E. J. Dalcroze 음악교수법에 관한 연구 = A Study on the Method Of Music Teaching Of E. J. Dalcroze

다국어 초록 (Multilingual Abstract)

The world trend in music education going into the 21st century is creative and esthetic. Creative music education is to defined as expressing music with a person's inherent creative nature and esthetic music education is an added form of the essential qualities of music to the comprehensive music education. However, it is not an exaggeration to say that only acquiring musical skills and musical knowledge has been emphasized for music education in korea to this point. Therefore music education, which is very important to emotion, should depart form textbook-centered education and should be an education through which student can understand the beauty of music and experience the insight of music into our lives.
I turned my attention to the fact that Dalcroze did not take teaching music notation and cognitive teaching as a priority but natured creativity by letting them express the feelings freely so that they can internalize those feelings.
Children like moving their body, therefore it is obvious that teaching rhythm through their body is effective. Each action can be used respectively and combined to express the flow of tune, the color of sound and change of pitch. Moreover gesture and posture can be added to diversity turn, harmony, double rhythm, phrasing, or change of beat.
By the process of expressing freely with their body after listening to music, children can develop muscle movement dexterity, coordination between eyes and hands, good listening habits and concentration, sound self-conception, and an ability to express their inner emotions.
Consequently it can lead not only to effective music education but also to self-perception and self-understanding. And that means education for the whole man and creative education through imagination can be achieved by music. By adapting this system we ensure that good, valuable and necessary music education can be achieved, while doing our best for children to acquire and express themselves freely.

목차 (Table of Contents)

• I. 서론 = 1
• 1. 연구의 필요성과 목적 = 1
• 2. 연구의 내용 및 범위 = 3
• II. 본론
• 1. 이론적 배경 = 4
• 1) 유아기 음악교육의 중요성 = 4
• A. 유아기의 음악적 성장단계 = 4
• B. 유아의 음악적 잠재력 = 9
• C. 유아 음악교육의 효과 = 10
• 2) 달크로즈의 생애 및 작품 = 12
• A. 달크로즈의 생애 = 12
• B. 달크로즈의 작품 = 14
• 3) 달크로즈 음악교육의 이념 = 16
• 2. 달크로즈 음악교육법 = 20
• 1) 유리드믹스(Eurythmics) = 20
• 2) 계이름(Solfege) = 36
• 3) 즉흥연주 (Improvisation) = 45
• 3. 달크로즈 음악교육 수업지도안 = 50
• 1) 그룹지도를 위한 수업지도안 = 50
• A. 수업지도안 = 51
• B. 수업에 대한 유아들의 반응 = 62
• 2) 개인지도를 위한 수업지도안 = 67
• A. 사례1 = 67
• B. 사례1에 대한 유아의 반응 = 68
• C. 사례2 = 69
• D. 사례2에 대한 유아의 반응 = 70
• III. 결론 = 72
• 참고문헌 = 75
• 영문초록 = 76