범패를 활용한 음악 감상 지도 프로그램 개발 연구 : 한국음악과 서양음악의 비교적 접근

국문 초록 (Abstract)

이 논문은 인간이 음악을 통해 교육적, 심리적으로 어떻게 받아들이고 이해하는 것에서부터 시작된다. 여러 연구자는 음악 발달에 대한 인식이 지속적이고, 현 사회의 문화적 현상을 고려해 볼 때, 본 논문의 필요성을 강조한다. 이 논문은 학술적인 자료일 뿐만 아니라, 음악감상을 위한 즉각적인 음악감상지도프로 그램자료로써, 바로 응용하고 사용할 수 있도록 착안하여, 음악감상지도교수자 들이 쉽게 활용할 수 있게 개발한다. 이에 교육적· 치료적 생산적 자료의 가치 로서 유용하게 활용할 수 있고, 그 효과 검증에도 도움이 될 것이다. 또 다양한 대상(초등, 중등, 고등학생들과 대학생, 일반인 등)들을 위한 적극적으로 활용할 수 있다는 점에서 본 논문의 연구 음악감상지도프로그램개발의 목적이라 할것이다. 연구의 범위는 불교의식음악(범패)와 한국음악과 서양음악, 그리고 종교음악과 그 외의 여러 장르를 연구하여, 음악감상자용과 음악감상지도교수자용 으로 구분하고, 편의성과 활용성을 반영하여 A4용지 기준에 음악감상곡과 그내용이 간략하고 명확게 표현되도록 구조를 기획하여 음악감상지도프로그램의 개발을 계획한다. 음악교육에 있어서 교수자들의 성공적인 비법의 존재 여부는 불투명하지만, 음악학습은 다양한 이론적인 작업과 연구를 통해 제안되고 공급 된다. 36) 그에 따른 본 논문의 음악감상지도프로그램의 개발은 음악감상자가 다양한 음악감상곡들을 청취하면서, 인내와 기다림, 참을성, 집중력, 사고력, 협동 심, 새로운 학습과 경험에 대한 편견 없는 학습 습득의 기회를 받아들이는 자세가 만들어질 수 있는 음악감상자의 인성적 내면 강화에 도움이 될 것이다. 이에 음악감상지도프로그램에 대한 개발의 주된 목적인 교육적·치료적 관점에서의 이론적 배경에 대한 근거를 제시한다. 더 나아가 음악 감상자의 대상에 따른 세분화하는 음악감상지도프로그램의 개발을 통해 음악감상지도교수자의 음악감상지도를 원활하게 함으로써 그 활용성을 높일 수 있도록 향후 개발에 지속적인 관심이 필요하다. 또한 이 음악감상지도프로그램을 통한 교육적· 치료적 효과에 대한 검증을 위한 후학 연구를 제안한다.

다국어 초록 (Multilingual Abstract)

This thesis begins by exploring how humans perceive and understand music from educational and psychological perspectives. Given that the perception of musical development is continuous and considering contemporary cultural phenomena, many researchers emphasize the necessity of this study. This paper is designed not only as an academic resource but also as a practical Music Appreciation Guidance Program that can be immediately applied and utilized, developed specifically for the convenience of Music Appreciation Advisors.
Consequently, it serves as a valuable educational, therapeutic, and productive resource, contributing to the verification of such effects.
The primary purpose of this study lies in the development of a program that can be actively utilized by diverse groups, including elementary, middle, and high school students, university students, and the general public.
The scope of this research encompasses Buddhist ritual music (Beompae), Korean traditional music, Western music, religious music, and various other genres. The program is categorized into versions for listeners and for Music Appreciation Advisors. Reflecting convenience and usability, the program is structured to present music pieces and their contents concisely and clearly on A4-sized sheets. While the existence of a definitive "secret formula" for successful teaching in music education remains uncertain, music learning is continuously proposed and supplied through various theoretical works and research.
The development of this Music Appreciation Guidance Program will assist listeners in strengthening their internal character—fostering patience, endurance, concentration, critical thinking, and cooperation— while cultivating an open-minded attitude toward new learning and experiences. Thus, this study provides a theoretical foundation from educational and therapeutic perspectives, which are the primary goals of the program’s development. Furthermore, by segmenting the program according to the target audience, this study aims to facilitate smooth instruction for Music Appreciation Advisors and enhance practical utility. Continuous interest in future development is required, and subsequent research is proposed to verify the educational and therapeutic effects of this program.

목차 (Table of Contents)

• 제1장 서론 ············································································································ 1
• 제1절 연구의 목적 ·························································································· 1
• 제2절 연구의 범위 및 방법 ········································································· 3
• 1. 연구의 범위 ····························································································· 7
• 2. 연구의 방법 ··························································································· 10
• 제2장 연구에 관한 이론적 배경 ·································································· 12
• 제1절 연구에 관한 이론적 배경 ······························································ 12
• 1. 교육적 관점에서의 이론적 배경 ····················································· 13
• 2. 치료적 관점에서의 이론적 배경 ····················································· 16
• 제2절 음악감상지도프로그램개발계획안 ··············································· 20
• 1. 음악감상지도프로그램계획안- 감상자용 ······································ 20
• 2. 음악감상지도프로그램계획안- 지도교수자용 ····························· 25
• 제3절 음악감상지도프로그램개발안 ························································ 29
• 1. 불교의식음악(범패) ············································································· 30
• 1) 제목 - 화청(회심곡) 중 ‘별회심곡’ ············································· 30
• 2) 제목 - 짓소리 중 ‘지 심’ ······························································· 34
• 3) 제목 - 복청게, 천수바라(홋소리) ················································ 38
• 2. 한국음악 ······························································································· 42
• 1) 제목 - 도라지 타령(경기도 민요) ··············································· 42
• 2) 제목 - 호남 우도 풍물 굿 가락 ··················································· 46
• 3) 제목 - 대취타 ···················································································· 49
• 3. 서양음악 ······························································································· 53
• 1) 제목 - 코끼리 자장가 ····································································· 53
• 2) 제목 - 사랑의 인사 ········································································· 57
• 3) 제목 - 놀람 교향곡 ········································································· 62
• 제3장 결론 ·········································································································· 67
• 참고문헌 ·············································································································· 69
• 국문초록 ·············································································································· 71
• ABSTRACT ······································································································ 73