현대음악교육이론을 통한 유아음악교육방법에 대한 연구- 달크로즈이론을 중심으로

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Music helps human beings cultivate their sensibility richer, develop their thoughts more creatively, and thus feel emotionally stable. That has been the reason why more and more parents show interest in children's music education believing that music should start early in their kids' life. This paper started with the conviction that children should learn to take interest in and enjoy music itself by receiving music education and thus get to have the ability to integrate music into their lives in a natural manner. Kids need not cram music into their heads or simply imitate what they see in adults' music and musical activities in order to learn and enjoy music. Thus, in the study, three schools of musical pedagogy were suggested as those theoretical instruments to help them grow interest in music and voluntarily participate in musical activities. They included the schools of Kodaly, Orff, and Dalcroze. Since Dalcroze had impacts on the development of the other two musicians' theories, the research was based on his pedagogical theories.
First, a brief review of the theories of music education of those three musicians was taken.
Kodaly focused on group singing and relative solmization and aimed to create comprehensive musical knowledge. Orff placed bigger emphasis on the education making use of body movements and language in teaching music, as well as the use of Schulwerk and Orff instruments and the development of auditory sense. Finally, Dalcroze suggested that they should adopt eurhythmics, solfege, and improvisations to help children develop their rhythmic and auditory sense. Evidently, there were differences among the three schools with their own unique characteristics. But they shared the following features at the same time: first, all three of them regarded voice as the best instrument; second, they didn't put much pressure on musical notes; and third, they valued an early start in music education.
The results led to the suggestion that their pedagogical theories on music education should be studied more so that the practitioners could achieve the goals of music education, which were to cultivate children's sensibility rich, develop their creative abilities, and thus induce their emotional stability.
Recently, the increasing interest in music education has resulted in more active research efforts on the pedagogical methods. Unfortunately, however, the related literature and data are scarce and there are only a small number of educational agencies capable of adopting and applying the theories of music education discussed in the body, which kind of reality must be overcome for sure
Alternative Title
A Study on Children's Music Education based on the Theories of Modern Music Education - From the perspective of Dalcroze
Alternative Author(s)
Yoo, Jin
조선대학교 교육대학원
교육대학원 음악교육
Awarded Date
2005. 2
Table Of Contents
그림목차 = ⅲ
Ⅰ. 서론 = 1
1. 연구의 필요성 및 목적 = 1
2. 연구의 내용 및 방법 = 3
Ⅱ. 유아음악교육에 대한 이해 = 4
1. 음악적 창의성과 이를 위한 유아음악교육의 필요성 = 4
2. 유아음악교육의 의의 = 5
1)유아의 음악성 발달 = 5
(1)영아기와 걸음마 시기 = 5
(2)3 ~ 5세 유아 = 6
2)유아음악의 기본개념 = 6
3. 유아음악교육의 내용 = 9
1)듣기와 감상하기 = 9
2)노래 부르기 = 9
3)악기다루기 = 10
Ⅲ. 현대 음악교육에 대한 이해 = 12
1. 코다이 교육이론 = 14
1)코다이 소개 = 14
2)코다이의 음악교육이론 = 16
(1)박자감의 지도이론 = 16
(2)리듬감을 기르기 위한 이론 = 16
(3)음표의 음가표시 = 16
(4)계명창에 대한 이론 = 17
(5)초보자의 악보 읽기를 위한 손 기호 = 17
(6)성장단계에 따른 음악의 체계화 및 학습순서 계열화 = 19
3)코다이의 음악 교육관 = 20
4)코다이 음악 교육법의 특징 = 20
2. 오르프 교육이론 = 20
1)오르프 소개 = 20
2)어린이를 위한 음악 = 21
3)리듬교육 = 23
(1)인체리듬 = 23
(2)말공부(speech and rhythm) = 23
(3)리듬악기 = 23
4)멜로디 교육 = 24
(1)말과 관련된 노래의 경험에서의 멜로디감 = 24
(2)연주를 통한 멜로디감 = 24
5)악기 교육 = 25
6)오르프 음악교수법의 5단계 = 25
3. 달크로즈 교육이론 = 29
1)달크로즈 (Emile Jaques-Dalcroze: 1865-1950) 소개 = 29
2)달크로즈의 철학 = 31
3)Jaques-Dalcroze의 교수법의 3대 영역 = 34
(1)유리드믹스(Eurhythmics) = 34
(2)솔페지(Solfege) = 40
(3)Improvisation(즉흥연주) = 45
Ⅳ. 결론 = 49
참고문헌 = 50
조선대학교 교육대학원
유진. (2004). 현대음악교육이론을 통한 유아음악교육방법에 대한 연구- 달크로즈이론을 중심으로
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Education > Theses(Master)(교육대학원)
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