The Recovery of More Desirable Humanity through Emphasizing Traditional Music in Music Education

신대철 한국국악교육연구학회 2017 국악교육연구 Vol.11 No.1

The aim of this study was to find a way of recovering more desirable humanity through utilizing traditional music in the primary and secondary school music education based on researching concerned literatures. The result of this study can be summarized as follows. As a corner stone for the future music, traditional music has faithfully played an important role of bridging the past, the present and the future music. A lot of traditional musical pieces could have been transmitted up until today and the traditional musical elements could be revived in the music of next generation for that reason. The traditional music of Korea and China based on Confucius’ idea has headed for the harmony between human beings and all things in nature. This harmony is deeply related with cultivating humanity. It can be said that the traditional music of Korea and China, which is based on the spirit of Confucius and gentle literati who loved music as a means of cultivating humanity, is the valuable source of cultivating humanity. This kind of musical spirit can be found in the ancient Greek music, the music by the Church Fathers of the Middle Ages, the Renaissance music, the church music by M. Luther and others. Naturally this kind of musical spirit can be found in the traditional music of non-European countries and peoples. It can be said that the power and energy for cultivation humanity are included in the spirit of traditional music of each country. The traditional music of every country and people contains linguistic characteristic which delivers valuable musical meaning for cultivating humanity as well. It is strongly needed to utilize the linguistic characteristics of traditional music and the restoration of traditional music and the spirit in it for the future music education. The conversion of consciousness is strongly needed from the present music education which is concentrated on the Western music for the future music education, too. The music education which only loves and follows the tradition of the Western music is not good. Every traditional music of the earth is contributes to establish the musical diversity of the world. This diversity naturally should be respected. Consequently the diverse humanities of every people which have been generated in the typical context of culture and music, especially in the context of traditional music, also should be respected. All the traditional music including restored traditional music should be the center of the future music education and the traditional music should be taught on an equal footing with the Western music, and in addition to these we should teach the Western music as the master of it. Students can get a chance to form the humanity of her/his tradition, then. The international mutual assistance is indispensable to accomplish the aim of recovering humanity through the traditional music education.

국제이해교육의 음악교과교수법 사례 연구 : 일본 전통음악교수법의 현장연구를 중심으로

홍주희(Hong Joo-Hee) 동북아시아문화학회 2008 동북아 문화연구 Vol.1 No.17

Music is the medium to convey the human emotion directly to the human mind and facilitates the communication of language and custom with others. And it is possible to understand th times and cultural zone in which the music was generated because music itself contains the characteristic of the times and cultural zone in which it was made. Furthermore, it has the advantage that the subject of music can excitingly attain the difficult objective of education, international understanding. The curriculum of Korea has been reorganized seven times since the enactment and declaration of the 1st curriculum according to the Educational Law and its Enforcement Ordinance enacted in 1955. The nature of the music subject in the 7th Curriculum includes an understanding of basic musical concepts, the experience of diverse musical activities, interests in music and the attitude of enjoying participation in it and reflects the education of international understanding and multi-culturalism. 'It is necessary to understand he feature of each musical culture and its historical and cultural value by meeting diverse times, style and cultural zone as well as our music and comparing the heritage of our musical culture and that of other countries. Thereby, it is necessary to succeed to and develop our musical culture and contribute to the new musical culture. This corresponds with an understanding of musical concepts through the music of diverse times and cultural zones. It is a high time to know that the music of other people as well as the music of one's people is valuable. When the musical value of other people comes to be understood in earnest, the musical educator of each country would come to have the 'comprehensive vision' and 'balance'. For this purpose, the musical educators of each country need to exchange information on the present situation and task of the education of their traditional music and can cooperate with each other when their mutual advantages are learnt and understood. This study was intended to understand Japanese music and contribute to the teaching method of learner-teacher of traditional Korean music education by investigating the case of traditional Japanese music education in the seminar in which I participated as the learner. The research method is the field study to understand traditional Japanese music while learning the representative Japanese string instrument of 'Goto' and the percussion instrument of 'Wadaiko'. The field study was conducted concerning the case of music education through the traditional Japanese musical instrument of 'Goto' and the case of the teaching method based on the traditional music performed in the traditional festival conducted in real life in relation to the theory and practice of current traditional Japanese music education provided for children based on the contents of the amended 7th Curriculum. This study is concerned with the contents of the teaching method of the teacher in which I participated in the learner's position because it is the case study of traditional japanese music education concerning the teaching method of teaching-learning. The education of international understanding through music should be focused on enabling students to study the musical characteristic proper to a country and the knowledge or full story related to the music while experiencing the music of diverse countries. The teacher should develop the content and method of teaching and learning by cultivating the ability to know and recognize the value proper to diverse music of several countries. It is thought that the case of traditional japanese music education presented in this study will be helpful for the teaching method of our traditional music as well as an understanding of traditional Japanese music. In addition, subsequent studies should be conducted concerning the cases of field music education of diverse foreign countries.

