어린이시노래 연구

이지호(Yi, Ji-ho) 한국아동청소년문학학회 2014 아동청소년문학연구 Vol.- No.15

Children’s poem-song is the song made of children’s poem. Some children’s poems are good for reading and some children’s poems are good for singing. The latter are appropriate for song’s words. There are some children’s poems which a songwriter wants to make songs. There are some children’s poems which a songwriter can make songs easily. It may be possible that the former and the latter have the same meaning. Because the literary codes of children’s poem are connected musical codes of children’s poem strongly. There are 5 methods of constructing song’s words with a children’s poem. The first is ‘Copying’, which means using a children’s poem without further amendment. The second is ‘Adjusting, which means using a children’s poem with repeating some words or phrases. The third is ‘Proofreading’, which means using a children’s poem with correcting words or phrases. The fourth is ‘Revising’, which means using a children’s poem with amendment in structure of meaning. The fifth is ‘Mixing’, which means using two or more children’s poems together. Copying-songs and Adjusting-songs can be said pure children’s poem-songs. Because the children’s poem in the children’s poem-song maintains its original state. But Proofreading-songs, Revising-songs and Mixing-songs can not be said pure children’s poem-songs. Because the children’s poem in the children’s poem-song is not same as what it was.

1920년대 동요운동의 전개양상

이동순 한국문학이론과비평학회 2011 한국문학이론과 비평 Vol.53 No.-

Modern Korean literature has been formed activating mixed critical assemble and disjunction aspect among literature genre. In that course, children became to surface as a subject, not landscape, throughout 'object of national enlightenment' It may be summarized as follows from children's songs origin to children's songs movement expanded series of a development process. Leading cultural movement initiatively in the background that children's songs have been created was Cheondogyo junior member's activity, resistance for compulsive transplantation of Japanese education system, influence of Christianity hymn, etc. Development aspect for Children's songs has been analyzed in various layers. First, a great deal of works related with children's literary magazine were demanded. Therefore, beginning of the correspondence column became impetus of children's songs movement so that children were reader and writer at the same time. Second, the discourse for children's songs was expanded with engagement of the press. Children are put up by means of secret resistance for Japan. Third, children's song and children's poetry were mixed and divided, and musicality of children's songs became to be changed into literary value simultaneously. And the concern for children's song got higher with class problem developed in children's songs. Aspect of children's songs movement evolved from 1920's started for children, but that has nature for adults at once.

