인지적 도제이론에 의한 중학교 음악 창작 교수.학습 모형 설계 및 적용

사재은 성신여자대학교 2012 국내석사

본 연구의 목적은 구성주의 학습 모델의 하나인 ‘인지적 도제이론’과 ‘창작 중심 전략’을 고찰하여 창작 활동 모형을 설계하고, 이를 적용하여 체계적인 창작 교수․학습 과정안을 제시하는 데 있다. 본 연구의 Ⅱ장에서는 창작 활동 모형 설계 과정에 앞서, ‘인지적 도제이론’과 조성기(2010)의 ‘창작 중심 교수․학습 전략’을 고찰하였으며, 2009 개정에 따른 음악과 교육과정의 중학교 1~3학년 성취기준을 고려하여, 창작 수업의 활동목표 ‘주어진 조건에 의해 리듬 만들기’와 ‘주어진 조건에 의해 가락 짓기’를 도출하였다. 본 연구의 Ⅲ장에서는 이를 토대로 ‘인지적 도제이론’에 의한 중학교 음악과 창작활동 모형을 설계하였다. 설계 방향의 중점은 ‘메타인지 활용’, ‘창작 중심 수업’, ‘도제 전략의 활용’이며, 이러한 설계 방향과 이론적 고찰을 토대로, 모형의 구성요소 ‘일반적인 학습과정, 도제전략, 창작 중심 수업 전략, 음악 창작 과정’를 설계하였다. ‘일반적인 학습과정’은 콜린스 등이 제시한 ‘인지적 도제 이론에 의한 교수․학습의 실제적 구현을 위한 틀’에 따라 활동 주제 인식에서 정리 및 탐색까지 총 7단계로 설계하였으며, ‘음악 창작 활동 과정’은 ‘설계된 일반적인 학습과정’을 토대로 인지적 도제전략 7가지 ‘모델링, 코칭, 스캐폴딩, 페이딩, 명료화, 반영, 탐색’과 조성기(2010)의 ‘창작 중심 교수․학습 전략’ 5단계를 활용하여 설계하였다. 본 연구의 Ⅳ장에서는 설계된 창작 활동 모형을 적용하여 Ⅱ장에서 도출된 활동목표 성취를 위한 과정안을 구체적으로 제시하였다. 또한, 과정안 제시 과정에서는 현재(2012) 중학교 1, 2, 3학년 음악 교과서에서 본 연구의 과정안이 활용될 수 있는 창작 활동 단원을 소개하였다. 인지적 도제이론을 적용한 음악과 창작 수업이 음악 교육에 주는 시사점으로는, 첫째, 이러한 창작 수업을 통해 ‘음악수업에서의 창작활동 활성화’,둘째, ‘음악과 창작 수업의 방향 제시’, 그리고 셋째, ‘창작활동 과정에서 학습자의 자기 성찰 강조’가 있다. 음악과 창작 활동을 위한 체계적인 교수․학습 방법은 여전히 부족하다. 본 연구를 비롯하여 앞으로의 창작 교수․학습 방법 연구를 통해, 체계적이고 학습자가 적극적으로 참여하는 창작 수업이 이루어지리라 기대한다. This study set out to examine the "cognitive apprenticeship theory," one of the constructivist learning models, and "creation-focused strategies," design and apply a creative activities model, and propose a systematic process plan for creative teaching and learning. Chapter II examined the "cognitive apprenticeship theory" and "creation-focused strategies" by Cho Seong-gi(2010) before designing a creative activities model. It also set activity objectives for creative lessons, which were "making rhythms according to the given conditions" and "making melodies according to the given conditions," by taking the Revised Music Curriculum of 2009 and the achievement criteria for the seventh to ninth grade into consideration. Chapter III designed a model for creative activities in middle school music according to the "cognitive apprenticeship theory" based on the previous chapter. Chapter IV applied the designed creative activities model and proposed a process plan to achieve the activity objectives identified in Chapter II. It also introduced the units of creative activities in the current(2012) seventh, eighth, and ninth music textbooks to which the process plan could be applied. The music and creative lessons where the cognitive apprenticeship theory was applied have the following implications: First, they promote the "activation of creative activities during music classes." In the conventional music lessons, creative activities are carried out "unanimously," which causes the students to have difficulty with solving a creative problem in many cases. In the process of creative activities according to the cognitive apprenticeship theory, the students are allowed to observe and mimic the expert and monitor the places where they have difficulty for themselves while the teachers continue to observe and offer assistance at the same time. Such a process lessens the students' burden with creative activities. Once the burden with creative activities is diminished, the students soon take interest in creative activities and thus contribute to the activation of creative activities during music classes. Second, "directions are set for creative classes in the music subject." The previous studies examined in Chapter II shed some light onto the students' positive views of "systematic creative activities." The model of "creative music activities according to the cognitive apprenticeship theory" was designed based on planned stages and strategies through theoretical consideration and systematically proposes directions for creative lessons. The teachers guide the students through activities by taking the "apprenticeship strategies" and "creative strategies" into account in a planned manner, and the students take active part in each stage of creative activities. Third, "the self-reflection of the students is emphasized in the process of creative activities." Creative music lessons according to the cognitive apprenticeship theory put much emphasis on the students' self-reflection process or cognitive monitoring process from the start stage to the arrangement stage of activities in creative music lessons. While the teachers provide the students with ongoing guidance for cognitive monitoring through the entire activity process, the students improve their higher-order abilities through cognitive monitoring. They also take active part in creative activities through ongoing cognitive monitoring, thus taking an initiative role in music lessons themselves. There is still an obvious shortage of systematic teaching and learning methods for creative activities in the music subject. The study will hopefully trigger more researches on creative teaching and learning methods for systematic creative lessons in which the students take active part.

