3) systemize materials and academic resources for multicultural music education; 4) provide opportunities for concerts and workshops in multicultural music education; and 5) devote more funds. Music teachers pointed to six problems: 1) the problems of teaching songs in their native language; 2) shortage of time; 3) the absence of cultural context in a music class; 4) the deficit of materials; 5) the lack of pre- and in-service teacher education; and 6) limited understanding of multicultural music education. Music teachers suggested: 1) offer pre- and in-service teacher education for multicultural music education; 2) systemize and offer materials for music class; 3) increase the time for music instruction; and 4) include accurate information of multicultural music in music textbooks. The recommendations of the professors and teachers suggest that with the increasing number of immigrants from various parts of the world now settling in Korea, that Korean schools are facing a multicultural future. The schools are the perfect medium in which world cultures can be explored to the greater understanding of Korean students. this expansion of cultural information depends greatly on music as an important universal feature of all societies.

아시아 국가의 일반 교육에서 음악교사의 역할: 국가와 이념의 경계를 넘어

( Masafumi Og ) 미래음악교육학회 2021 미래음악교육연구 Vol.6 No.3

이 논문은 음악교육에서 필수적인 두 가지의 질문에 대하여 검토한다: 일반교육에서 음악교사의 역할은 무엇인가, 그리고 각 국가 사이에 정치적, 경제적, 사회적, 그리고 문화적 차이가 있음에도 불구하고 일반교육에서 음악교사의 역할은 동일한가 아니면 다른가? 이에 관련된 내용은 두 부분으로 되어 있는 바, 그것은 일본과 세계의 공립학교에서 음악교육에 관한 일곱 가지의 특징과, 일반교육에서 음악교사의 역할과 사명에 대한 것이다. 일곱 가지의 특징은 다음과 같다: (1) 일반교육에서의 음악교육의 목표는 심미적이고 도덕적인 경향을 지닌다는 것, (2) 음악교사들은 학생을 다루는 방식과 교수 양식 면에서 동일하다는 것, (3)일본과 아시아에서의 음악교육은 주변적인 것으로 여겨지는 경향이 있다는 것, (4) 일본음악교사들은 교육과정의 지침을 준수해야 한다는 것, (5) 국가 수준의 교육을 제정할 때 타협과 정치적 압력을 피할 수 없다는 것, (6) 계명창 이론이 잘 이해되지 않고 음악 수업에서 효과적으로 사용되지 못하고 있다는 것, (7) 일반적으로 음악교사들은 어려운 조건에서 가르치고 있다는 것. 국가 수준의 교육과정과 교육체제는 국가마다 서로 다르지만 음악교사들은 기본적으로 동일한 상황에 있다. 음악교사의 보편적 사명은 “음악을 통하여 어린이들을 기쁘게 하는 것”이다. 학교의 음악교육은 국가의 교육체제, 정치적 상황, 또는 경제적 수준과 상관없이 “교육안에서의 음악”이 아니라, “음악 안에서의 교육”이 되어야 한다. This paper examines two essential questions in music education: What is the role of music teacher in general education, and whether the role of music teacher in general education is the same or different despite political, economic, social, and cultural differences among nations? It consists of two parts, the seven characteristics concerning music education in public schools in Japan and the world and the roles and missions of music teachers in general education. The seven characteristics are: (1) The objectives of music education in general education in Asia tend to be aesthetic and moral. (2) Music teachers are identical in treating students and teaching style. (3) Music education tends to be used to the end in Japan and Asia. (4) Japanese music teachers must follow the curriculum guidelines for each teacher's policy. (5) Making National Curriculum inevitably faces compromise and political pressure. (6) The theory of solmization is not well understood and is effectively used in music classes. (7) Music teachers are generally working under harsh conditions. The national curriculum and education system are different nation by nation, but music teachers are essentially the same. It is proposed that the universal mission of music teachers is to "make children happy through music." Music education in schools, regardless of educational systems, political states, or economic status of nations, should be "education in music," not "music in education."

포스트 코로나 시대 대응 방안을 위한 온라인 음악교육 연구 고찰

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

본 연구는 포스트 코로나 시대의 대응 방안을 마련하기 위해 온라인 음악교육 연구를 고찰하는 것에 목적이 있다. 이를 위해 2011년부터 2021년까지 국내 학술지에 게재된 48편의 논문을 분석한 결과는 다음과 같다. 첫째, 온라인 음악교육 연구의 수행률은 2011년부터 점차 증가하였고, 코로나19가 발생한 직후인 2020년도에 급격히 증가하였다. 둘째, 온라인 음악교육 연구 주제와 방법은 인식도 및 요구도와 만족도 요인, 현황 및 실태 조사, 방안 제시, 지도안 및 콘텐츠 개발과 적용, 수업 설계 등을 주제로 연구가 수행되었으며 코로나 19 발생 이후에는 온라인 콘텐츠 개발 연구가 활발히 수행되었다. 셋째, 온라인 음악교육 방식은 콘텐츠 개발제공, 온라인 플랫폼과 시스템을 활용하여 학습자와 소통, 온/오프라인, 실시간/비실시간의 융복합 블랜디드러닝, 실시간 온라인 수업 진행, 실음 중심 및 자기 주도적 연습과 실천 방식 등이 사용되었다. 온라인 음악교육 효과성 및 만족도 요인은 교수학적 내용의 난이도와 적절성, 이러닝 서비스 시스템 환경과 기술, 학습자 참여도와 자기주도 학습 능력, 학습 촉진을 위한 교수학적 전략, 상호작용과 소통에 있었다. 온라인 음악수업의 장점은 시공간 제약과 한계 극복, 교수법과 교구 교재의 창의적 개발과 활용, 학업 성취도 및 동기 부여의 자가 평가 가능이었다. 온라인 음악수업의 어려움 및 문제점은 소프트웨어 기술의 한계, 실음 중심 음악교과 수업 진행의 어려움, 수업의 참여도와 몰입도 저하, 교사 역량 부족이었다. 넷째, 포스트 코로나 시대 음악교육을 위한 향후 요구도 및 대응 방안으로 온라인 콘텐츠 개발과 교육 환경 개선, 실음 중심 수업 진행 및 평가 방식과 시스템 구축, 다자간 소통과 교류 확대 방안 마련, 학습자 개별 관리 및 맞춤형 학습 시스템 구축, 교사역량 개발 및 지원으로 나타났다. 본 연구는 온라인 음악교육 실태와 포스트 코로나 시대의 대응 방안을 제시한 것에 의미가 있으며 향후 다각적 측면에서의 온라인 음악교육 연구가 수행되기를 기대한다. 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.