『 어린이』에 수록된 동요의 양상과 교육적 의미에 대한 연구 -악보가 있는 동요를 중심으로-

정한기,김용재 한국문학치료학회 2024 문학치료연구 Vol.70 No.-

The purpose of this paper is to research the aspect and educational meaning of children's song in Eorini . The result is as follow. The aspect of children's song in Eorini are as follow : The composition principle is correspondence and connection. In the correspondence type of children's song, the situation correspond the poetic speaker's emotion. The poetic speaker express the emotion about oneself and object. In the correspondence type of children's song, the abstraction correspond the concreteness. In the connection type of children's song, the parts are connected by chronological (spatial) order or by behavioral order or by the order of events. The educational meaning of children's song in Eorini are as follow : The learned reader's personality is enhanced by reading the Children's song in Eorini . In the correspondence type of Children's song, the poetic speaker express positive emotion and reflect on the oneself and sympathize with the object. The learned reader's creativity is enhanced by reading the children's song in Eorini . In the correspondence type of children's song, the abstraction correspond the concreteness. The learned reader's divergent thinking is enhanced by reading the correspondence type of children's song. In the connection type of children's song, the parts are connected by regular principle and the parts become a work. The learned reader's convergent thinking is enhanced by reading the connection type of children's song. 본고의 목적은 어린이 에 수록된 악보가 있는 동요의 양상과 교육적 의미를 살펴보는 것이다. 그 결과를 요약하면 다음과 같다. 첫째, 어린이 에 수록된 동요의 양상이다. 어린이 수록 동요에서는 구성 요소들이 대응(對應)과 연결(連結)로 구성된다. 구성의 양상에는 ‘상황-반응’ 대응형, ‘추상-구체’ 대응형, 연결형 등이 있다. ‘상황-반응’ 대응형의 작품에서는 상황이 제시되고 시적화자의 감정이 표출된다. 자신과 관련된 감정에서 시적화자는 가족에게 받은 사랑과 희망, 가족과 함께 한 즐거운 경험을 회상하여 긍정적 감정이 표출되고, 자신의 현 상황에서 자신을 되돌아보기도 한다. 대상과 관련된 감정에서는 시적화자가 대상의 입장이 되어 감정을 표출하거나, 활유화된 사물이 대상의 입장이 되어 감정을 표출한다. ‘추상-구체’ 대응형 작품에서는 추상에 있는 매개어를 통해 구체적인 내용이 생성된다. 연결형 작품에서는 시간(공간)의 진행, 행위의 진행, 사건의 진행으로 연결된다. 연결되는 과정에 활유화된 사물과 인물의 심리가 드러난다. 둘째, 어린이 에 수록된 동요의 교육적 의미이다. ‘상황-반응’ 대응형 작품에서 시적화자는 가족과의 경험을 회상하여 긍정적 감정을 표출하고, 자신이 처한 상황에서 자신을 되돌아본다. 학습 독자가 시적화자를 따라가면서 긍정적 감정의 흥기를 통해 정서가 순화되는 효과가 있고, 자기 성찰의 태도가 길러지는 효과가 있다. ‘상황-반응’ 대응형 작품에서 시적화자가 대상의 입장이 되어 감정을 표출하고, 활유화된 사물이 대상의 입장이 되어 감정을 표출하기도 한다. 연결형 작품에서 시적화자는 활유화된 사물의 심리나 인물의 심리를 분석하여 제시한다. 시적화자는 대상의 입장이 되어보기도 하고, 활유화된 사물이나 인물의 입장이 되어보기도 한다. 학습 독자가 시적화자를 따라가면서 타인의 입장이 되어보는 경험을 하게 되어 타인을 이해하고 존중하는 태도가 향상되는 효과가 있다. 어린이 수록 동요에는 시적화자의 자기 성찰이 있고, 긍정적 감정의 흥기를 통한 정서 순화가 있고, 타인에 대한 존중의 태도가 있어 학습 독자들의 인성을 함양시키는 효과가 있다. ‘추상-구체’ 대응형 작품에서는 추상에 있는 매개어를 통해 구체적인 내용이 생성된다. 학습 독자들은 추상에서 구체적인 내용이 생성되는 과정을 읽으면서 확산적 사고를 향상할 수 있다. 연결형에서 학습 독자들은 생성된 다양한 내용들이 일정한 규칙에 의하여 구성되는 과정을 읽으면서 수렴적 사고를 향상할 수 있다. 그 규칙인 ‘시간(공간), 행위, 사건’ 등이 현행 교육과정과의 초등학교 국어 교과서에서 학년별 학습활동과 유사한 것을 보아 단계별 교육이 가능하고, 국어 교과서와 연계된 교육으로 활용될 수도 있다. 어린이 수록 동요에는 학습 독자의 창의성을 향상시키는 효과가 있다.

