음악교육의 이해와 실천(2판)
Regular price
$14.61
Sale price
Regular price
✈️
Estimated delivery date 예상 배송일
Standard Shipping
불러오는 중...
주문일로부터 8-12 영업일
Express Shipping
불러오는 중...
주문일로부터 6-8 영업일
『음악교육의 이해와 실천』은 교사들이 음악교육학의 중요한 이론들을 이해하고, 또 각자의 수업에서 실천해 볼 수 있도록 구성되어 있다. 음악교육학의 전체 구조와 윤곽을 파악할 수 있는 1장을 시작으로 마지막 12장에는 음악과 평가에 대하여 다루고 있다. 그리고 최근에 더욱 중요시되고 있는 수행평가에 대해서도 다루고 있다.
Couldn't load pickup availability
출판사 리뷰
출판사 리뷰
이 책은 교사들이 음악교육학의 중요한 이론들을 이해하고, 또 각자의 수업에서 실천해 볼 수 있도록 구성되었습니다.
1장은 음악교육학의 전체 구조와 윤곽을 파악할 수 있도록 내용이 구성되어 있습니다. 철학, 교육과정, 교수 방법, 평가, 연구, 장학 등 음악교육학의 주요 주제에 대하여 이해하고, 각 주제 안에서 어떤 내용들이 중요한 요소들이 되는지 알 수 있을 것입니다. 2장은 음악교육철학에 관한 내용을 다룹니다. 음악교육철학은 음악교육의 논리적 근거를 제시합니다. 음악을 가르치는 교사로서 당연히 갖추어야 할 철학적 확신을 얻게 될 것입니다. 3장은 음악교육심리에 관한 내용입니다. 이 장에서는 행동주의, 인지주의, 인간주의 심리학이 음악교육의 상황에서 어떻게 관련되는지 알아보고, 짐머만, 가드너 등의 이론에 대해서도 알아봅니다. 4장은 음악과 교육과정에 대한 내용입니다. 해방 이후 음악과 교육과정의 변천과정에 대하여 알아보고, 또한 현행의 제7차 음악과 교육과정의 특징, 내용 체계, 교수 방법 등에 대하여 알아봅니다. 5장은 음악 교수법에 관하여 다루고 있습니다. 이 장에서는 달크로즈 교수법, 코다이 교수법, 오르프 교수법 등의 특징을 살펴보고, 각 교수법에 기초한 수업지도안에 대해서도 알아봅니다. 6장은 이해 영역 지도 방법에 대한 내용입니다. 교육과정에서 '이해' 영역은 학교에서 가르쳐야 하는 기본적인 음악적 개념들을 포함하고 있습니다. 이 장에서는 각 요소별로 가르치는 개념들을 소개하고, 그 중에 몇 가지 실제로 가르치는 방법을 예시하고 있습니다. 7장은 감상 지도 방법에 관한 장입니다. 감상 활동은 음악교육에서 가장 기본적이고 중심적인 활동이라는 점에서 매우 중요합니다. 이 장에서는 효과적인 감상 수업을 위한 다양한 방법들을 소개하고 있습니다. 8장은 가창 지도 방법에 대한 내용입니다. 가창 활동의 중요성, 수업의 전략, 가창 수업의 과정, 그리고 가창 수업 예시안 등을 소개하고 있습니다. 9장은 기악 지도 방법에 관한 장입니다. 기악 학습에 관련된 이론, 기악 수업의 과정, 그리고 구체적인 방법 등에 관하여 제시하고 있습니다. 10장은 창작 지도 방법에 관한 내용입니다. 창작 활동의 유형, 창작 수업의 과정, 그리고 창작 수업 예시안 등에 대하여 알아봅니다. 11장은 교수－학습 지도안을 실제로 작성하는 방법에 대하여 알아봅니다. 음악 수업 설계의 원리, 지도안 작성하는 방법, 수업 발표할 때 유의할 점, 그리고 다양한 주제에 관한 수업 지도안을 예시하고 있습니다. 마지막 장은 음악과 평가에 대하여 다루고 있습니다. 평가의 과정, 평가의 유형, 평가의 활용 등에 대하여 제시하고 있습니다. 그리고 최근에 더욱 중요시되고 있는 수행평가에 대해서도 다루고 있습니다. 수행평가의 의의에 대하여 알아보고, 또한 음악 수행평가의 한 방법인 포트폴리오 평가에 대해서 알아봅니다.
