음악이론을 중심으로 한 중학교 음악교과서 비교분석(음정, 음계, 화음) = A Study on the Analytic Comparision of music textbook of middle school on music theory. (Interval · Scale · Chord)

다국어 초록 (Multilingual Abstract)

A Study on the Analytic Comparision of music
textbook of middle school on music theory.
(Interval · Scale · Chord)

Kim, Jong-Hyeon
Graduate School of Music Education
Gangneung-Wonju National University

Advised by Professor Jang, Yeong-Soon

Music is a type of art that uses sound to express one's emotion by listening, feeling, and expressing sound. Music textbooks for music classes must help develop and foster musical capabilities and understand musical concepts. Thus, in order for music class with balance between activity (singing, instrumental music, appreciation, creation) and musical theory, we conducted comparative analysis on the 18 middle school music textbooks based on the music curriculum in 2009 and the theory of musical developmental stages
Textbooks of Dong-a Publishing, Visang Education, Parkyoungsa, and Hyundai Music Publishing were found to have good conceptual explanation and arrangement. Among them, Parkyoungsa's had a separate part for intervals with a detailed explanation. Other 14 textbooks only mentioned the locations of whole tones and semitones in the explanation of progression of melody (skip and step) and scale.
Scale was well explained in all of the 18 textbooks about the major scale and the minor scale (natural, harmonic and melodic minor scale). Among them, Sekwang Education put the best emphasis on minor scales, while Kumsung Publishing, Hyundai Music Publishing, Kyohak Printing & Publishing, and Dong-a Publishing explained in the musical theory part at the end of the textbooks in more detail in addition to what was included in the activities part of the corresponding chapter. 16 textbooks, except those of Music & Life and Kyohak Printing which introduced 'inversion', an in-depth music theory, explained theories of primary triads (I, IV, V), dominant seventh chords (V7), and cadences (authentic cadence, half cadence, plagal cadence, and deceptive resolution).

The goals of achievement in the area of understanding by grade in the music education curriculum in 2009 by the Ministry of Education do not include the content about intervals. Thus, the 18 music textbooks for middle school students show difference in the depth of theories for intervals. Scales and chords were presented by Parkyoungsa in separate chapters accompanied by activities, and other 17 textbooks divided it into activity areas. While they differ in the methods of presentation, all of them satisfied the goal of achievement in the area of understanding by grade in the music curriculum in 2009.

Piaget (Zimmermann), Gardener, Swanwick & Tillman, and Hargreaves argue that adolescents, as they develop their musical capacity, begin to have abilities of sight-singing, music dictation, expression of one's own musical capacity among peers, criticism and analysis on music, and creation of music according forms as they improve and deepen their music reading.
The 18 textbooks aimed to develop the capacity of expression of adolescents through activities of singing, instrumental music, appreciation and creation, and appreciation and creation activities are supposed to help criticize and analyse music.
Parkyoungsa's textbook prepared balanced presentation of theoretical concepts and activity areas in their chapters for necessary theories (interval, scale, and chord), while other 17 textbooks divided theoretical concepts into activity areas.

국문 초록 (Abstract)

음악이론을 주잇믕로 한 중학교 음악교과서 비교분석
(음정, 음계, 화음)

김종현
강릉원주대학교 음악교육대학원

지도교수 장영순 교수

음악은 자신의 감정을 소리로 나타내는 예술로써 소리를 듣고, 느끼고, 표현하는 것이다.
음악 수업에 사용되는 음악교과서는 음악적 능력을 개발하고 발전시키며 음악적 개념을 이해할 수 있어야 한다.
그러므로 본 논문은 활동영역(가창·기악·감상·창작)과 음악이론을 균형 있게 다루는 수업이 이루어질 수 있도록 중학교 18종 음악교과서를 2009년 음악과 교육과정과 청소년 음악적 발달단계 이론을 근거로 비교분석 하였다.