21세기 영상 미디어에 구현된 전통음악 프로그램의 특징과 의미—풍류대장(JTBC, 2021), 조선판스타(MBN, 2021)를 중심으로—

송소라 고려대학교 민족문화연구원 2024 民族文化硏究 Vol.102 No.-

본고는 21세기 영상 미디어를 통해 표현되는 전통음악의 특징과 의미를 살피는 것을 목적으로 한다. 전통음악은 변화하는 디지털 환경에 적응하는 과정에서, 그리고 동시대의 문화로 대중과 호흡하기 위해 본래 그것이 가지고 있었던 형식과 내용의 변화를 꾀할 수밖에 없었다. 특히 영상 미디어가 대중문화의 전반을 차지하는 시대에서 그 변화의 내용은 다양할 수밖에 없다. 본고는 2021년 종합편성채널인 MBN과 JTBC에서 방영된 <조선판스타>와 <풍류대장>을 통해 그 세부 면모를 살펴보고, 전통음악이 영상 미디어를 통해 대중에게 전달됨으로써 갖게 된 의미를 고찰하였다. 먼저, 연구자는 두 프로그램에서 전통음악을 다룬 방식을 다음의 세 가지 특징, 즉 ① 전통음악을 대중음악의 다양한 장르와 결합하여 보여줬다는 점, ② 듣는 음악에서 보는 음악 혹은 음악극의 면모를 강조했다는 점, ③ 시청각 미디어의 환경을 활용하여 전통음악의 기초 지식을 효과적으로 전달했다는 점을 언급하였다. 나아가 이와 같은 특징을 바탕으로 한 두 프로그램은 ① 전통음악인들의 예술가적 기량은 물론 ② 전통음악의 미학과 독자적 특징을 대중에게 전달했다는 점, ③ 전통음악이 대중과 유리된 현주소와 향후의 발전 방향을 공론화했다는 점에서 의미가 있다고 하였다. 향후 방송 이외에도 전통음악을 다루는 미디어 플랫폼에 관한 연구가 필요하다. 전통음악을 동시대의 문화 환경 속에서 대중에게 친숙하게 전달하고, 향유할 수 있는 방안을 모색하는 것은 결국 ‘전통’을 오늘날에도 유의미한 것으로 다루는 것과 연결되기 때문이다. 본 연구는 그 일환으로 현장예술인들의 노력과 이를 표현하는 플랫폼으로서 방송을 검토한 점에서 의미가 있다. This paper aims to examine the characteristics and meanings of traditional music expressed through video media in the 21st century. Traditional music was forced to change its original form and content in the process of adapting to the changing digital environment and in order to breathe with the public with a contemporary culture. In particular, in the era when video media occupies the whole of popular culture, the content of the change is bound to vary. This paper examines its detailed aspects through “Joseon Panstar(Joseon Artist)” and “Pungryu Daejang(the master of the arts)” aired on MBN and JTBC in 2021, and examines the meaning of traditional music being delivered to the public through video media. First, this paper explained the methods of dealing with traditional music in the two programs in the following three ways. First, it revealed traditional music in the form of combining it with various genres of popular music. Second, in ‘listening music’, the aspect of ‘viewing music or music play’ was emphasized. Third, it effectively conveyed the basic knowledge of traditional music by using the environment of audiovisual media. This paper further stated that the above program with such characteristics has the following three meanings. First, it spread the artistic skills of traditional musicians. Second, it easily conveyed the aesthetics and independent characteristics of traditional music to the public, and third, the current status of traditional music being alienated from the public and the direction of future development were publicized. In addition to broadcasting, research on media platforms that deal with traditional music is needed in the future. The reason why traditional music is found to be familiar to contemporary people in the contemporary cultural environment is because it is eventually connected to treating ‘tradition’ as something meaningful today. This paper is meaningful as a study that attempted to discuss the efforts of field artists and broadcasting as a platform to express them as part of that.