朝鮮後期 上流住居의 階層性 및 地域性에 관한 硏究 /

김미령 부산대학교 2001 국내박사

退溪 李滉의 建築觀에 관한 硏究 /

강훈 부산대학교 2001 국내석사

부조리사회 인물의 서사 양상 : <제비집> 외 3편의 소설을 중심으로

박지희 숭실대학교 대학원 2017 국내석사

This thesis is a creationism that contains a record of my review novel 「The bird’s nest soup」 and the short story 「Where did the panties go?」, 「The golden buck」 and 「You are a reptile animal」. The process of writing creationism was also meaningful to me. The creative act itself is momentary and unconscious, and it is difficult to reveal the creative act by oneself unless you ponder the process. I have had the opportunity to look back at my own novels and make theoretical explanations. For me, the novel comes with the existentialist, Sartre, and is a living dwelling in my writings. The question of why I should write and why I should write was boring and persistent. I wanted to overthrow the world through novels and write works that were influential enough to change someone's life. To do that, I realized that novels should be fun. I thought about how I could capture the reader, but I knew that I had to write a novel that would not be able to captivate humans with fun alone, but that would make it more interesting than fun. How then can you capture the reader's emotions? You can write the conflict structure in the story well. But how is the conflict induced? The character of the narrative element and the plot of the plot should be well intertwined. This paper starts with acknowledging the tendency of the characters to be more important than the plot in modern novels. Based on the four novels I wrote, I analyzed the effects of characters on narrative. Particularly, the issue of how the characters recognize themselves and the world is important. They have achieved reality through dialogue and monologue in the text, and they have formed a figure of character. I made the reader look at the absurd reality and reflect the absurdity of his remarks through the dialogue. I have diversified the narrative reality and desire by putting several inserting lines into the multi - line narrative. As a result, the characters became polyglot. The novel has a beginning and an end. The moment when the period is taken, the writing is concluded, and the ending is terminated by a definite notice, depending on whether it ends with an uncertain future, or whether it is a closed narrative or an open narrative. I have noticed that four novels come to an open ending through repetition and variation of motifs. The common mechanism is an absurd reality that can not be overcome by the power of the individual. In the face of such a huge power, humans become infinitely helpless. However, the person in charge is not a ��passive person�� but a ��prayer person��. At first, it seems like we are adapting and accepting a great violence, but we do not let life be so naive. It does not mean that the artist, like a traditional narrative, has set all the circumstances and messages and does not let readers follow. You can interpret the endings differently depending on the angle and position of reading the novel. The open ending structure in which readers make their own narratives resembles a maze of human life. Therefore, it