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제5판의 발행이 갖는 특징을 두 가지로 요약할 수 있습니다. 첫 번째는 다섯 명의 저자들이 새롭게 참여하게 되었다는 것입니다. 새로운 저자들은 여러 대학에서 예비교사들을 가르치고 있는, 음악교육학을 전공한 교수들로서, 각각 전문적으로 연구하는 분야를 갖고 있습니다. 새롭게 동참한 저자들은 그 전문적인 지식과 관점으로 본 책의 기존 내용을 철저히 검토하고, 미흡한 내용을 보완하는 작업에 참여하였습니다. 본 『음악교육의 기초』의 저자가 아홉 명이라는 것은, 그만큼 ‘음악교육론’에 대한 다양한 지식과 경험, 그리고 다양한 관점이 반영되어 있다는 것을 말해주는 것이기도 합니다. 두 번째의 특징은 음악교육학에서 최근에 이루어진 변화를 반영하였다는 것입니다. 예컨대 2장에서는, 베넷 리머가 최근에 자신의 철학적 입장을 정리한 ‘경험중심 음악교육론’ 내용을 보완하였고, 데이비드 엘리엇이 마리사 실버만과 공동으로 저술한 책에서 더욱 구체화한 ‘실천주의적 음악교육론’ 내용을 보완하였습니다. 3장의 경우, 기존의 이론을 더욱 이해하기 쉽도록 설명을 추가하였으며, 음악 발달 이론에 관련된 학습 적용 사례들을 추가적으로 제시하였습니다. 그리고 음악적 창의성, 음악적성, 오디에이션 등에 관한 모형이나, 개념 및 유형 등에 대하여 최근의 업데이트된 내용으로 개정ㆍ보완하였습니다. 7장의 경우에는 음악교육평가 목표에 부합하게 사용할 수 있는 음악표준화검사 내용을 추가하였습니다. 저자들은 그 외에도 거의 모든 부분에서 최근 음악교육의 변화와 경향을 반영하기 위하여 노력하였습니다.

머리말 / 3

제 1 장 음악교육 역사의 이해······································9
1. 한국 음악교육사 ····················································11
2. 서양 음악교육사 ····················································25

제 2 장 음악교육 철학의 이해·····································57
1. 음악교육 철학의 중요성 ···········································59
2. 예악사상과 음악교육 ···············································64
3. 교육철학과 음악교육 ···············································71
4. 미학적 관점과 음악교육 ···········································80
5. 리머의 음악교육 철학 ·············································86
6. 엘리엇의 실천주의 음악교육 철학 ······························100

제 3 장 음악교육심리의 기초······································119
1. 학습이론과 음악교육 ·············································121
2. 음악심리 이론 ·····················································136
3. 음악교육심리 이론 ················································149

제 4 장 음악과 교육과정의 이해································169
1. 음악과 교육과정의 개발 ·········································171
2. 2015 음악과 교육과정의 구성 ··································175
3. 음악과 교육과정 변천 ············································201

제 5 장 음악 교수법의 이해·······································219
1. 달크로즈 교수법 ··················································221
2. 코다이 교수법 ·····················································229
3. 오르프 접근법 ·····················································235
4. 통합적 음악학습단계 이론 ·······································247
5. 생성적 음악교수법 ················································252

제 6 장 음악수업의 설계·············································271
1. 음악수업 설계의 원리 ············································273
2. 음악수업 설계의 절차 ············································277

제 7 장 음악교육 평가의 이해···································289
1. 음악과 평가의 원리와 방법 ·····································291
2. 음악과 수행평가의 이해 ·········································316

제 8 장 음악교육의 공학적 접근································327
1. 음악교육에서 테크놀로지 활용의 역사 ·························330
2. 음악교육과 디지털미디어 ········································331
3. 테크놀로지를 활용한 음악교육 ··································341

제 9 장 음악과 수업장학의 이해································349
1. 음악수업장학의 필요성 ···········································351
2. 음악수업장학의 절차 ·············································357
3. 음악수업 관찰과 분석 ············································361
4. 음악교사 평가의 기준 ············································368
5. 음악수업 컨설팅의 이해 ·········································378

참고문헌 / 383
찾아보기 / 396