The Recovery of More Desirable Humanity through Emphasizing Traditional Music in Music Education

Sheen, Dae-Cheol 한국국악교육연구학회 2017 국악교육연구 Vol.11 No.1

이 연구는 초ㆍ중등학교 음악교육에서 전통음악을 활용하여 보다 바람직한 인간성을 회복 하기 위한 방안의 하나를 강구할 목적으로 관련 문헌을 바탕으로 하여 수행되었고, 그 결과 를 요약하면 다음과 같다. 모든 전통음악은 미래 음악을 위한 초석으로 과거․현재․미래 음악을 위한 가교의 역할 을 충실히 수행해 왔다. 그래서 많은 전통악곡들이 오늘에 이르기까지 전승되면서 그 요소들 이 후대 음악에서 되살아 날 수 있었다. 예악사상에 기초한 한국과 중국의 전통음악은 인간 과 삼라만상간의 지극한 조화를 지향하여 왔다. 이와 같은 조화는 인간성 함양과 깊은 상관 을 맺는다. 인격 함양 수단으로서 음악을 사랑한 공자와 조선조의 선비들의 정신이 담긴 한 국과 중국의 전통음악은 인간성 함양을 위한 귀중한 원천이라고 할 수 있다. 이와 같은 음악 의 정신세계는 고대 희랍 음악과 중세 신부들에 의했던 음악, 문예부흥기의 음악, 그리고 루 터의 교회음악 등등에서도 확인된다. 물론 이와 같은 정신세계는 비서구권 국가와 민족의 전통음악에서도 발견될 수 있으리라고 본다. 인간성 함양을 위한 힘과 기(氣)가 각 나라의 전통음악 정신 속에 담겨있다고 본다. 또한 모든 나라와 민족의 전통음악에는 인간성을 함양하는 귀중한 음악적 의미를 전달하는 언어 적 특성이 함유되어 있다고 본다. 전통음악의 언어적 특성을 활용하는 방도와 함께 전통음악 과 그 속에 담긴 정신의 회복이 미래의 음악교육을 위해 간절히 요구된다. 서양음악 중심으 로 경도되어 있는 기존의 음악교육으로부터의 의식 전환이 미래 음악교육을 위해서 강력히 요구된다. 오직 서양음악의 전통만을 좋아해서 좆는 음악교육이어서는 곤란하다. 모든 전통 음악은 세계의 음악적 다양성 구축에 공헌하고 있다. 이러한 다양성은 당연히 존중되어야 한다. 따라서 독특한 모든 문화적 음악적 맥락의 틀 안에서, 특별히 전통음악의 맥락 안에서, 생성되어 온 여러 민족의 다양한 인간성 역시 존중되어야 한다. 회복된 전통음악을 포함한 모든 전통음악이 미래 음악교육의 중심 틀이 되어야 하며, 전통음악은 서양음악과 대등한 입장으로 지도되고, 아울러 주인의 입장에서 서양음악이 가르쳐져야 한다. 그래야 학생들이 자신의 전통 속에 담긴 인간성의 모습을 갖추게 될 기회를 가질 수 있게 된다. 이와 같은 전통음악 교육을 통한 인간성 회복의 목표를 성취하기 위해서는 국제적인 공조는 필수이다. The aim of this study was to find a way of recovering more desirable humanity through utilizing traditional music in the primary and secondary school music education based on researching concerned literatures. The result of this study can be summarized as follows. As a corner stone for the future music, traditional music has faithfully played an important role of bridging the past, the present and the future music. A lot of traditional musical pieces could have been transmitted up until today and the traditional musical elements could be revived in the music of next generation for that reason. The traditional music of Korea and China based on Confucius’ idea has headed for the harmony between human beings and all things in nature. This harmony is deeply related with cultivating humanity. It can be said that the traditional music of Korea and China, which is based on the spirit of Confucius and gentle literati who loved music as a means of cultivating humanity, is the valuable source of cultivating humanity. This kind of musical spirit can be found in the ancient Greek music, the music by the Church Fathers of the Middle Ages, the Renaissance music, the church music by M. Luther and others. Naturally this kind of musical spirit can be found in the traditional music of non-European countries and peoples. It can be said that the power and energy for cultivation humanity are included in the spirit of traditional music of each country. The traditional music of every country and people contains linguistic characteristic which delivers valuable musical meaning for cultivating humanity as well. It is strongly needed to utilize the linguistic characteristics of traditional music and the restoration of traditional music and the spirit in it for the future music education. The conversion of consciousness is strongly needed from the present music education which is concentrated on the Western music for the future music education, too. The music education which only loves and follows the tradition of the Western music is not good. Every traditional music of the earth is contributes to establish the musical diversity of the world. This diversity naturally should be respected. Consequently the diverse humanities of every people which have been generated in the typical context of culture and music, especially in the context of traditional music, also should be respected. All the traditional music including restored traditional music should be the center of the future music education and the traditional music should be taught on an equal footing with the Western music, and in addition to these we should teach the Western music as the master of it. Students can get a chance to form the humanity of her/his tradition, then. The international mutual assistance is indispensable to accomplish the aim of recovering humanity through the traditional music education.

