지각적 음악 감상 활동이 유아의 음악 청취력과 음악적 창의성에 미치는 효과

국문 초록 (Abstract)

본 연구는 유아의 음악 청취력 향상과 음악적 창의력을 기르기 위해 Gordon(1984)의 교육방법과 개념적 접근법을 시도한 MMCP, 동작을 통한 리듬감 형성을 시도한 Dalcroze(1954)의 Eurhythmics, Orff(1965)의 Bordum을 이용한 즉흥 연주 이론을 바탕으로 구성한 지각적 음악 감상 수업이, 일반적인 감상수업과 비교하여 음악 청취력과 음악적 창의성의 하위요인 음악적 유창성, 상상력, 독창성 향상에 어떠한 영향을 미치며,구조화된 음악감상 수업에 대한 필요성과 이해에 필요한 연구 자료를 제시하고자 한다.
본 연구의 연구 문제는 다음과 같다.
1. 지각적 음악감상수업을 받은 유아와 일반 감상수업을 받은
유아간에는 음악적 청취력에 차이가 있는가?
1-1. 지각적 음악감상수업을 받은 유아와 일반 감상수업을 받은
유아간에는 음악적 청취력의 하위요소인 음감 청취력에 차이가
있는가?
1-2. 지각적 음악감상수업을 받은 유아와 일반 감상수업을 받은
유아간에는 음악적 청취력의 하위요소인 리듬 청취력에 차이가
있는가?
2. 지각적 음악감상수업을 받은 유아와 일반 감상수업을 받은
유아간에는 음악적 창의성에 차이가 있는가?
2-1. 지각적 음악감상수업을 받은 유아와 일반 감상수업을 받은
유아간에는 음악적 창의력의 하위요소인 음악적 유창성에
차이가 있는가?
2-2. 지각적 음악감상수업을 받은 유아와 일반 감상수업을 받은
유아간에는 음악적 창의력의 하위요소인 음악적 상상력에
차이가 있는가?
2-3. 지각적 음악감상 수업을 받은 유아와 일반 감상수업을 받은
유아간에는 음악적 창의력의 하위요소인 음악적 독창성에
차이가 있는가?
본 연구는 서울시에 위치한 S 초등학교 2학년 총 7개 반 중 한 반을 선정하고, 선정된 반 아동의 평균 연령, 부모의 교육 수준, 부모의 직업 등 아동의 배경적 자료가 유사한 다른 한 반을 선정하여, 실험집단(38명)과 비교 집단(38명)으로 구성하였다.
본 연구에서 사용한 청취력 측정도구는 Gordon이 1978년에 개발한 음악 청취력 기초검사(The Primary Measures of Music Audiation: PMMA)를 이숙희(1994)가 번안한 것이며, 음악적 창의성 측정도구는 이정우(1992)가 번안한 Wang (1985)의 MCSM(measures of creativity in sound and music)이며, 설정한 연구문제를 알아보기 위해 사전 사후 검사의 공변량 분석(ANCOVA)을 실시하였다.
본 연구의 결과는 다음과 같다.
첫째, 지각적 감상수업을 받은 아동과 일반 감상수업을 받은 아동간의 음악 청취력에 있어서 그 하위 요소인 음감청취력은 두 집단간 차이를 나타내지 않았으나 리듬 청취력은 일반 감상수업에 비해 유의한 차이가 나타났다.
둘째, 지각적 감상수업은 일반 감상수업에 비해 음악적 창의력의 하위 요소인 음악적 유창성, 상상력, 독창성 증진에 효과가 있었으며, 지각적 감상수업을 받은 실험집단의 경우 상상력, 유창성, 독창성 순으로 유의한 차이를 보였고, 실험집단과 일반 음악감상수업을 받은 비교집단과는 유창성, 독창성, 상상력 순으로 유의도를 나타내었다.
셋째, 두 집단 간 유아의 성별에 따른 음악 청취력과 음악적 창의성의 차이가 없는 것으로 나타나 동일한 음악적 경험이나 음악적 훈련을 할 경우, 발달적 음악적성에 있어서 남녀간의 차이가 없음을 알 수 있었다.

