http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 함명희 (검색결과 6 건)
- 무료
- 기관 내 무료
- 유료
-
-
함명희 한국음악교육공학회 2007 음악교육공학 Vol.- No.6
Rhythm, familiar in daily lives of ordinary people, is a foundational element of music, and it has its own musical value. Studying rhythm is a basic procedure in teaching- learning music, such as singing, playing the musical instruments, composing, and appreciation of music. In addition, as the rhythm encourages children who tend to be active and dynamic, to voluntarily move as they wish, it is surely an intriguing element in music. Most of the education on rhythm, however, depends solely on physical and mathematical concepts. And thus, children are easily apt to focus their attention on musical notes, unable to feel and freely respond to rhythm itself from the pattern of rhythm, and they may lose interest in rhythm in the end. Most of music educators and musicians in the 20th century, including Dalcroze, Kodàly, Orff and Gordon, have in common in music education as they put great importance on hands-on experience of rhythm with their entire bodies. Their methodology have been integrated into CMLS (Comprehensive Music Learning Sequence), a recently introduced theory. There are 1-11 stages on learning procedure in CMLS, and the first up to 5 stages are related to rhythm learning. In CMLS children learn rhythm by experiencing itself first, internalizing it, reproducing by their bodies, musical instruments and rhythmic syllables, and coding in the end. Through a series of the processes in CMLS, children naturally create a concept of rhythm. This researcher studied about teaching method of rhythm patterns which are classified by difficulty degree for promoting rhythmic ability of the 3rd grade of the elementary school. First of all, this researcher arranged the notes in the elementary third grade textbook by sorting them a two-beat system and a three-beat system. As the learning unit focuses on pattern, this researcher has particularly taken major rhythms and rhythm patterns out from the notes. The criteria for difficulty degree of rhythm pattern have been set in consideration of materials presented in rhythm hierarchy, rhythm theory and previous studies. Based on the criteria above, major rhythms and rhythm patterns have been classified into high, mid and low degree. As for teaching procedure, teaching plans have been developed according to the teaching model presented in the CMLS, formed of 5 stages such as active feeling, internalization, externalization, symbolic association, synthesis. And then this researcher applied them to classroom lessons. Drawbacks discovered in the application process have been modified and supplemented in no time. This researcher strictly believes that the suggested pattern-based rhythm teaching method will increase rhythmic abilities of children as well as their interest.
-
-
‘서천꽃밭’을 통해 본 제주인의 죽음관 - 산 자와 죽은 자의 공간 ‘서천꽃밭’
함명희 제주대학교 탐라문화연구원 2024 탐라문화 Vol.- No.75
인간은 불확실한 미래에 대하여 의문을 갖고 살아간다. 인간에게 가장 확실한 미래는 ‘죽음’이다. 왜냐하면 삶과 죽음은 불가분의 관계이기 때문이다. 그렇게 죽음은 삶 속에 공존하며 산 자들과 일상을 함께한다. 제주인들에게 죽음은 끝이 아니라 새로운 세계로의 출발이다. 죽음이 현실의 공간으로 나타난 곳이 ‘무덤’이며, 장례는 죽은 자를 위한 산자의 축원(祝願)이다. 제주인들은 ‘서천꽃밭’이라는 가상의 공간을 두어 삶과 죽음을 따로 분리하지 않았다. 제주 신화를 통해 나타난 ‘서천꽃밭’과 ‘올레’는 산 자에게는 이동의 통로로, 죽은 자에게는 영혼의 통로가 된다. 제주의 올레는 단순히 마을 길에서 집으로 드나드는 길이 아니라 외부로부 터의 피난처가 되는 안전한 삶의 공간이다. ‘서천꽃밭’과 ‘올레’는 산 자와 죽은 자의 기억인 정신(精神)으로 이어지는 통로이다. 정신과 영혼을 이어주는 매개체 이자 완충적 공간인 올레는 현실 세계의 이정표와 ‘서천꽃밭’이라고 하는 정신적 공간이 하나로 이어질 때, 산 자와 죽은 자는 현실 세계에서 삶을 함께 하게 된다. ‘서천꽃밭’은 죽음을 준비하는 공간이 아니라 재생(부활)을 준비하는 공간이다. 죽음과도 같은 현실의 힘겨움을 위로받고, 극복하고자 했다. ‘서천꽃밭’을 통한 제주인들의 죽음은 다른 사람으로의 환생이나 다른 세계로의 전환이 아니다. ‘서천꽃밭’을 통한 부활은 제자리로 돌아오는 것이다. 본연(本然)의 자리로 돌아와 가족 모두가 한 집안을 지키는 가족 수호신으로 자격을 부여받는다. 한 바퀴를 걸어도 원래의 자리로 다시 돌아오는 제주의 섬 안에서의 죽음은 순환적 삶으로의 복귀, 즉, 재생(부활)을 ‘죽음’이라 여겼다. Humans live with questions about an uncertain future. The most obvious future for humans is ‘death’. Because life and death are inextricably linked. In that way, death coexists in life and shares daily life with the living. For Jeju people, death is not the end, but the beginning of a new world. The place where death appeared as a space of reality is the tomb, and the funeral is the prayer of the living (祝願) for the dead. Jeju people didn’t separate life and death by setting up a virtual space called ‘ ‘Seocheonggocttbat’ ‘Seocheonggocttbat’ and Olle, which appeared through Jeju mythology, become a channel of movement for the living and a channel of soul for the dead. Jeju’s Olle is not just a road from the village road to the house, but a safe living space that serves as a refuge from the outside. Seocheonggocttbat’ and Olle are channels that lead to the spirit, which is the memory of the living and the dead. Ole, a mediating and buffering space that connects the mind and soul, shares life in the real world when the milestones of the real world and the spiritual space of “Seocheonggocttbat” lead to one. ‘Seocheonggocttbat’ is not a place to prepare for death, but a place to prepare for regeneration (revival). It was to comfort and overcome the difficulties of reality, such as death. The death of the Jeju people through the Seocheonggocttbat is not the reincarnation of others or the transition to another world. Resurrection through the ‘Seocheonggocttbat’ is to return to its place. When you return to your original position, every member of the family will qualify as a member of the family that protects one family. The death of Jeju Island, which returned to its original state after a single walk, considered a return to a cyclical life, or regeneration, as “death.”
-
-
KCI연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