is uncertain and can be interpreted in various ways. In novels, time and space are conditions that bind the background. A person makes events and acts under temporal and spatial backgrounds. I have analyzed the social and cultural background of the novel in terms of 'context' by bringing the concept of 'time and space' used by Bahchin. In the social and cultural context, I have considered the character, behavior and meaning of the event. A novel is useful as a mechanism for living a life. No matter how good the content is, it can not be said to be a good literary work if you ignore it. However, it can not be said that the use of only the works that fit the reader's wisdom has made the novel useful. I became a journey to know what I wanted to write about and what I wanted to get through the novel. In particular, it was time to look at what purpose the work was written and how it worked in the process of analyzing the consciousness of the creation and the narrative aspect. This was an opportunity for me to return to my work objectively. 「The bird’s nest soup」,「Where did the panties go?」, 「The golden buck」 and 「You are a reptile animal」 used as a main texts are contained in the appendix. 본 논문은 필자의 중편소설 「제비집」과 단편소설인「팬티는 어디로 갔을까」, 「골든벅」, 「당신은 파충류동물」을 분석한 창작론이다. 창작 행위 자체는 순간적이고 무의식적이라 그 과정을 곰곰이 생각해보지 않는다면 스스로 창작 행위에 대해 밝히기는 어렵다. 본고는 자신이 쓴 소설을 돌아보고 이론적 해명을 할 수 있는 기회가 되었다. 필자에게 있어 소설은 사르트르라는 실존주의자와 함께 들어와 여태껏 필자 안에 실존하고 있는 현존재이다. 왜 쓰는가, 왜 써야만 하는가 라는 질문은 지겹고도 끈질기게 따라붙었다. 소설을 처음 습작하던 시기에는 소설을 통해 세상을 전복하고, 누군가의 삶을 바꿔놓을 만큼 영향력 있는 작품을 쓰고 싶었다. 그러려면 소설이 재미가 있어야 한다는 걸 깨달았다. 필자는 어떻게 하면 독자를 사로잡을 수 있을지 궁리하다가 재미만으로는 인간을 사로잡을 수 없고 재미 넘어 감동을 줄 수 있는 소설을 써야 한다는 걸 알았다. 그렇다면 어떻게 하면 독자의 감정을 사로잡을 수 있는가? 바로 이야기 속의 갈등 구조를 잘 쓰면 된다. 그런데 그 갈등은 어떻게 유발되는가? 이야기 요소인 작중 인물과 플롯이 잘 맞물려야 한다. 본고는 현대소설에서 플롯보다는 인물이 보다 중시되고 있는 경향을 인정하는데서 출발한다. 필자는 본인이 창작한 4편의 소설을 바탕으로 작중인물이 서사에 미치는 영향을 분석했다. 특히 작중인물이 어떻게 자기 자신과 세계를 인식하는가 하는 문제를 중요시했다. 그들은 텍스트 안에서 대화와 독백을 통해 리얼리티를 확보하고 인물 형상화를 이루었다. 필자는 대화적 관계에 놓인 인물을 통해 독자로 하여금 부조리한 현실을 직시하게 하고 반향을 느끼게 했다. 또한 다선서사에 여러 삽입선을 넣음으로써 서사적 현실과 욕망을 다각화시키는 작업을 했다. 이로써 인물들은 다성성을 지니게 되었다. 소설에는 시작과 끝이 있다. 마침표가 찍어지는 순간 글은 종결하는 것인데, 그 결말이 확실한 예고로 끝맺는지 불확실한 미래를 예고하면서 끝맺는지에 따라 ‘닫힌 서사’인지 ‘열린 서사’인지로 구분한다. 필자는 네 편의 소설이 모티프의 반복과 변주를 통해 열린 결말로 치닫는 것에 주목했다. 소설을 이끌어가는 공통적 기제는 개인의 힘으로는 도저히 이겨낼 수 없는 부조리한 현실이다. 그러한 거대 권력 앞에서 인간은 한없이 무기력해진다. 그러나 작중인물은 ‘비루한 수동적 존재’가 아닌 ‘기도(企圖)하는 인간’이다. 처음에는 거대한 폭력을 순응하고 받아들이는 것 같지만 삶이 작중인물을 그렇게 나이브하게 놔두지 않는다. 그렇다고 전통 서사물처럼 작가가 모든 상황과 메시지를 정해놓고 독자로 하여금 따르게 하는 것은 아니다. 소설을 읽는 각도와 입장에 따라 결말을 다르게 해석할 수 있다. 독자가 스스로 서사를 만들어가는 열린 결말 구조는 미로와도 같은 인간의 삶과 무척이나 닮아 있다. 그렇기에 불확실하면서도 다양하게 해석할 수 있는 것이다. 소설에서 시간과 공간은 배경을 엮는 조건이다. 인물은 시간적, 공간적 배경 하에 사건을 일으키고 행위를 한다. 필자는 바흐친이 사용한 ‘시공간’이라는 개념을 가져와 소설 속 사회적․문화적 배경을 ‘맥락’이라는 관점에서 분석했다. 사회․문화적 맥락 속에서 인물의 성격과 행동, 사건 유발의 의미를 생각해 보았다. 소설은 삶을 살아가는 기제로서 그 효용성이 있다. 아무리 좋은 내용을 담고 있다 하더라도 독자가 외면한다면 좋은 문학작품이라 말할 수 없다. 그렇다고 독자의 구미에 맞는 작품만을 쓰는 것이 소설의 효용성을 이뤘다고 말할 수는 없을 것이다. 본고는 무엇 때문에 그토록 소설을 쓰고자 했는지, 그 소설을 통해 무엇을 얻고자 했는지를 알아가는 여정이 되었다. 특히 창작 의식과 서사 양상을 분석해 나가면서 작품을 어떤 목적으로 썼는지, 어떤 방식으로 창작에 임했었는지를 훑어보는 시간이 되었다. 이는 필자에게도 자기 작품을 객관적으로 돌아보는 계기가 되었다. 주요 텍스트로 사용한 작품 「제비집」과 「팬티는 어디로 갔을까」 「골든벅」 그리고 「당신은 파충류동물」은 부록으로 첨부하였다.