1. 중학교 18종 음악교과서 분석 결과
음정은 동아출판, 비상교육, ㈜박영사, 현대음악이 개념적 설명과 정리가 잘 되어 있었다. 그 중 ㈜박영사 교과서는 음정에 대한 내용을 따로 두어 자세히 설명하였다. 이를 제외한 나머지 14종 교과서 들은 가락의 진행(뛰어가기, 차례가기) 과 음계의 설명에서 온음과 반음의 위치를 표시하는 정도로 제시되었다.
음계는 18종 모든 교과서가 장음계와 단음계(자연, 화성, 가락)의 설명이 잘 되어 있었다. 그 중 세광음악출판사는 단음계에 대한 설명이 강조되었고 금성출판사, 현대음악, 교학사, 동아출판㈜ 교과서는 단원의 활동적 영역으로 제시된 내용 이외에 교과서 맨 뒷 페이지 음악이론정리에서 더 자세히 다루었다.
화음에서는 화음의 전위라는 심화이론을 다룬 음악과 생활, 교학사를 제외한 나머지 교과서들은 주요3화음(Ⅰ,ⅣⅤ)과 딸림7화음(Ⅴ7), 마침법(바른마침, 반마침, 벗어난마침, 거짓마침)까지의 이론이 설명되었다.

2. 교육부에서 제시한 2009 중학교 음악과 교육과정에 비추어 본 중학교 18종 음악교과서 분석
교육부에서 제시한 2009 음악과 교육과정의 학년별 이해영역 성취내용에 음정에 관한 내용이 제시되지 않았다. 그래서 중학교 18종 음악교과서는 음정에 대한 이론적인 내용의 깊이를 상이하게 다루었다.
음계와 화음은 ㈜박영사 교과서가 단원을 나누어 활동과 함께 제시하였고, 그 외의 17종 교과서들은 활동영역에 맞추어 분산하여 제시 하였으며, 이론적 제시 방법의 차이는 있으나 중학교 18종 음악교과서 모두 2009년 음악과 교육과정의 학년별 이해영역 성취내용에 충족하였다.

3. 청소년 음악적 발달단계에 비추어 본 중학교 18종 음악교과서 분석
피아제(Jean Piaget)&짐머만(M .P. Zimmerman), 가드너(Howard Gardner), 스와닉(Keith Swanwick)&틸만(J. Tillman), 하그리브스(D. J. Hagreavs))는 청소년의 음악적 발달을 악보의 독보능력이 심화되는 시기로 시창과 청음이 가능하고, 또래들 사이에서는 자신만의 음악능력을 적극적으로 표현하려고 하며, 음악에 대한 비판과 분석이 가능하고, 형식에 맞추어 새로운 음악을 창출할 수 있는 시기로 보았다.
중학교 18종 교과서는 가창·기악·감상·창작 활동영역을 통하여 청소년의 표현 능력을 개발하도록 하였고 감상과 창작 활동은 음악에 대한 비판과 분석을 할 수 있도록 되어 있었다.
㈜박영사 교과서는 활동영역에 필요한 이론(음정·음계·화음)을 단원으로 나누어 이론적 개념과 활동영역을 균형 있게 제시하였고 그 외의 17종 교과서들은 활동영역마다 이론적 개념을 분산하여 제시하였다.

목차 (Table of Contents)

• Ⅰ. 서론 ················································································1
• 1. 연구의 필요성 및 목적 ·····························································1
• 2. 연구의 범위 및 방법 ·······························································2
• 3. 연구의 제한점 ·······································································2
• Ⅱ. 이론적 배경 ·······································································3
• 1. 2009년 개정 음악과 교육과정
• 1) 2009 개정 교육과정의 배경 및 방향 ·········································3
• 2) 음악과 교육과정의 목표 ·······················································4
• 3) 음악과 교육과정의 영역 ·······················································4
• 2. 청소년(14~16세)의 음악적 발달단계
• 1) 피아제(Jean Piaget)&짐머만(M .P. Zimmerman)의 인지발달이론 ·······8
• 2) 가드너(Howard Gardner)의 다중지능이론 ·································11
• 3) 스와닉(Keith Swanwick)과 틸만(J. Tillman)의 나선형 발달이론 ······13
• 4) 하그리브스(D. J. Hagreavs)의 예술 발달 이론 ···························14
• 5) 청소년의 음악적 발달단계 ····················································15
• 3. 음악이론
• 1) 음정 ················································································17
• 2) 음계 ················································································19
• 3) 화음 ················································································21
• Ⅲ. 음악 교과서 분석 (18종 교과서 음악이론 분석) ·················26
• 1. 18종 교과서의 음정, 음계, 화음 분석 ·······································26
• 2. 학년별 이해영역 성취내용과 음악 교과서의 내용 비교 분석 ··············54
• 3. 청소년의 음악적 발달단계와 음악교과서의 내용 비교 분석 ··············55
• Ⅳ. 결론 .............................................................................57
• 참고문헌 ················································································59
• Abstaract ···············································································61