국악 교수학습법 관련한 국내 연구의 융·복합적 연구 동향 분석 - 2000~2010년대를 중심으로 -

허문정(Hur, Moon Jung) 한국전시산업융합연구원 2020 한국과학예술융합학회 Vol.38 No.2

일반적으로 국악은 전통음악을 의미하며, 사람들은 흔히 양악과 구분하여 인식한다. 이러한 국악에 대한 교육은 양악과는 다른 한국 문화예술의 전통을 승계하고, 창조적 발전을 위한 활동을 의미하며, 최근에는 기존 전통적인 방식의 교육에서 탈피하고 있다. 이러한 변화는 단순히 국악을 전승하는 것이 아니라 융·복합적인 측면에서 국악 교수학습법이 현대적으로 변화함을 의미한다. 이러한 변화에도 불구하고 국악 교수학습법에 대한 연구는 제한적이다. 본 연구의 목적은 국악 교수학습법 주제 논문의 최근 연구 동향을 메타정보로부터 개략적으로 고찰하여 보기 위한 것이다. 이를 위하여 2000년대부터 2018년 말까지 간행된 국악교육 분야 박사학위논문 및 학술지 게재 논문의 연구동향을 살펴보려 한다. 분석을 위하여 동 기간동안 실제 지도 방안 및 적용 효과 등에 관해 연구를 수행한 선행연구는 워크숍 간행 논문, 학위논문의 게재 논문 및 기타 중복 논문을 제거하고, 온라인 데이터베이스 상에 공개되지 않은 채 서지정보만 공개된 논문을 배제한 결과 총 286편의 선행연구를 연구 대상으로 한다. 분석결과, 연구 대상은 초등학생에 집중되어 있으며, 지도방안, 교육과정 순으로 연구주제가 높은 것으로 나타난다. 연도별로는 2000년대 전반기에는 초등학생 대상의 지도방안 연구가 주류를 이루었으며, 2000년대 후반기에는 전반기에 비하여 교육과정에 대한 연구가 증가하였다. 다음으로 2010년대 전반기에는 음악교과서 관련 연구가 증가하였으며, 2010년 후반기에는 다시 교육과정에 대한 연구가 증가하였다. 이러한 연구결과를 바탕으로 본 연구에서는 국악교수학습법 관련 연구 흐름을 살펴봄으로써 보다 체계적인 국악 교수학습법의 연구기반을 마련하고자 한다. 또한, 후속 연구에서는 국악 교수학습법 분야의 선행연구에서 미진했던 연구 분야, 자주 채택되지 않았던 연구방법론 및 연구대상으로 잘 다뤄지지 않았던 교육 편제를 파악하고, 이로부터 새로운 연구의 방향을 찾는 작업이 수월해질 것을 기대한다. In general, korean traditional music refers to traditional music, and people often recognize it separately from wester music. This education on korean traditional music refers to the succession of the tradition of Korean culture and art, which is different from that of both musical instruments, and the activities for creative development, and has recently been breaking away from the traditional way of education. These changes mean that the method of learning Korean traditional music teaching is not merely a transfer of korean traditional music, but a modern change in the method of learning korean traditional music in terms of convergence and synthesis. Despite the changes, research on the method of teaching Korean classical music is limited. The purpose of this study is to look at the recent research trends in the thesis on the subject of the korean traditional music teaching method by overviewing them from meta-information. To this end, the research trends of doctoral dissertations in the field of Korean traditional music education and published papers in academic journals, published from the 2000s to the end of 2018, will be reviewed. A leading study that conducted research on actual guidance methods and application effects during the same period for analysis removes workshop publications, academic papers, and other duplicate papers, a total of 286 pre-research studies will be studied as a result of excluding papers that were not released on the online database but only bibliographic information. According to the analysis, the subjects of the study are concentrated on elementary school students and the subjects of the study are high in the order of teaching methods and curricula. By year, in the first half of the 2000s, the study on teaching methods for elementary school students was mainly conducted, and in the latter half of the 2000s, the study on the curriculum increased compared to the first half. Next, in the first half of the 2010s, the number of studies related to music textbooks increased, and in the latter half of 2010, the number of studies on the curriculum increased again. Based on these research results, this research aims to prepare a more systematic research foundation for the korean traditional music professors learning act by examining the flow of research related to the korean traditional music teaching method. Further, we hope that the follow-up research will make it easier to identify the areas of research that were not developed in prior research in the field of Korean traditional music teaching and learning methods, and educational subjects that were not well dealt with as subjects of research.