다국어 초록 (Multilingual Abstract)

The final purpose of this study is to cultivate children's music-listening-faculty and music-creativity. For this purpose, the study examined how the music appreciation lessons focused on children's perceptivity, which are organized based on the theories of Gordon(1984)'s MMCP that is concerning musical education methodology and conceptive approach, Dalcroze(1954)'s Eurhythmics that tried to help children to have the sense of rhythm, impromptu (musical) performance that used Orff(1965)'s Bordum, are different from other ordinary music appreciation classes, and how the differences affect children's music appreciation capacity and the sub-factors of music-creativity such as musical fluency, imaginative power, and originality. And the study finally tried to indicate the necessity of a systematically organized 'music appreciation' class and offer various study-materials that are necessary for the above aims.
The main subjects of this study are as follows;
1. Are there any differences between the music-listening-faculty of children who took the 'perceptual music appreciation lessons' and that of other children who took ordinary music appreciation classes?
1-1. Are there any differences between the musical sensibility,
a sub-factor of the music-listening-faculty, of children
who took the 'perceptual music appreciation lessons' and
that of other children who took ordinary music appreciation
classes?
1-2. Are there any differences between the rhythmical sensibility, a
sub- factor of the music-listening-faculty, of children who
took the 'perceptual music appreciation lessons' and that of
other children who took ordinary music appreciation classes? 2.. Are there any differences between the musical creativity of children who took the 'perceptual music appreciation lessons' and that of other children who took ordinary music appreciation classes?
2-1. Are there any differences between the musical fluency,
a sub-factor of the musical creativity, of children who took
the 'perceptual music appreciation lessons' and that of other
children who took ordinary music appreciation classes?
2-2. Are there any differences between the musical imaginative
power, a sub-factor of the musical creativity, of children
who took the 'perceptual music appreciation lessons' and
that of other children who took ordinary music appreciation
classes?
2-3. Are there any differences between the musical imaginative
power, a sub-factor of the musical originality, of children
who took the 'perceptual music appreciation lessons' and that
of other children who took ordinary music appreciation
classes?

For this study, the researcher selected 2 classes of second-year students in S elementary school located in Seoul; the family backgrounds, such as children's average age, parents' academic career, and parents' occupations, of the two classes' students were at the similar level. And one of the two classes was an experimental group(38 students), and the other one was a comparative group(38 children).
The measurement instruments used in this study were Lee, Suk Hee's tool(1994) that adapted Gordon's the Primary Measures of Music Audiation(PMMA)(1978) and Lee, Jeong Wu's tool(1992) that adapted Wang's MCSM(measures of creativity in sound and music)(1985); the former one was for measuring children's listening-ability, and the latter one was used in examining children's musical creativity. The statistical method used in this study was ANCOVA, a prior-expostfacto examination.
The research results are as follows;
First, in children's music-listening-faculty, any significant difference was not found between the musical sensibility of children who took the 'perceptual music appreciation lessons' and that of other children who took ordinary music appreciation classes. On the other hand, significant differences were shown between the rhythmical sensibility of children who took the 'perceptual music appreciation lessons' and that of other children who took ordinary music appreciation classes.
Second, the special 'perceptual music appreciation lessons' were evidently more effective than the other ordinary music appreciation classes, in increasing children's ability of the musical originality's sub-factors, such as musical fluency, imaginative power, and originality. The experimental group who took the special 'perceptual music appreciation lessons' showed significant differences in the factors of originality, fluency, and originality, in good order. The degrees' order of significant differences between the two groups, the experimental group who took special lessons and the other comparative group who took ordinary lessons, was fluency, originality, and originality.
Third, any significant differences were shown in music-listening ability and musical creativity, by children's sex, in both groups. In case that they have the same musical experiences or have the same musical trainings, any significant differences were not found in developmental musical aptitudes by children's sex.