어린이들의 생활문화와 민요 - 현대 구전동요 연구 시론 -

김헌선,시지은 한국구비문학회 2007 口碑文學硏究 Vol.0 No.25

This research was beg-in that wonder about kids doing the play and song of these days. The kids of these days were doing the play hard with a song. The play and song was altered much with the old times but they are not nothing to do with ancestor transmission. Kids are still good performer as soon as great oral poet.I think that transmission children’s song of three generation is current coexisting in my country; they have done transmission children’s song and play when young and years old are 1 generation, they have transmission children’s song are mixed to be imported oral children’s song of West and Japan are 2 generation, they sing different song than last generation though remember the transmission children’s song are 3 generation; oral children’s song of these three generation has close each other relation. That’s traditional transmission children’s song, flowed in West or Japan and changed again is involved in each other. This is the current real actual of oral children’s song in my country.Look into modern oral children’s song, 3 generation seemed to be succeed 1 and 2 generation being though it was same but serious change came into. The melody came to be monotonous and the beat came to be fast. The words of a song is altered so that it was suitable to modern society it is no matter the meaning. A song advance with the play to give the penal regulations and sing much change the word of song that song is either ours or foreign country.Kids of these days are still sing likely ordinary period although modern oral children’s song and transmission have many difference. That point has great meaning. Oral children’s song has enough value in the situation of now which a transmission culture; oral poetry, oral lyric, oral novel; is remarkably weaken. Oral children’s song is valuable overall transmission culture that has impromptu, variety, compositeness. 현재 아이들은 어떠한 노래를 하고 놀이를 하는가가 이 연구의 시초가 된 궁금증이었다. 초등학교 아이들을 직접 만나면서 지금의 아이들도 노래와 놀이를 열심히 하고 있으며, 그것들이 예전과 많이 달라지긴 했지만 조상 전래로 이어져온 노래나 놀이와 전혀 무관하지 않음에 적잖이 놀랐다. 아이들은 여전히 훌륭한 구비시인이자 연행자임이 드러난 것이다. 현재 우리나라에는 세 세대의 구전동요가 병존하고 있다고 생각한다. 어렸을 때부터 전래동요를 부르고 놀았던 구전동요 1세대, 서구와 일본에서 수입된 구전동요와 전래동요가 엇섞인 구전동요 2세대, 전래동요를 기억의 퇴적층으로 가지고는 있지만 앞 세대와는 질적으로 다른 구전동요를 구사하는 구전동요 3세대이다. 세 세대의 구연동요는 각각 독립적이라기보다는 서로 밀접하게 얽혀 긴밀한 관련을 가지고 있다. 따라서 전통적인 전래동요, 서양식이나 일본에서 유래된 동요, 다시 변화된 동요 등이 서로 얽혀 중층적 양상을 보이는 것이 현재 우리나라 구연동요의 실상이다. 현대구전동요를 구전동요 3세대 중심으로 살펴보았더니, 구전동요 3세대는 구전동요 1세대와 2세대를 계승하는 듯 하면서도 심각한 변이가 생겼음을 알 수 있다. 박자는 예전에 비해 빨라지고 선율은 단조로워졌으며 노랫말은 의미가 있든 없든 현 사회에 맞게 달라진 것이다. 그리고 노래를 하면서 놀이가 병행되는 경우 놀이와 더불어 벌칙을 주는 놀이와 노래가 발달했다고 볼 수 있다. 또한 우리나라 음악이건 외국음악이건 원래 음악에 노랫말을 바꿔 부르는 개사곡을 많이 부르고 있음을 알 수 있다. 현대구전동요가 전래동요와 많은 차이가 있음에도, 지금의 아이들도 여느 시대와 마찬가지로 여전히 구전동요를 부른다는 것에 큰 의의를 둘 수 있다. 그리고 구비시ㆍ구비시가 또는 구비소설과 같은 구전문화가 현저히 약화된 지금의 상황에서 노래와 놀이 속에서 구전되는 동요는 즉흥성ㆍ다양성ㆍ복합성을 지닌 총제적인 구전문화로서의 가치가 충분하다고 할 수 있겠다.