해방 직후(1945.8~1950.6) 남한에서의 국악의 등장과 정체성 구성

최혜진 역사학연구소 2020 역사연구 Vol.- No.38

This thesis examines in post-Liberation five years, on ‘Gugak’(國樂) identity. One of its major foci is laid on the reading of appellations and practices concerned with Korean traditional music for our understanding of the competitions Korean traditional musicians made over the subject of developing Gugak and its categories or genre. Another focus is dissertation tracks the points of inclusion and exclusion from the category of Gugak. After liberation, Traditional musicians associate their music with the ‘nation’ and call it Gugak.” Inside the traditional music world, there was severe competition over which could exclusively use the appellation of Gugak and which genre of Korean traditional music could be into the category of Gugak. Traditional music categorized as Gugak some genre of ‘court music’, ‘folk music', ‘classical music’, ‘Changgeuk’. On the other hand, nongak or farmer’s music in English was excluded from the category of Gugak. Through this process, the category of Gugak at that time included all the traditional music genres and even dance with the exception of shamanic music. More importantly, Gugak contained linguistic elements, and also visual and dramatic ones. As a result, Gugak included not only the music appealing to auditory organ but also the dance appealing to visual senses or including dramatic or performative elements. This means that musical and non-musical elements coexisted in Gugak. Competition over the genres included into Gugak was associated with the power struggles waged by the contemporary two major groups. Also, it was so with the identity struggle: which was the main genre of Gugak, or which music was the major part of Gugak. The issue of identity struggle was settled by the nationalization of Aakbu. The nationalization identified Aak(雅樂)-centered Gugak, and Aakbu-centered world of South Korean traditional music. More noteworthily, the Aak-centered identification of Gugak was related to the contemporary competition over the national legitimacy of Korea between the ROK and the DPRK. As the ROK violently settled down the issue of the identity of traditional music, the dynamism the world of South Korean traditional music were removed. As a result, this was the contemporary expressions of the process of forming the identities of Korean traditional music throughout the modern history of Korea. 본 논문은 해방 직후 전통음악이 국악으로 호명되고 정체성이 형성되는 과정을 살펴보았다. 이 과정에서 서양음악 종사자들이 민족음악 논의를 제창하고 전통음악종사자들이 자신들의 음악을 국악으로 호명하는 것에 주목하였다. 이와 함께 전통음악계 내부에서 국악의 주체와 구성 장르를 둘러싸고 상호 경쟁하는 모습을 살펴보았다. 이를 통해 국악이라는 명칭이 해방 직후에 등장한 계기, 그리고 국악원과 아악부의 ‘국’에 대한 상이한 이해, 또 담론 공간에서의 국악 장르는 음악뿐만 아니라 창극과무용 그리고 시조 등이 포함되어 있었음을 포착할 수 있었다. 