문화예술교육사를 위한 음악 교수ㆍ학습방법(미래음악교육학회 총서 4)

머리말 / 3

제1장 교수ㆍ학습 과정 ·····································································11
1. 교수ㆍ학습 과정의 이해 ··························································13
가. 학습을 바라보는 세 가지 관점 ··············································13
나. 교사와 학습자의 역할 ·······················································14
다. 학습 공간 ·····································································17
라. 수업 방식 ·····································································19
2. 교수ㆍ학습 과정 모형 ····························································23
가. 글레이저 수업모형 ···························································23
나. 블룸의 완전학습 모형 ·······················································25
다. 가네의 수업모형 ······························································26
라. 오수벨의 수업모형 ···························································28
마. 프로젝트 수업모형 ···························································29
바. 인지적 도제학습 모형 ·······················································29
3. 교수ㆍ학습 과정 모형 활용상의 유의점 ·········································31

제2장 학습이론과 동기이론의 이해 ······················································33
1. 학습이론과 음악교육 ······························································35
가. 행동주의 학습이론 ···························································35
나. 인지주의 학습이론 ···························································36
다. 사회인지 학습이론 ···························································40
라. 인본주의 학습이론 ···························································42
2. 동기이론의 이해 ··································································44
가. 동기와 학습의 관계 ··························································45
나. 내재적 동기와 외재적 동기 ·················································47
다. 학습동기이론 ·································································49

제3장 학습유형과 대상에 따른 창의적 동기유발 ······································53
1. 학습과 동기유발 ··································································55
가. 학습 동기유발의 중요성 ·····················································55
나. 학습에서의 동기유발 요소 ···················································55
다. 음악학습에서의 동기유발 ····················································56
2. 음악 활동 영역에 따른 학습 동기유발 ··········································59
가. 듣기와 감상 ··································································59
나. 노래 부르기 ··································································62
다. 악기 연주 ·····································································65
라. 음악 창작 ·····································································69
3. 학습대상의 특성을 고려한 동기유발 ·············································75
가. 유아기 ·········································································75
나. 아동기 ·········································································76
다. 청소년기 ······································································78
라. 일반 성인 ·····································································80
마. 장애인 ·········································································81

제4장 학습자 중심의 음악교육 환경 구성 ··············································83
1. 구성주의와 음악교육 ······························································85
가. 구성주의의 배경 ······························································85
나. 구성주의의 인식론적 특징 ···················································89
다. 구성주의 관점에서의 음악교육 ··············································93
2. 학습자 중심의 음악교육 환경 ···················································101
가. 학습자 중심 교육의 특징 ···················································101
나. 학습자 중심의 음악교육 ····················································103

제5장 음악 교수ㆍ학습 모형 1 ··························································115
1. 음악과 교수ㆍ학습모형 ··························································117
가. 가창 수업 ····································································117
나. 기악 수업 ····································································118
다. 창작 수업 ····································································119
라. 감상 수업 ····································································121
2. 캐나다 온타리오주의 창의적 과정과 비판적 분석과정을 통한 음악교육 ·····123
가. 음악교육과 창의적 과정 ····················································123
나. 음악교육과 비판적 분석과정 ···············································126
3. 문제해결을 위한 음악과 학습 모형 ·············································128
가. 문제중심 학습 ·······························································131
나. 프로젝트 학습 ·······························································136
다. Arts PROPEL의 연주 도메인 프로젝트 ····································141
라. 인지적 도제이론 ····························································146

제6장 음악 교수ㆍ학습 모형 2 ··························································153
1. 음악과 협동학습 ·································································155
가. 음악과에서의 협동학습 ·····················································155
나. 음악과 협동학습에서의 교사와 학생의 역할 ······························157
다. 협동학습을 적용한 음악교육 ···············································158
라. 음악과 협동학습 모형을 적용한 수업 ·····································163
2. 통합적 음악교육을 위한 학습 ···················································167
가. 주제중심 통합교육 수업안 1 ···············································168
나. 주제중심 통합교육 수업안 2 ···············································171
다. 주제중심 통합교육 수업안 3 ···············································173