대중음악을 활용한 생활화 영역 교수·학습 방법 연구

김신해 공주대학교 교육대학원 2016 국내석사

Practical use of music is emphasized in 2007 revised educational curriculum and is also linked in 2009 revised educational curriculum. In the textbook, students could experience the musical activity of various culture and lifestyle. Students are required to cognize the musical value through the role of music in life and participate in music actively. This research has the purpose that popular music that students are mostly exposed to could arouse students' interest and get active and enthusiastic engagement. Guidance for the part of practical use in middle school music textbook utilizing popular music that students can encounter without difficulty in daily life rather than art music is laid out and developed in this research. Thus description of eight learning activity examples on practical use that is proposed in the textbook and utilizing popular music are analyzed in the research. The practical uses that are mostly proposed in the textbook are related with musical concert and recital and various activities through relation of music and many medias. In terms of musical concert, experiencing musical concert through participating in the concert and appreciative manner is proposed. Besides, various activities could be learned. In the textbook, popular music, folk song and American popular song among music genres of practical use are included in common and it was hard to find various kinds of popular music. So three examples among eight learning activity examples on practical use are chosen and those were 'Participating in school musical concert' , 'Talking about the role and the function of music in culture' from the part of enjoying music and 'Research, presentation and finding value of Korea's musical heritage that is designated as one of the world heritages' from the part of recognizing Korea's musical value. Then the details of learning activities were made up and the application of popular music was mapped out and the teaching guidance was made. Through this study, the fact that popular music takes greater part of adolescents music but learning content utilizing popular music in school classroom is deficient is perceived. Study of music education utilizing popular music that is most interesting and amusing for adolescents is desired hereafter. Also including various kinds of music to practical use of popular music in elementary school and high school music education for the diverse music experience is expected.