또한 국악의 장르로 위치되었던 창극과 농악이 전통음악계 내부의 경쟁 과정에서 국악의 장르로부터 배제되면서, 정부 수립 직후 각각 국극과 민예로 호명·규정되었다. 해방 직후 국악의 한 장르로 위치되었던 시조와 국악의 범주에서 배제되었던 무악 역시 국악의 장르로부터 배제되었고, 이후 문학과 향토문화예술로 배치되었다. 그런데 실제 방송 프로그램이나 전통음악 관련 공연대회의 성격에 따라 국악은 기악과 성악의 한 장르로 위치되거나 반대로 민속악 전체를 의미하는 것으로 자리매김되었다. 때로는 극적이거나 언어적인 성격을 가진 줄타기와 만담 등도 포함되어있었다. 이는 국악의 범주와 정체성이 유동적이었음을 보여준다. 유동적인 국악은 당대 정치적 상황과 연동되어 국가화되었다. 대한민국 수립 직후 대한민국은 조선민주주의인민공화국의 민족 정통성 경쟁 속에서 우익적 성향을가진 아악부를 1948년 12월에 국영화하고, 1950년 1월에 국립국악원으로 국가화하였다. 이 과정에서 해방 직후 인민 대중 중심의 전통음악 논의들은 국악 논의에서 사라지게 되었고, 궁중음악인 아악은 국악으로 등식화되었다. 그 결과 아악부와 아악이 중심이 되어 국악계와 국악의 정체성은 형성되었다. 이와 같이 국악과 국악계의 정체성은 해방 후 역사·사회적 관계 속에서 구성되었다.

다문화가정 유아의 개인적, 사회·문화적 환경 변인에 따른 국악능력의 특성 분석

박형신,김정주,안정숙 한국유아교육학회 2012 유아교육연구 Vol.32 No.2

본 연구에서는 다문화가정 유아의 개인적 변인과 사회·문화적 환경 변인에 따른 국악능력의 특성이 어떠하며, 제 변인의 영향력은 각각 어떠한지를 살펴봄으로써 다문화가정 유아의 국악능력 발달을 도모하기 위한 실천방안을 모색하고자 하였다. 연구결과, 다문화가정 유아의 국악능력은 연령과 국악학습 기간, 가정의 국악환경과 어머니의 한국어 구사능력에 따라 차이가 있는 것으로 나타났으며, 다문화가정 유아의 국악능력에 대한 상대적인 영향력은 가정의 국악환경, 국악학습 기간, 어머니의 한국어 구사능력, 유아의 연령순으로 나타났다. 따라서 다문화가정 유아의 국악능력의 발달을 지원하기 위해서는 다문화가정 어머니를 포함한 부모의 국악교육에 대한 인식을 긍정적으로 변화시켜 가정 내 국악환경을 점진적으로 개선 해나갈 필요가 있으며, 국악학습의 질적인 향상 및 경험의 지속성을 함께 고려해야 하며, 다문화가정 유아의 국악능력에 영향을 미칠 수 있는 어머니의 한국어 구사능력의 발전을 동시에 지원할 필요가 있음을 논의하였다. This study purposed to examine children's characteristics of musical abilities about Korean traditional from multicultural family according to personal and socio-cultural variables. It also aimed to analyze the effect of each variable on the characteristics and provide basic materials for Korean traditional music education to children from multicultural families. According to the results of this study, children's musical abilities for Korean traditional music from multicultural family were different according to their age, periods of Korean traditional music learning, home environment for Korean traditional music, and mother's Korean proficiency. Moreover, the effect of each variable on children's musical abilities from multicultural family for orean traditional music was high in order of home environment for Korean traditional music, period of Korean traditional music learning, mother's Korean proficiency, and child's age. Accordingly, in order to develop children's musical abilities for Korean traditional music, it is necessary to improve home environment for Korean traditional music gradually through changing the perception of Korean traditional music education by including multicultural family parents such as mothers. It is also needed to enhance the quality of Korean traditional music learning and the continuity of experiences in Korean traditional music and promote mother's Korean proficiency as a potential variable for influencing on their children's musical abilities for Korean traditional music.

