추가 적립 안내

한 시대의 음악교육은 결코 어느 한 사람의 이론이나, 특정의 교육이론에 의해 좌우되지는 않습니다. 우리나라의 경우로 보면 개화기 이후부터 오늘날까지 130년에 걸친 우리만의 음악교육 역사가 있고, 전 세계적으로 보면 고대사회로부터 오늘날까지 수천 년의 음악교육의 역사가 긴 강물처럼 흘러가고 있습니다. 혹 특정 시대의 이론이나 세태로 말미암아 일시적인 굴곡이 생길 수는 있겠지만, 그 거대한 흐름이 중단되거나 약화되지는 않습니다. 중요한 것은 오늘날의 음악교육가들이 음악교육 역사의 전체 윤곽 속에서 이 시대의 도전에 적극적으로 대응하는 것입니다.

머리말 / 3

제1장 데이비드 엘리엇의 실행 중심 음악교육 ·······························9
1. 행위 속의 지식 ·······················································10
2. 음악과 음악성 ························································11
3. 다문화주의 ···························································16
4. 음악교육의 목적 ······················································19
5. 심미적 음악교육 철학에 대한 엘리엇의 비판 ·························21
6. 엘리엇의 철학에 대한 비판 ··········································22
7. 음악교육에의 시사점 ·················································24

제2장 다문화주의 음악교육론 ················································33
1. 다문화주의 음악교육론의 의미 ·······································33
2. 다문화주의 음악교육론의 역사 ·······································36
3. 다문화주의 음악교육의 가치 ·········································38
4. 다문화주의의 중립성과 비중립성 ·····································43
5. 국악교육에의 시사점 ·················································48

제3장 베넷 리머의 음악교육 철학에 관한 소고 ·····························53
1. 음악교육 철학은 왜 중요한가? ·······································54
2. 느낌, 통찰, 그리고 심미적 경험 ······································56
3. 현행 음악교육에 대한 리머의 비판 ···································62
4. 한국음악교육에의 시사점 ·············································64

제4장 엘리엇 아이스너의 예술교육론 ········································71
1. 인간의 경험 ··························································72
2. 표상 형식 ····························································74
3. 예술교육의 의미와 가치 ··············································78
4. 음악교육에의 시사점 ·················································86

제5장 생성적 음악 교수법의 이해와 적용 방안 ·····························93
1. 생성적 음악 교수법의 이해 ··········································94
2. 생성적 음악 교수법의 적용 방안 ····································113

제6장 음악교육에서 ‘구성’의 의미와 활용 ·································123
1. 구성주의의 배경 ·····················································125
2. 구성주의의 인식론적 특징 ··········································129
3. 음악교육에서 ‘구성’의 의미와 활용 ·································133

제7장 베넷 리머의 경험 중심 음악 교육철학의 이해와 적용 ·············145
1. 경험 중심 음악교육철학의 배경 ·····································145
2. 경험 중심 음악교육철학의 특징 ·····································148
3. 적용을 위한 시사점 ·················································164

제8장 미국의 음악교육이 한국의 음악교육사에 끼친 영향 ···············173
1. 1950년대 ···························································174
2. 1960년대 ···························································178
3. 1970년대 ···························································185
4. 1980년대 ···························································190
5. 1990년대 ···························································197

제9장 학교 음악교육: 50년의 회고와 전망 ································213
1. 긍정적인 변화 ·······················································214
2. 남은 과제들 ·························································230

제10장 초등학교 음악과 수행평가를 위한 프로그램 개발 ··················241
1. 수행평가의 이해 ·····················································242
2. 초등 음악과 수행평가 프로그램 개발 ·······························247

제11장 4차 산업혁명과 음악교육 ············································275
1. 4차 산업혁명의 배경 ················································275
2. 4차 산업혁명의 특징 ················································277
3. 4차 산업혁명 시대의 음악교육 ······································281

제12장 인성교육을 위한 음악교육의 역할 ···································291
1. 인성교육의 배경과 의미 ·············································293
2. 인성교육과 음악교육 ················································295
3. 2015년 개정 음악과 교육과정과 인성교육 ··························301
4. 인성교육을 위한 음악교육의 역할 ···································304

제13장 초등학교 저학년 통합 교과의 변천과 국악교육의 방향 ············315
1. 통합 교과의 배경 ···················································315
2. 통합 교과의 변천 ···················································317
3. 통합교과론자들의 주장 ··············································320
4. 통합 교과서의 내용 분석 ············································324
5. 초등학교 저학년 국악교육의 방향 ···································335

제14장 교사들을 위한 국악연수 프로그램 개선방안 ························341
1. 설문조사 결과 및 해석 ··············································342
2. 국악연수 프로그램 개선방안 ········································359

제15장 초등학교 국악창작교육 개선방안 연구 ······························371
1. 국악창작교육의 의의 ················································371
2. 국악창작교육 내용분석 ··············································375
3. 초등학교 국악창작교육 개선방안 ····································380

제16장 국악교육이 인성교육에 미치는 영향 ·································391
1. 인성교육의 배경 ·····················································391
2. 인성교육의 방향 ·····················································398
3. 음악과 교육과정에서의 인성교육 요소 ······························399
4. 국악교육과 인성교육 ················································401

제17장 국악 창작 수업모형 ···················································411
1. 국악 창작 수업모형의 필요성 ·······································411
2. 수업모형의 개념과 가치 ·············································413
3. 국악 창작 수업모형에 관련되는 요소 ·······························416
4. 국악 창작 수업모형의 예시 ·········································425

참고문헌 ································································434
찾아보기 ································································446