제7차 교육과정에 의한 고등학교 8종 음악교과서의 감상영역 비교분석
(A) study on the appreciation field in music textbook of high school
제7차교육과정 고등학교 8종음악교과서 감상영역;
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This study provides a comparative analysis of the characteristics and problems of the appreciational musical pieces listed in eight different music high school level text books published under the 7th National Curriculum. Comparisons were made between the ranges of appreciational pieces included in the eight different text books, between traditional Korean music and Western classical music, between pieces of various musical eras, between pieces of various composers, between various musical genres, and finally, between various methods of performance. The findings are summarized as the following. First, the eight different text books included a total of 393 different vocal and 369 appreciational pieces, which shows the significantly greater tendencies of the eight text book publishers to prefer vocal and appreciational pieces over instrumental and creative pieces. The publisher which listed the highest ratio of appreciational pieces was Sae Kwang. Second, greater balances were able to be found between the number of Korean classical pieces and Western classical pieces, showing increased interest and importance of the former among the eight text book publishers. This trend calls for a curriculum that displays greater emphasis on the integration of the two different musical eras. Third, from comparisons made between the various composers used in the text books, it was found that, while many of the Korean classical pieces were from pre-20th century, whose composers were unknown, composers were provided for most of the western classical pieces, Beethoven and Bach being the most frequent. Fourth, the greatest number of Korean classical pieces were from the late Chosun Dynasty(18C-19C), which was an era when popular music was most prominent. The greatest number of Western classical music was from the Romantic Age(19C), when rising interest was found in humanity and freedom. It can be seen that music became popular quite simultaneously in both the Waster and Korean world. Fifth, the greatest proportion of traditional Korean classical pieces consist of creative classical pieces, and for Western classical pieces, operas were the most prevalent. Sixth, among the Korean classical pieces listed by the eight different publishers, wind concerts were common to all text books, and choral pieces and concerts were the most common forms of Western classical music. From the comparative analysis that was performed as described above, it was found that, among the eight different publishers, Sae Kwang and Hyundai listed the widest variety of musical pieces in their text books. Rather than simply listing a large repertoire of musical pieces, a greater effort should be made to establish a curriculum where the greater level of aesthetic appreciation can be devoted to each individual musical piece. Based on the study above, I would like to make some suggestions as to how to design a more successful curriculum where greater opportunities are provided for in-depth musical appreciation. The first step to ensuring higher quality of musical appreciation is to establish educational policies that promote the introduction of musical facilities and equipment, as well as integrates musical appreciation into the everyday lives of the students. Musical appreciation has the potential to provide spiritual comfort and consolation to students who are striving within an educational system where excessive pressure and emphasis is given to preparing for entrance examinations. Effective musical appreciation not only has educational merits in itself, but also relieves stress and may provide greater efficiency in studying other various subjects. Second, it is essential that instructors design their teaching plans with as much detail and conciseness as possible to ensure effective class instruction. Third, instructors must fully analyze the various strengths and weaknesses of the text book material and complement it with appropriate supplementary material to ensure the students are provided with a greater depth and variety of appreciative opportunities. Fourth, it is important that deviations and variations in text book content between the various publishers are minimized. Because the text book is the central nexus between the instructor and student, it is essential that unity is achieved in terms of terminology and the range of subject content. Fifth, appreciation should not be limited to the act itself, but systematically integrated with various other fields, such as theory, vocal activities, and composition. In order to achieve this, instructors should exert greater efforts to design text books and educational material that promote greater efficiency and effectiveness in learning for students.