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.

국악 중심 융합교육의 유형과 내용에 관한 연구

한윤이 한국국악교육연구학회 2015 국악교육연구 Vol.9 No.1

Convergence education was introduced as one of the National Education Policies in2011. It’s center of operation focuses on science, technology, and engineering. However,some are of the opinion that we also need impartial studies about convergence education,which focuses on the arts in various fields. As such, for the purpose of this study, I triedto select contents and to present types of convergence education, which focus on Koreanmusic. Korean music is closely related to dance (plays), arts, language, literature, history, ideas,and so on. Thus, I selected factors associated with these for teaching the elements ofconvergence education as focused on Korean music. These are divided into three groups:music, concepts, and tasks. I presented three types of convergence education focused onKorean music based on these three groups. These types are threefold: convergenceeducation focused on music theme, convergence education focused on concepts, andconvergence education focused on tasks. In addition, I examined elementary school textbooks. As a result, I found that thefollowing subjects integrated Korean music well: Korean, Society, Ethics, PhysicalEducation, and Arts. This is because Korean music is the connecting point between cultureand art forms. Also, Korean music contains language, literature, history, culture,philosophy, dance, painting, craft, and so on. Through these, I can say that convergenceeducation focused on Korean music is also focused on the Humanities and Arts. It is hard to put into practice convergence education focused on Korean music usingthe existing STEAM teaching elements and methods. For this reason, I developed two new types of convergence education focused on traditional Korean music called KAKESand KAKEPS. These are types according to convergence elements fused with Koreanmusic. KAKES stands for Korean Art, Korean, Ethics, and Society. KAKEPS is to addPractical Arts to KAKES. 2011년 우리나라에 도입된 융합교육은 주요 교육정책으로 제안되었고 학교와 학계에서 지대한 관심을 받으며 활발하게 연구가 이루어져왔다. 하지만 최근에는 기존의 과학이나 기술,공학 중심 융합교육에서 벗어나 인문․예술 분야를 중심으로 한 다양한 융합교육이 이루어져야 한다는 견해가 설득력을 얻고 있다. 본 연구에서는 이러한 방안의 하나로 국악 중심융합교육의 유형과 내용을 선정하여 제시해 보았다. 국악 중심 융합교육의 유형은 기존의 융합교육 방법을 토대로 하여 악곡을 중심으로 내용을 융합한 주제 중심 융합교육, 국악과 관련된 개념을 습득할 수 있도록 한 개념 중심 융합교육, 국악을 활용하여 과제나 문제를 학생들이 스스로 탐구하고 해결할 수 있도록 한 문제 해결중심 융합교육 등 세 가지로 구분하였고 이에 따라 국악 중심 융합교육 내용을 선정하였다. 초등학교 교과서의 내용을 분석한 결과 국어, 사회, 도덕, 체육, 미술교과 등이 국악과 잘융합할 수 있음을 알 수 있었다. 이는 국악이 언어, 문학, 역사, 사상, 문화, 춤, 회화, 공예분야의 내용이 혼재된 문화예술의 하나이기 때문이다. 따라서 기존의 융합교육이 이공계 중심인 것과는 다르게 국악 중심 융합교육은 인문학 중심 융합교육이 되어야 한다. 특히 국악은 여러 요소 중 춤(놀이), 미술, 문학, 언어, 사상, 역사 등과 밀접하게 관련되어 있기 때문에이를 중심으로 한 융합교육이 필요하다. 이에 본 연구에서는 융합요소에 따른 국악 중심 융합교육으로 KAKES 융합교육과KAKEPS 융합교육 등 두 가지 유형을 제안하였다. KAKES 융합교육은 음악, 춤, 미술에 해당하는 ‘한국 예술(Korean Art)’, 문학과 언어에 해당하는 ‘국어(Korean)’, 사상에 해당하는‘도덕(Ethics)’, 역사에 해당하는 ‘사회(Society)’의 영어 첫 글자를 따서 만든 것이고,KAKEPS 융합교육은 KAKES 융합교육에 실과(Practical Arts)를 더 융합한 유형으로 이․공학 분야 중 국악과 융합이 빈번하게 이루어지는 요소를 포함한 것이다. 국악을 중심으로 한 융합교육은 여러 학문의 융합체인 국악을 제대로 이해하는데 적합한교육 방법이며, 과학 교과 중심에서 벗어난 새로운 융합교육 방안이다. 학교교육에서 융합교육이 보다 활성화되기 위해서는 중․고등학교 수준에 알맞은 주제 및 내용 선정 연구가 이루어져야 하고 이에 따른 구체적인 융합교육 프로그램도 지속적으로 개발되어야 할 것이다.