제7장 달크로즈 교수법 ····································································177
1. 달크로즈 교수법의 개요 ·························································179
가. 목적 ··········································································179
나. 주요 개념 ····································································180
2. 달크로즈 교수법의 주요 영역 ···················································183
가. 유리드믹스(eurhythmics) ····················································184
나. 솔페이즈(solfe?ge) ····························································186
다. 즉흥연주(improvisation) ····················································188
3. 달크로즈 교수법을 적용한 교수ㆍ학습 사례 ···································189
가. 유리드믹스의 적용 ··························································190
나. 솔페이즈의 적용 ····························································192
다. 즉흥연주의 적용 ····························································193

제8장 코다이 교수법 ·······································································195
1. 코다이 교수법의 개요 ···························································197
가. 코다이 교수법의 원리 ······················································197
2. 코다이 교수법의 지도방법 ······················································200
가. 이동도법 계명창 ····························································201
나. 손기호 ·······································································202
다. 리듬음절 ·····································································203
라. 그 외 지도방법 ······························································205
3. 코다이 교수법을 적용한 교수ㆍ학습 사례 ·····································207
가. 교수ㆍ학습 활동 예시 ······················································207
나. 교수ㆍ학습 사례 ·····························································209

제9장 오르프 접근법 ·······································································213
1. 오르프 접근법의 교수법적 요소 ················································215
가. 모방 ··········································································215
나. 탐색 ··········································································216
다. 독보 및 기보 ································································218
라. 즉흥연주 ·····································································218
2. 오르프 접근법의 학습 매체 ·····················································219
가. 듣기 ··········································································219
나. 말하기 ·······································································220
다. 노래 부르기 ·································································221
라. 신체 움직임 ·································································221
마. 악기 연주 ····································································222
3. 오르프 접근법을 적용한 교수ㆍ학습 사례 ·····································225

제10장 포괄적 음악성 접근법 ····························································231
1. 포괄적 음악성 접근법의 원리 ···················································233
가. 공통요소 접근 ·······························································233
나. 음악가적 기능 ·······························································235
다. 포괄적 교육 전략 ···························································237
2. 포괄적 음악성 접근법의 적용 ···················································238
가. 수업 목표 ····································································238
나. 악곡 선택 ····································································239
다. 악곡 분석 ····································································239
라. 기대 결과 ····································································240
마. 교수전략 ·····································································240
바. 평가 ··········································································242
3. 포괄적 음악성 접근법 사례: 사라스폰다 ·······································242
가. 악곡 선택 ····································································243
나. 수업 목표 ····································································243
다. 악곡 분석 ····································································244
라. 교수 전략 및 평가 ··························································244
마. 기대 결과 ····································································248

제11장 문화예술교육으로서 음악교육을 위한 수업설계실습 1(교육목표 설정) ·············251
1. 음악수업의 구조화 ·······························································253
가. 목표의 설정 ·································································253
나. 내용의 선정 ·································································255
2. 문화예술교육의 음악수업 설계 과정 ···········································257
가. 음악수업 설계의 원리 ······················································257
나. 음악수업 설계 절차 ·························································260
다. 수업지도안 구성 ····························································263
라. 교수ㆍ학습 자료 선정 ······················································267
마. 평가도구 개발 ·······························································268

제12장 문화예술교육으로서 음악교육을 위한 수업설계실습 2(교수ㆍ학습 과정 설계) ···271
1. 음악수업안 작성의 실제 ·························································273
가. 수업계획안 작성의 실제 ····················································273
나. 차시별 지도안 작성의 실제 ················································277
2. 수업실행 및 반성 ································································286
가. 수업실행 ·····································································287
나. 수업반성 ·····································································288

참고문헌 ·············································································292
찾아보기 ·············································································295

이수진 연세대학교 작곡과를 졸업한 미국 컬럼비아대학교 음악교육학 박사다. 현 국민대학교 조교수이다. 〈저서〉 효과적인 음악교수법, 음악적 이해를 위한 교수법, 현대의 음악교수법, 실천주의 음악교육 철학, 음악교육의 기초, 문화예술교육사를 위한 음악교육론을 썼다.