모순된 공간과 시점 변화 양상 연구 : 「무인보관함」 외 세 작품을 중심으로

기선옥 숭실대학교 대학원 2016 국내석사

본고는 저자의 소설을 바탕으로 하여 그 창작의식과 표현방식에 대해 밝히는 창작론이다. 본고에서 다루는 작품은 단편 「무인보관함」, 「백수광부지가」, 「용사전」, 중편 「또 하나의」으로 총 네 편이다. 저자는 네 작품에서 저자가 중점적으로 표현하려는 것이 인물보다는 그들이 움직이는 세계라는 전제 하에 작품 창작 과정과 기법, 효과에 대해 살펴보고자 한다. 서론에서는 저자에게 있어서 소설이란 무엇인지, 저자의 창작 동기는 무엇인지 개괄한다. 우리는 세계에 속해 있되 세계와 끊임없이 충돌한다는 존재라는 것, 그 충돌을 해석하고 즐기는 방식 중 하나가 소설 창작이라는 것이 저자의 창작에 대한 기본자세이다. 이러한 충돌을 다루기 위해서는 인물보다는 그 인물을 움직이는 세계의 모순에 집중해야 한다. 때문에 저자의 네 작품의 주제는 인물보다는 그 세계의 성격에 의해 만들어진다. 제 2 장에서는 네 작품의 줄거리와 주제를 간략히 살피고 창작동기, 창작 과정에서 염두에 둔 요소에 대해 정리한다. 이를 통해 확장되는 주제는 무엇인지, 같은 문제에 대해 다른 결론을 내리는 작품은 어떻게 만들어졌는지 살핀다. 제 3 장에서는 먼저「무인보관함」과「또 하나의」의 공간이 어떤 속성을 가지고 있는지 다룬다. 또 역사기록에서 기반한「백수광부지가」가 어떻게 허구적 요소를 이입하는지, 완전히 환상적인 세계관을 기반으로 한「용사전」이 어떻게 개연성을 확보하는지 살핀다. 마지막에는 이들 작품의 세계를 바라보는 시점이 어떤 차이를 보이는지 살펴본다. 시점은 소설 속 시공간과 긴밀하게 연결되며 작품의 주제를 형상화하는 데 가장 중요한 역할을 하는 요소이다. 이 세 가지 요소를 통해 소설 속 세계를 설정하는 과정과 주제의식을 확인하고자 한다. This paper offers an investigation into creation to figure out the creative consciousness and expressive methods of the investigator based on her novels. The study examined three short stories of the investigator, which are An Unmanned Locker, The Song of a White Hair Mad Man, and The Story of a Warrior, and a novella titled Another. The investigator tried to examine the creation processes, techniques and effects based on the premise that she focused on the world where characters moved rather than the characters themselves for expressive purposes. The introduction covered what novels meant to the investigator and what creative motives worked behind her works. The investigator had a basic attitude toward creation that human beings were in constant clashes with the world where they belonged and that one of their ways to interpret and enjoy those clashes was the creation of novels. It is critical to focus on the contradictions of the world where characters move rather than the characters themselves in order to address such clashes. The investigator thus found a topic for her four works based on the nature of the world rather than characters. Chapter 2 briefly reviewed the plots and topics of the four works and sorted out the elements based on the creative motives and processes to understand which topics were expanded and how the works were created that reached the same conclusion for the same issue. Chapter 3 examined how the spaces shared the same attributes between An Unmanned Locker and Another and how the topics were expanded after the expansion of the spaces. It also looked into how The Song of a White Hair Mad Man based on historical records inserted fictional elements and how The Story of a Warrior based on a completely fantastic world view secured its probability. Finally, it examined differences in the viewpoints of the worlds in those works. A point of view is closely related to time and space in novels and plays the most important roles in the embodiment of topics. The investigator concluded the investigation into creation by delving into those three elements and thus checking the process of establishing and deconstructing a world in novels and the thematic consciousness raised in the process.