초등학교 국어 교과서에 수록된 전래동요의 교육 방안

정한기 한국민요학회 2014 한국민요학 Vol.42 No.-

In this thesis, I aim at investigation at the education measures of traditional children’s song in primary school korean language textbook. The result is as follows. The education aspect of traditional children’s song in primary school korean language textbook:The learning activities of traditional children’s song in korean language textbook(2007, 2009) is that the leaner find repeating word and form in traditional children’s song and rewrite the traditional children’s song. This activities have the advantage of enhancing divergent thinking but have the disadvantage of not enhancing convergence thinking. Also it’s unusual for a personality education in learning activities of traditional children’s song. The education measures of traditional children’s song:It is necessary to find the traditional children’s song of being appropriate for enhancing creativity and enhancing personality. The traditional children’s song of being appropriate for creativity education is the development type traditional children’s song. The traditional children’s song of being appropriate for enhancing personality is the traditional children’s song that there is the understanding other people and that the speaker can speak out his inner side. The learner has a catharsis by rewriting the traditional children’s song that the speaker can express the emotion openly. 본고의 목적은 초등학교 국어 교과서에 수록된 전래동요의 교육 방안을 살펴보는 것이다. 그 결과를 요약하면 다음과 같다. 첫째, 초등학교 국어 교과서에 수록된 전래동요의 교육 양상이다. 2007년 개정 국어 교과서와 2009년 개정 국어 교과서에 수록된 전래동요에서 주된 학습활동은 반복된 어휘·형식 등을 찾고 재창작하는 것이다. 이러한 활동은 학습자들의 발산적 사고의 창의성을 향상시키는 데에는 유효하지만 수렴적 사고의 창의성을 향상시키는 데에는 한계가 있다. 그리고 인성 교육에 대한 학습활동은 드문 편이다. 둘째, 전래동요의 교육 방안이다. 수렴적 사고의 창의성을 향상시키고 인성을 향상시키기에 적합한 전래동요를 찾는 것이 필요하다. 창의성 교육에 적합한 전래동요는 전개형 전래동요이고, 인성 교육에 적합한 전래동요는 타인에 대한 이해가 있는 전래동요, 화자의 내면이 자유롭게 표출된 전래동요 등이다. 특히 학습자들은 화자의 내면이 자유롭게 표출된 전래동요를 재창작함으로써 감정의 정화(淨化)를 이루기도 한다. 결국 초등학교에서 전래동요의 교육 방안은 학습자들이 전개형 전래동요, 타인에 대한 이해가 있는 전래동요, 감정 표출이 자유로운 전래동요 등을 재창작하여 창의성과 인성을 기르는 것이다.

백창우 어린이 노래 운동의 아동문학적 성과 -2000년대 이후 활동을 중심으로-

김금내,이향근 한국아동청소년문학학회 2023 아동청소년문학연구 Vol.- No.33

This study named Baek Chang–woo’s activities to communicate with children through singing since the 2000s as the ‘children’s song movement’ and tried to view its achievements. First of all, the stem of the children’s song movement was identified starting in the 1920s, when creative children’s songs appeared in the history of children’s literature. Creative children’s songs were created in terms of legitimate theory and direction in the harsh situation of the Japanese colonial period. Since then, in the history of children’s literature, creative children’s songs do not develop linearly but change and break according to the demands of the times. In this study, considering that the spirit of creative children’s songs in the 1920s and the Baek Chang–woo children’s song movement are in line, the achievements of the Baek Chang–woo children’s song movement were examined, focusing on the children’s song theater at that time, which was dominated by childhood, artistry, and musicality. From the 2000s to July 2023, 826 children’s songs composed by Baek Chang-woo were analyzed to identify the flow and development of the Baek Chang-woo children’s song movement. As a result of the analysis, Baek Chang-woo’s children’s song movement showed a trend of expanding in an attempt to find a point of contact with poetry written by children, traditional children’s songs, and popular songs based on children’s songs based on children’s literature. In addition, it was developed by mainly communicating songs composed of songs that contain various emotions felt by children and lyrics that reflect their lives, and attempting to change the form of children’s songs through active interpretation of children’s poetry. Based on this, the achievements of the Baek Chang–woo children’s song movement were derived in four ways. First, it emphasized that adults can sing together while illuminating children as subjects of communication, inheriting the value of creative children’s songs that were born in the 1920s as a cultural movement. Second, it was intended to restore the artistry of children’s songs as a text in which the complex style stands out in the category of children’s literature. Third, the uniqueness of our speech taste was realized by finding the rules hidden in the lyrics. Fourth, it was intended to capture the authenticity of the subject singing children’s songs, emphasizing the singing method that could revive a natural voice.