1장은 음악교육학의 전체 구조와 윤곽을 파악할 수 있도록 내용이 구성되어 있습니다. 철학, 교육과정, 교수 방법, 평가, 연구, 장학 등 음악교육학의 주요 주제에 대하여 이해하고, 각 주제 안에서 어떤 내용들이 중요한 요소들이 되는지 알 수 있을 것입니다. 2장은 음악교육철학에 관한 내용을 다룹니다. 음악교육철학은 음악교육의 논리적 근거를 제시합니다. 음악을 가르치는 교사로서 당연히 갖추어야 할 철학적 확신을 얻게 될 것입니다. 3장은 음악교육심리에 관한 내용입니다. 이 장에서는 행동주의, 인지주의, 인간주의 심리학이 음악교육의 상황에서 어떻게 관련되는지 알아보고, 짐머만, 가드너 등의 이론에 대해서도 알아봅니다. 4장은 음악과 교육과정에 대한 내용입니다. 해방 이후 음악과 교육과정의 변천과정에 대하여 알아보고, 또한 현행의 제7차 음악과 교육과정의 특징, 내용 체계, 교수 방법 등에 대하여 알아봅니다. 5장은 음악 교수법에 관하여 다루고 있습니다. 이 장에서는 달크로즈 교수법, 코다이 교수법, 오르프 교수법 등의 특징을 살펴보고, 각 교수법에 기초한 수업지도안에 대해서도 알아봅니다. 6장은 이해 영역 지도 방법에 대한 내용입니다. 교육과정에서 '이해' 영역은 학교에서 가르쳐야 하는 기본적인 음악적 개념들을 포함하고 있습니다. 이 장에서는 각 요소별로 가르치는 개념들을 소개하고, 그 중에 몇 가지 실제로 가르치는 방법을 예시하고 있습니다. 7장은 감상 지도 방법에 관한 장입니다. 감상 활동은 음악교육에서 가장 기본적이고 중심적인 활동이라는 점에서 매우 중요합니다. 이 장에서는 효과적인 감상 수업을 위한 다양한 방법들을 소개하고 있습니다. 8장은 가창 지도 방법에 대한 내용입니다. 가창 활동의 중요성, 수업의 전략, 가창 수업의 과정, 그리고 가창 수업 예시안 등을 소개하고 있습니다. 9장은 기악 지도 방법에 관한 장입니다. 기악 학습에 관련된 이론, 기악 수업의 과정, 그리고 구체적인 방법 등에 관하여 제시하고 있습니다. 10장은 창작 지도 방법에 관한 내용입니다. 창작 활동의 유형, 창작 수업의 과정, 그리고 창작 수업 예시안 등에 대하여 알아봅니다. 11장은 교수－학습 지도안을 실제로 작성하는 방법에 대하여 알아봅니다. 음악 수업 설계의 원리, 지도안 작성하는 방법, 수업 발표할 때 유의할 점, 그리고 다양한 주제에 관한 수업 지도안을 예시하고 있습니다. 마지막 장은 음악과 평가에 대하여 다루고 있습니다. 평가의 과정, 평가의 유형, 평가의 활용 등에 대하여 제시하고 있습니다. 그리고 최근에 더욱 중요시되고 있는 수행평가에 대해서도 다루고 있습니다. 수행평가의 의의에 대하여 알아보고, 또한 음악 수행평가의 한 방법인 포트폴리오 평가에 대해서 알아봅니다.