협동학습 모형을 적용한 방과 후 학교 플루트 교육프로그램 연구

김희정 공주대학교 교육대학원 2014 국내석사

The purpose of this study is to select and apply cooperative learning model for the effective lesson management of flute class among after-school programs to design after-school flute education program and create a lesson instruction plan applying the program to present an effective instruction plan. For the purpose of improving the achievement level of music learning objective of learners in the after-school flute lesson, and improving social technique through cooperative learning, and effectively managing lesson time, a flute education program applying cooperative learning model was developed in this study, and a two-session lesson instruction plan was designed and developed according to lesson procedure, learning contents and each model of JIGSAW, STAD and TAI through the review of cooperative learning theories. For the purpose of more effective cooperative learning, it has been designed to allow concept learning and function acquisition during the first session and in-depth learning based on the contents learned in previous session with the same theme and connectivity for each model. The result of this study is as follows. the after-school flute program applying cooperative learning is lesson in the form of solving the given learning assignments by group members through mutual learning within their group. The presented lesson instruction plan can overcome the limitation of musical instruction lesson in after-school program while effectively managing lesson time. Accordingly, it is expected to increase satisfaction on lesson for both teacher and learners. The instruction plan developed in this study can be applied in other musical instrument lessons as well as flute lesson, and there is a need for continuous studies on instruction method at various levels as well as specific and systematic education program for effective musical instrument education.

음악 교육용 어플리케이션 분석 연구

강은혜 공주대학교 교육대학원 2014 국내석사

In rapidly-changing society, we live in the age capable of interacting variously through the network anytime and anywhere by using a smartphone as a result of evolution of mobile phone. Recently, education has also changed in tune with such changes, and a variety of researches are being conducted together with plans for revitalization of smart education with announcement of <Smart Education Propulsion Strategy> of the Ministry of Education as a momentum. With recent sudden increase in use of information devices in education field, interest in availability of educational utilization and educational applications according to dissemination of smartphone and tablet PC has also increased. Thus, this study concluded judgment that analysis of presently developed applications for future development of educational applications and utilization in school field, and aimed to analyze presently-developed applications for music education and look in directions for applications for music education. For the foregoing, this study selected 20 applications for music education and classified them as items such as operating environment, applicable objects, application type, interaction type and area of music contents, and made an analysis on detailed function, strengths and weaknesses of those applications. As results of an analysis of applications for music education, the aforementioned applications were largely classified as 3 categories. First category are the applications that learners can study themselves, that is to say applications enabling self-directed learning. Applications belonging to the type were mostly the ones not capable of satisfying learners’ learning needs. Second category are the applications with strong instrumental characteristic which can be utilized for class in classroom. Applications that belong to the type have advantages of enabling all learners to take part in class by using a smartphone instead of musical instruments that each learner is hard to carry in class, but teacher’s explanation is essentially necessary as those applications are lacking in explanation of musical instrument performance within them. Third category are the data-suggesting applications that provide help to leaning. Applications belonging to the category have advantages for obtaining a variety of information within a smartphone without carrying a thick dictionary and connecting to the internet. One thing that is lacking in, however, is that those applications failed in making the best use of function that enables learners to watch video and listen to sound that smartphone provides. An innovative function that strengthens smartphone‘s own strength differentiated from existing dictionaries is considered necessary. Based on the above results, this study suggested several discussions and directions. First, development of applications systematically composed of suggestion of learning objective, suggestion of teaching?learning method and evaluation of learning is necessary. Second, development of educational applications matching learners’ age by clarifying the age of applicable learner. Third, it is necessary to develop applications that are inclusive of functions for learning by making the best use of advantages of smart device. Fourth, development of interaction-maximized applications is necessary. The above results of this study are expected to be used as materials necessary for future development of educational applications that can be used for the purpose of music education.

