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RISS 인기검색어
- 검색키워드
- 발행기관 : 大邱가톨릭大學校 音樂敎育大學院 (검색결과 2 건)
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제 7차 음악교육과정 분석연구 : 중학교 교과서의 가창영역을 중심으로
한현숙 大邱가톨릭大學校 音樂敎育大學院 2001 국내석사
In this thesis, I analyzed the seventh Musical Curriculum, having its focus onto the singing part of the middle school textbook. In the introduction, I talked about the necessity and the goal of the Musical Curriculum, which have to be diverse not only in the national level but also in the private level, centered for students, kept going with the education concerned and based on the fundamental educational concepts. In the main discourse, we surveyed the summary of the seventh Musical Curriculum to understand the goal and contents of the revised musical curriculum. As one manner for those understandings, I decided to analyze school textbooks which play a leading role for the education, and after finishing such a analysis, I finally found three main facts as follows. First, since our studies about the cracking of voice(its concept, symptoms and the range of the voice) by various references, we found out cracking happens more noticeably to boys than to girls. The symptoms are like this: hoarse voice, unstable tone, uncomfortable high-tone and the about one-octave-lowered range of voice. Second, even though essential songs in the textbook have some diversity, most songs are still chosen one-sidedly. To cover the wider scope, songs in the textbook need to be more diverse for their forms, tempos, keys, beats and performing styles. Third, even if the songs in the textbook are chosen in accordance with the curriculum, the fact that they are out of time makes students fail to be interested in the subject. Students are confused between textbook songs and popular songs, and between foreign songs and Korean traditional songs. Actually, since the songs in the textbook are sung by few, students consider them not being their favorites. Accordingly, we need to choose the songs mirroring times. Also, it is necessary to give a chance to understand mass media by including popular songs history in the musical curriculum. In the conclusion, I suggested the idea as follows. The seventh Musical Curriculum and the Textbook are not for the perfection of the musical education, rather the betterment. Making better system in the actual class plays the role of a stepping-stone not only for the seventh Musical Curriculum, but for all the curriculums which will be made in the future. Plus, diverse musical experiences made by the seventh Musical Curriculum will help us harmonized with music in real life and become more creative. To make it happen, students have to be taught more openly and aesthetically, and we altogether try to make better classes by connecting the middle school curriculum to the elementary school one.
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그레고리오 성가 선법이 재즈(Jazz)음악에 미친 영향
문창호 대구가톨릭대학교 교육대학원 음악교육전공 2005 국내석사
The Gregorian Chant receives much recognition as modal music in modern music nowadays in spite of many changes and development the advent of polyphonic music, the supplement of mode "La" and "Do", the importance of“Trias harmonica(=triad)” the establishment of 24 tonality music. Miles Davis who developed "Miles Modes(=Mode Jazz)" had introduced the modes of Gregorian Chant to Jazz music in order to break the limit of complicated harmony structure. However, there would be more ultimate reason for that. That is, because he needed horizontal elements, namely, free, horizontal motion of music so keenly. According to O. Alain, who is french musician, “Music is a place where the vertical elements and horizontal elements are fighting each other constantly. The horizontal elements are the nature of melody which goes up and down freely and successively in small interval if it is possible by the Beeline's Law.” In other words, the vertical elements and the horizontal elements have to be used in music appropriately and harmoniously the word “harmony” has another mean as “accordance” And that's why the modes of Gregorian Chant are Re-rising again these days in spite of today's "The Flood of music" which has so various music genres and the mainstream of complicated harmony music. Hence, musicians have to always take a serious view of Gregorian Chant which is the basis of harmony and recognize how great part of music that the Modal music achieved the part on the extension of tonality. It is necessary to generalize Gregorian Chant in order to more people are blessed with inspiring and positive aspects of it. The impedimental causes and right directions in this point of view are as follows. First, the Gregorian Chant was general music which was made to be suitable to sing for everyone as the liturgical music. But it has misunderstood as the song which are sung only in some abbeys churches or collegium. This is not only the problem of recognition but also absence of opportunity to contact with it. Therefore, institutes or religious groups where teach and learn Gregorian Chant for public have to be established so that more people may get more opportunities of learning Second, Gregorian Chant is treated as past and gone music which is not related to modern music at all. However, it has been found not only in classic works of 18th ~19th century's composers, but also in many Jazz music pieces. Many jazz musicians are teaching jazz on the basis of Gregorian chant modes and revaluating it also. Third, various ways of researches and new educational methods about Gregorian chant must be organized from new point of view. It is said that Music is the 'harmony' between vertical and horizontal. It is natural flow of music history that Jazz music accepted the modes of Gregorian Chant, and the“harmony”between vertical and horizontal is the way to the natural music.
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