1920년대 동요 형성과 정착을 둘러싼 경계와 배제-동요가 배척한 유행가-

송현민 ( Song Hyun-min ) 인하대학교 한국학연구소 2019 한국학연구 Vol.0 No.55

본 연구는 2000년 이후 진행된 1920년대 동요 관련 연구성과를 수용하여 당시 유행가에 대한 배제와 금기의 담론을 살펴, 동요와 유행가 ‘사이’의 동요담론을 중점적으로 살펴보고자 한다. 1923년, 본격적인 아동잡지 『어린이』 창간 이후 활성화되는 동요 창작 및 보급의 환경 속에서 동요는 특유의 동심성과 순수성에 대한 옹호를 통해 성장해나갔다. 그 과정에서 유행가에 대한 경계와 배제 담론은 동요의 장(場)을 공고히 하는 역할을 하였다. 이러한 과정 속에서 1924년 『신여성』에 게재된 「유행가 시비」는 근대조선의 유행가요가 언제나 대중으로부터 환영받은 음악이 아니었음을 대변해주는 사료이자, 「유행가 시비」의 일부를 이루는 정순철의 「동요를 권고함니다」는 동요를 유행가 시비의 대안으로 내놓는 모습까지 보여준다. 이러한 시비 속에는 ‘동요=순수=자연’와 ‘유행가=타락(퇴폐) =도시’라는 이분법이 있음을 알 수 있다. 본 연구는 1920년대의 동요 생산자들과 아동문학가들이 주창한 동요론을 정리하고, 이를 바탕으로 동요의 장에서 진행되었던 유행가 경계와 배제의 양상과 논리를 살펴본다. 1920년대 중반에 근대조선에 유입되어 유행가의 보급과 파급을 증가시킨 유성기와 음반의 홍수 속에서 동요의 순수성과 논리를 지키고자 한 이들의 의견도 살펴본다. 이러한 연구를 통해 1920년대 동요 연구에서 볼 수 없었던 동요와 유행가 사이의 연결다리도 놓고자 한다. This study examines the discourses and exclusions of popular songs at the time, and the discourses of children's songs between children’s songs and popular songs. In 1923, children’s songs grew in the environment of creation and dissemination of children’s songs that became active after the launch of the children’s magazine “Children”. In the process, the boundary and exclusion discourse on the trendist song played a role in consolidating children's songs. In this debate, there are two dichotomy : ‘children's song = pure = nature’ and ‘popular song = fallen (decay) = city’. This study summarizes children's song theory insisted by children’s song producers and children’s literary writers in the 1920s. Through these studies, I would like to establish a bridge between children’s songs and popular songs that were not found in children’s songs research in the 1920s.

1920-30년대 동요의 존재양상과 전승

한영란(Han Yeong-Rran) 동남어문학회 2007 동남어문논집 Vol.23 No.-

  This paper is concerned about the children"s song in the 1920s-1930s. At that time, children"s song was changed newly. That is the appearance of creation-children"s song.<BR>  The one of the immediate causes was "the discovery of child". So the children song was changed to the genre that it is include traditional children"s song and creation-children"s song.<BR>  The each aspect of existence are as follows;<BR>  First, the creation-children"s song was created constantly, under the rule that it emphasize children"s criteria of purity and beauty. At once, it was spread abroad that they were included in the newspaper, magazine, and a phonograph record.<BR>  Second, the traditional children"s song was collected, recorded, preserved by the argument of traditional construction and finding "Joseon"s things". Moreover, They were acculturated and done reproduction as the creationchildren"s song.<BR>  As it were, the children"s song in 1920s-1930s existed and was changed variously to both developed enlargedly as took theirs own course.<BR>  Finally, this study"s problems that it has to have more detailed analyses about the aspects and data of the children"s song that the real singers and victors sing in 1920s-1930s.