목차
목차
제1장 음악교육의 이해 13
음악교육의 당위성···················································································13
음악교육의 영역·······················································································15
제2장 음악교육철학의 이해 23
음악교육철학의 필요성············································································23
현대의 음악교육철학················································································25
예악사상과 음악교육················································································35
제3장 음악교육심리의 이해 43
교육심리학 이론과 음악 교수학습·······················································43
음악교육심리 ··························································································52
제4장 음악과 교육과정의 이해 61
음악과 교육과정이란················································································61
우리나라 음악과 교육과정의 변천···························································62
제5장 음악과 교수법 107
달크로즈 교수법····················································································107
코다이 교수법 ······················································································114
오르프교수법·························································································123
제6장 이해영역 지도방법 137
이해영역 학습의 필요성········································································137
음악적 개념 중심의 지도법···································································138
다른 영역(활동)과의 통합적인 지도법··················································140
요소별 지도 내용과 방법······································································143
제7장 감상지도방법 161
감상활동의 중요성·················································································161
감상수업의 전략 ···················································································163
제8장 가창지도방법 177
가창활동의 중요성 ···············································································177
가창수업의 전략····················································································178
제9장 기악지도방법 189
기악활동의 중요성·················································································189
이론적 배경···························································································191
기악수업의 전략····················································································195
제10장 창작지도방법 201
창작활동의 중요성·················································································201
창작수업의 전략····················································································202
제11장 음악과 교수-학습안 작성의 실제 215
음악수업 설계의 원리············································································215
교수ㆍ학습 지도안 작성········································································218
음악과 교수학습안 예시 ···································································230
제12장 음악과 평가 259
음악평가의 정의 및 목적······································································259
음악학습 평가의 절차············································································260
음악과 수행평가····················································································277
음악과 포트폴리오 평가의 절차····························································280
▣ 참고문헌···································································································309
▣ 찾아보기···································································································317
음악교육의 당위성···················································································13
음악교육의 영역·······················································································15
제2장 음악교육철학의 이해 23
음악교육철학의 필요성············································································23
현대의 음악교육철학················································································25
예악사상과 음악교육················································································35
제3장 음악교육심리의 이해 43
교육심리학 이론과 음악 교수학습·······················································43
음악교육심리 ··························································································52
제4장 음악과 교육과정의 이해 61
음악과 교육과정이란················································································61
우리나라 음악과 교육과정의 변천···························································62
제5장 음악과 교수법 107
달크로즈 교수법····················································································107
코다이 교수법 ······················································································114
오르프교수법·························································································123
제6장 이해영역 지도방법 137
이해영역 학습의 필요성········································································137
음악적 개념 중심의 지도법···································································138
다른 영역(활동)과의 통합적인 지도법··················································140
요소별 지도 내용과 방법······································································143
제7장 감상지도방법 161
감상활동의 중요성·················································································161
감상수업의 전략 ···················································································163
제8장 가창지도방법 177
가창활동의 중요성 ···············································································177
가창수업의 전략····················································································178
제9장 기악지도방법 189
기악활동의 중요성·················································································189
이론적 배경···························································································191
기악수업의 전략····················································································195
제10장 창작지도방법 201
창작활동의 중요성·················································································201
창작수업의 전략····················································································202
제11장 음악과 교수-학습안 작성의 실제 215
음악수업 설계의 원리············································································215
교수ㆍ학습 지도안 작성········································································218
음악과 교수학습안 예시 ···································································230
제12장 음악과 평가 259
음악평가의 정의 및 목적······································································259
음악학습 평가의 절차············································································260
음악과 수행평가····················································································277
음악과 포트폴리오 평가의 절차····························································280
▣ 참고문헌···································································································309
▣ 찾아보기···································································································317
저자
저자
석문주
저자 석문주
서울대학교 작곡과 졸업
미국 일리노이 대학교 음악교육학 박사
현) 경인교육대학교 음악교육과 교수
서울대학교 작곡과 졸업
미국 일리노이 대학교 음악교육학 박사
현) 경인교육대학교 음악교육과 교수
Payment & Security
Payment methods
Your payment information is processed securely. We do not store credit card details nor have access to your credit card information.
