신체 동작을 통한 유아음악교육 지도방안의 심미적 접근에 관한 연구

다국어 초록 (Multilingual Abstract)

(Abstract)

The music, being made through the medium of the sound, largely contributes to emotional mood of human. Therefore, when we regard it on the naive view point of early children, the music is the foundation for their pure and beautiful growing up. This mechanism, music, has its important purpose for aesthetic experience for natural acception of children for their active and positive attitude for appreciation and expression of good music being familiar with music, rather than the practice of difficult musical instrument or simple singing.

Through the fulfillment of music education, the aesthetic experience of music has uprisen as one of the main agenda for music instructors. But, till now, most of children's music education is composed with simple singing class, to be familiar with musical instruments, and acquiring of theories to treat the instruments. This phenomenon has handed down in the prejudice as if the singing and instrument training are all of the music education.

For children, the music should be pleasant, but the simple singing and difficult music theory and instrument classes decrease their musical motive, and naturally drive them to dislike and avoid. Therefore, on the basis of problems of actual education, as one of the approaching methods for children's various music education, this thesis has studied on the aesthetic approach to teaching method for children through physical activity.

Children understand many, even though they can not make verbal explanation, and they express as activity or other movement. The movement accelerates growing up, and education without movement is not possible for children's education. So, this thesis has aesthetic approach through physical activity of the un-matured children in the view point of all of their development.

With the purpose of up-raising the aesthetic feeling with one single tool, body, for the music education of aesthetic experience, this study has suggested detailed teaching method of music education through physical activity, separating as; to research sound, to express rhythm, to express melody, to express through body through appreciation, and to express creatively.

It is important to prepare environment for them to have various musical experience for music education of children's aesthetic experience, but more important thing is the role of the teachers. It's because the result of music education is depend on the teachers' deriving way to express their musical beauty. Teachers should have endless effort for aesthetic music education, and children's music education of true aesthetic experience can be done only with better systematic educational environment on the basis of strong philosophy of teachers.

목차 (Table of Contents)

• 목 차
• (Abstract)
• Ⅰ. 서론 ······························································································1
• 1. 연구의 필요성 및 목적································································1
• 2. 연구의 방법과 연구범위·····························································2
• Ⅱ. 본론·······························································································3
• 1. 유아음악교육의 이론적 배경·····················································3
• 1) 유아음악교육의 의의 및 교사의 철학적 필요성··················3
• 2) 유아의 음악적 성장 단계·························································5
• 2. 음악교육 지도 방안의 심미적 배경···········································8
• 1) 심미적 음악교육의 정의···························································8
• 2) 심미적 경험의 특징·································································10
• 3) 유아기 심미적 음악교육의 가치············································13
• 3. 유아의 신체 동작활동································································14
• 1) 신체 동작활동의 의의·····························································14
• 2) 신체 표현능력의 발달 단계····················································16
• 3) 동작의 기본요소 및 접근 방법···············································20
• 4. 신체동작을 활용한 심미적 음악교육의 실제··························25
• 1) 소리, 리듬, 멜로디···································································25
• 2) 감상을 통한 신체동작 활동····················································33
• 3) 창의적 표현 활동·····································································35
• 5. 심미적 교육을 위한 환경 및 교사의 역할·······························37
• 1) 음악영역의 구성 환경·····························································37
• 2) 교사의 역할··············································································38
• Ⅲ. 결론······························································································42
• 참고 문헌···························································································44