한․몽 전래동요의 비교 연구

박소현 한국몽골학회 2010 몽골학 Vol.0 No.28

This study is what compared Traditional Children´s Songs between Mongolia and Korea as a means for understanding Mongolian culture, which is nomadic society with escaping from ethnocentrism. Children's song is the origin of children's culture, and is the useful field that can observe the internal world of human instinct, which is formed in the process of growing into adult. Accordingly, this study comparatively analyzed traditional children´s songs between Mongolia and Korea, and then considered difference and sameness in musical culture of both countries. Mongolia started to use the terminology called ‘Xuxdiin duu(Хүүхдийн дуу),’ which is the meaning of children's song as the school education has been begun since the 1940s and as the composers for ‘Mongolian Musical Composers Association’ compose children's song in 1942. Korea was emerged the terminology called children's song as children's song is created with the center on members for ‘Saekdonghoe (색동회)’ in 1921. The terminology called traditional children´s song was used for the first time through the journal『Hangeul(한글)』in 1941. Classification in traditional children´s songs needs to be discussed more in both countries. In case of Mongolia, there is no academic classification system called traditional children´s song. However, it is what classified as Hasibajate(哈斯巴拉特), who is Inner Mongolia's scholar in China, is embodied in the title of work. Even in Korea, it has mainstream as the classification according to be embodied in the title of work like the classification system in Mongolia. However, there are additionally the classification according to performer's standard, the classification according to spatial concept, and the classification according to characteristics in children's life. Third, there are more simple Korea's traditional children´s songs than Mongolia. This is because Korea can be formed children-group culture, by which peer children are flocked together with the settlement-living method. Due to this, a song of children's play can be created. On the other hand, in case of Mongolia, there are most cases that an adult creates and transmits to children. This is because of particularity, which is possessed by nomadic society of being lived by family unit. Consequently, due to difference in the living culture between Korea, which is settlement culture available for being formed the children-group culture, and Mongolia, which is nomadic culture in family unit, the difference in children's culture of traditional society could be confirmed through musical comparison between traditional children's songs of both countries. 본 연구는 자문화중심주의에서 벗어나 유목사회인 몽골문화를 이해하기위한 하나의 수단으로 몽골과 한국의 전래동요를 비교한 것이다. 동요는 아동문화의 근원이며, 성인으로 성장하는 과정에서 형성되는 인간본능의 내면세계를 관찰할 수 있는 유용한 분야이다. 따라서 한국과 몽골의 전래동요를 음악적으로 비교분석하여, 양국 음악문화의 동이점(同異點)을 고찰하였다. 몽골은 1940년대 이후 학교교육이 시작되고, 1942년 ‘몽골음악 작곡가 협회’의 작곡가들이 동요를 작곡하면서, 동요란 의미인 ‘후흐딩 도’라는 용어를 사용하기 시작했다. 한국은 1921년 ‘색동회’의 회원들이 중심이 되어 동요가 창작되면서 동요란 용어가 등장했고, 1941년『한글』지를 통해서 처음으로 전래동요란 용어가 사용되었다. 전래동요의 분류는 양국모두 좀 더 논의되어야 한다. 몽골의 경우 전래동요란 학문적 분류체계가 없으나, 중국의 내몽골 학자 哈斯巴拉特가 작품의 표제에서 체현되는 점에 따라 분류한 것이 있다. 한국에서도 몽골의 분류체계와 같이 작품의 표제에서 체현되는 점에 따른 분류가 주류이지만, 그 외에 연행자의 기준에 따른 분류, 공간 개념에 따른 분류, 아동생활의 특성에 따른 분류가 있다. 양국의 전래동요를 음악적으로 비교 분석하면 몽골보다는 한국에 더 단순한 것이 많다. 그 원인으로 한국은 정주생활방식으로 인하여 아동집단문화가 형성되기에 아동 스스로 놀이를 위한 유희요가 창작될 수 있다. 반면 몽골의 경우 성인이 창작하여 아동에게 전승되는 경우가 대부분이며, 이는 가족단위로 생활하는 유목사회가 갖는 특수성 때문이다. 결과적으로 아동집단문화가 존재하는 정주문화인 한국과 가족단위의 유목문화인 몽골은 생활문화적 상이성(相異性)으로 인하여, 전통사회 속에서 아동문화의 차이를 양국의 전래동요의 음악적 비교를 통해 확인할 수 있다.