스마트 러닝 시스템을 적용한 음악감상학습

최지은 공주대학교 교육대학원 2016 국내석사

E-devices including smart phones were introduced into the domestic market in mid-2000. Since then, they have been required to be adapted into educational environments. It would be fair to say this e-learning, supported by those devices, is the most adjacent to ‘Ubiquitous Learning’; the student-centered learning method beyond time and space. ‘Capability’ which means the actual ability to solve problems and do something to important is getting more focused. In the preparation for the future society, this ‘e-learning’ can be used effectively and efficiently as a teaching and learning means for the students to develop problem-solving skills and background knowledge. Activities in music education can be divided into four sections; singing, instrumental music, composition and appreciation. Among these sections, appreciation is not only the most essential part in music to recognize the sound, using the sense of hearing but also everyday life people can do. Despite the importance, discussion on educational methods for it has been neglected so far, and only formal and passive educational methods for appreciation have been used in the fields of education. Starting from these facts and pieces of evidence, this study has been designed to test how effective the e-learning system would be with music appreciation learning. A group of female students in the 10th grade was divided into three sub-groups; interaction with the contents, with other learners, and with instructors. They were guided to use a music appreciation app developed by Cho Seonggi(2014), learning 13 selected musical pieces for three months. They were told to keep writing a listening note, using three kinds of appreciation learning; sensational(experiencing the beauty of music), analytic(characteristic factors of music), and esthetic methods(background stories on music). Preliminary examination and post-experiment test were conducted, and five points could be resulted from the studies. First, this method of learning with the app was proved to be effective, with students’ achievement highly increased. Second, when using the app, every group showed higher achievement in the case of analytic appreciation. The group with content interaction and the one with other learners had very meaningful results in sensational appreciation. The interaction with instructors resulted in the positive learning effects in esthetic appreciation. Third, students interested in instrumental music or composition showed high accomplishment in analytic appreciation. Fourth, in the survey conducted after using the app on the contents deeply and meaningfully learned, the group with contents and the one with other learners ranked esthetic appreciation in the first place, followed by sensational appreciation, while the group interacting with instructors put analytic appreciation in the first place and esthetic second. With all these facts in mind, it is fair to say there is a clear correlation between interaction-based kinds and music appreciation kinds. Fifth, when the app was used to figure out what kinds of specific music factors consisted in certain musical pieces, learning about the things such as rhythm, speed, tone, melody and hardness and softness was especially helped by it. I hope that this study will play a role as a guidebook for those who want to utilize the e-learning system in teaching and learning situation and that follow-up studies on related areas will be researched better and more.

긴장과 이완 효과를 적용한 음악 편곡방법 연구 : 중등학교 기악 합주(오케스트라 운영)를 중심으로

김진회 공주대학교 교육대학원 2024 국내석사

Playing musical instruments in the music classroom provides a valuable educational opportunity for students to develop their character and personality and thus to become proper members of the society. Through such an activity students can experience a sense of belonging and learn social skills which help them form positive relationships with their peers and cooperate on solving various communication problems. Moreover, performing in an ensemble makes it possible for students to improve critical character traits such as teamwork and responsibility. Stimulation produces tension. In music, tension is created through changes in musical elements. Musical tension occurs when dissonance is introduced or when a different kind of music is played by emphasizing specific musical elements. Relaxation in music, in turn, is produced by sustained notes, repetitive rhythms, a predictable flow, and subdued melodies (Moon 2008). This study aims to demonstrate how the process of creating and applying tension and relaxation in music can be represented on musical scores and how these effects can be experienced as such. For this purpose, this paper presents musical arrangement methods and examples of utilizing tension and relaxation to create different feelings and emotions. In this study on music arrangement methods, 15 principles have been derived based on rhythm, melody, harmony, form, and tone, which are then applied to musical pieces selected from various genres. All the arranged pieces are presented in this paper. The most effective instrumentation – determined by analyzing instrumental ensembles in textbooks – is following: recorder 1, recorder 2 (ocarina), melodeon, xylophone, and castanets. The results of the study help teachers to understand and utilize the concept of tension and relaxation, while students will be able to actively participate in instrumental ensemble classes with more interest.