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서울교대 다문화 음악교육 연구팀의6)다문화 음악교육 연구의 성과와 전망
변계원,조효임 한국유초등음악교육학회 2009 음악교육 Vol.9 No.-
The purpose of this paper is to bring out the ideas about how multicultural music education should stand in the 21st century of the world. Due to the various movements of populations and fast dissemination of culture through mass media, the boundary of nation is becoming blurred. At the same time, the globalization of the world requests people to understand other cultures and minds as well as understanding their own culture. Therefore, the understanding of multicultural music is essential in today's Korea. This will lead people to comprehend the multiplicity of human world and to obtain appropriate self-confidence for our own culture. In this situation, we should think about importing musics in other culture and exporting our traditional music culture to the other worlds. Many related research subjects to the multicultural music education have conducted by the research team of Seoul National University of Education. They have evaluated the terminology of world music and the situation of multicultural music education on several countries not only in Korea but also in Japan and United States, Germany and so on. Finally, they have published great teaching material for the development of multicultural music education in Korea. Their contributions on this field have been brilliant and will be continued by other following scholars.
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최은아 한국유초등음악교육학회 2009 음악교육 Vol.9 No.-
The purpose of this study is to examine the relation between the musical views of the Biedermeier Era and Hanslick. It is intended for the better understanding of the historical background and context of Hanslick idea of absolute music.Vienna was under the heavy hands of Metternich from the Congress of Vienna (1815) to the March Revolution (1848). During this "Vormärz (pre-March)" era, so-called Biedermeier culture flourished which can be characterized by the intermingling of the conviviality, simplicity and bourgeois self-display.During the Biedermeier era, the number of public concerts had been increased while the music culture itself had been polarized into two tendencies. One was based on the traditional Viennese classicism established in the late eighteenth century, and the other was inclination to the fashionable Italian opera, virtuosi, and the frenzy of dance music. While the former was declined during the 1820s, while the latter increased its momentum at the same time and dominated the Biedermeier society. In this context, Biedermeier era's musical view point can be summarized as a "Gefühlästhetik" or "aesthetic of feeling." Hanslick criticized the partial inclination to feeling acutely and asserted the idea of absolute music instead. He emphasized the autonomic form of instrumental music. This idea implied that the active mind can be related to the idea of absolute music while the passive feeling can be associated with emotional music. In my opinion, Hanslick's assertion is based on the hope that the social order is necessary in post-revolution Vienna. His intention can be interpreted as an attempt to present the social vision through the music aesthetics.Hanslick criticized the Biedermeier era's view of music through the following questions: "Is to express daily feelings only raison d'être of music?"; "Why don't you pursue the idea immanent in music?" These questions also remind us of the importance of the balance between the emotional and intellectual aspects of music as well as in our lives.
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