초등학교 음악 교과서에 수록된 창작동요제 수상곡의 양상 분석 연구

박영신,문현진,승윤희 학습자중심교과교육학회 2022 학습자중심교과교육연구 Vol.22 No.19

Objectives Looking back at the 100-year history of creative children's songs, the ‘Children's Song Festival’ proves to have had a great influence on the development of children songs. The first purpose of this study is to investigate all Children's Song Festival winning songs included in elementary school music textbooks according to the educational curriculum change. The second purpose is to analyze the aspects of those winning songs published in music textbooks. Methods To do so, this study conducted a combination of literature reviews and research study methods, and analyzed Children's Song Festival winning songs in music textbooks. These songs were those that were included in 3~6 grade elementary school music textbooks from the fifth curriculum period (1987~1991) until the current 2015 revised curriculum; meaning all winning songs in elementary school music textbooks since the first Children's Song Festival of 1983 were analyzed. Results First, an analysis on ‘Children's Creative Song Festival Winning Songs and Number of Songs’ shows that out of the total 96 winning songs, the majority of winning songs were from the MBC Children's Song Festival - a total of 69 songs (71.9%). Second, upon analyzing the ‘Number of Times Festival Winning Songs were Published’, it was found that the number increased as the curriculum changed and as textbooks went up to an older grade level. The textbook publisher ‘Genius Education’ had the most winning songs within their textbooks - a total of 43 times (15.8%) were winning songs published. Third, after analyzing the ‘Name and Number of Overlapping Winning Songs’, it was revealed that there were 51 overlapping songs, the song that was published multiple times in music textbooks was <On a Train Ride> from the 1st KBS Children's Song Festival - a total of 13 times. The songs <Island Village> and <Walking in the Woods> were published 11 & 10 times respectively - both songs were from the 4th MBC Children's Song Festival. Songs that are continuously included in music textbooks are <On a Train Ride> and <Walking in the Woods>. Conclusions The act of singing creative children songs gives children hope, courage, the chance to dream, and holds an educational meaning that allows them to experience the beauty of music. Thus, continuing discovery and supply of creative children's songs are of great significance. Since Children's Song Festivals, which has played a huge role in the development of creative children's songs, are no longer as common as before, a new developing method that fits current society criteria must be sought out. 목적 창작동요 100년의 역사를 되돌아볼 때, ‘창작동요제’는 창작동요의 발전에 매우 큰 영향을 끼친 것으로 나타난다. 본 연구는교육과정 변천에 따라 그동안 초등학교 음악 교과서에 수록된 모든 창작동요제 수상곡들을 조사하여 교육과정기별로 음악교과서에실린 수상곡들의 양상을 분석하는 데 목적이 있다. 방법 이를 위해 본 연구에서는 문헌연구와 조사연구를 병행하여, 1983년 창작동요제가 시작된 이후 제5차 교육과정기(1987~ 1991)부터 현행 2015 개정 교육과정기까지의 초등학교 3~6학년 음악 교과서를 대상으로 교과서에 수록된 창작동요제 수상곡들을 세 가지 측면에서 분석하였다. 결과 첫째, ‘창작동요제 수상 악곡 명 및 악곡 수’ 분석 결과, 96곡의 수상곡 중에서 MBC 창작동요제의 수상곡이 69곡(71.9%)으로가장 많았고, 둘째, ‘창작동요제 수상곡 수록 횟수’ 분석 결과, 교육과정의 변천과 학년이 올라갈수록 수상곡 수록 횟수는 증가하였는데 이중 ‘천재교육’이 43회(15.8%)로 가장 많았다. 셋째, ‘중복 수록된 창작동요제 수상 곡명 및 횟수’ 분석 결과, 중복 수록곡은 51 악곡으로 KBS 창작동요대회 1회 수상곡인 <기차를 타고>가 13회로 가장 많았고, MBC 창작동요제 4회 수상곡인 <섬마을>이 11 회, <숲속을 걸어요>가 10회 순으로 나타났다. 5차례 교육과정기의 음악 교과서에 지속적으로 수록된 악곡은 <기차를 타고>와 <숲속을 걸어요>이다. 결론 창작동요를 부르는 노래 활동은 어린이들에게 꿈과 희망, 용기를 심어주고 음악의 아름다움을 경험하게 하는 교육적 가치를담고 있어 창작동요의 지속적인 발굴과 보급은 매우 중요하다. 그동안 창작동요의 발전에 주요 역할을 했던 창작동요대회들은 이미많이 사라졌기 때문에 현대 사회에서는 이 시대에 적합한 방식으로 창작동요의 발전 방안이 모색되어야 할 것이다.