시각장애학교 초등과정의 국악교육 실태 연구

송용미,이해균 한국시각장애교육&재활학회 2013 시각장애연구 Vol.29 No.4

본 연구는 시각장애학교 초등과정 정규 음악수업 중, 국악교육의 실태를 조사하여 국악교육의 지도를 활성화하기 위한 기초자료를 제공하는데 목적이 있다. 이를 위해 전국 시각장애학교 음악교사를 대상으로 설문조사하여 도출된 연구 결과를 요약하면 다음과 같다. 첫째, 국악교육 시설 및 여건의 실태에서 국악교육의 경비는 대부분 학교에서 전액 지원하며, 교육은 주로 음악실에서 장소에 대한 만족도는 높았다. 국악기는 대부분 학교의 것을 사용하고 있으며, 국악교육 자료 및 기자재는 충분한 편이다. 국악교육 현장에서 국악전문인력 초빙이 가장 시급하고 음악교사 대부분 국악이 중요하다고 인식하고 있다. 둘째, 국악교육 내용과 방법의 실태에서 현재 음악교과서 외에는 거의 국악 관련 교재를 사용하지 않고 있으며, 국악교육의 목적은 우리 전통문화의식 고찰이다. 가창영역 지도는 CD/인터넷 등 멀티미디어를 주로 활용하고 있으며, 가장 자신있는 지도 분야는 동요 및 민요 등 이다. 국악교육 내용 수집 방법은 인터넷을 활용이 많으며, 교사의 교육계획 수립은 달성되고 있는 편이다. 학생은 국악수업을 대부분 이해하고 있으나 이해도가 떨어지는 경우는 국악 기초 내용 부족이 원인이며, 평가 방법은 학생의 평소 수업태도를 통한 수시평가를 실시하고 있다. 이러한 연구 결과를 근거로 하여 후속 연구에 필요한 사항을 제언하였다. This study examined the status of the Korean traditional music education in all elementary schools for students with visual impairments. Its purpose was to provide basic data for the development of the Korean traditional music education by discovering problems in the Korean traditional music education. The results of this study based on the analysis of the surveys conducted on 24 Korean traditional music education teachers in elementary schools for the visually impaired, are as follows. First, all 24 teachers did not major in the Korean traditional music education and have no certificates related to the Korean traditional music. Although their recognition of the importance of the Korean traditional music education has improved compared to the one in the past, they still put more emphasis on the western music. They were less satisfied with insufficient facilities and instruments of the Korean traditional music. They also had difficulties in providing professional education, so they wanted more professional Korean traditional music guest lecturers. Second, The contents of textbooks are not good enough for the Koran traditional music education. The instrumental music education is stronger than the past and more focus is still placed on the education of songs. Students’ level of understanding of the Korean traditional music education is relatively higher, but the teachers who complained about their dissatisfaction cited low quality of their classes and low skills as the main reasons.

지역 국악 활성화 방안 연구 : 청주시를 중심으로

이경희 청주대학교 학술연구소 2012 淸大學術論集 Vol.19 No.-

In this research, discussed are how Korean traditional music, excluded from the public education and therefore on the decline since the Japanese occupation through a certain period of time after the Liberation in 1945, has developed to the present state, and what conditions should be presented by adopting such factors in order to revitalize locally Korean traditional music in Cheongju Since a department of Korean traditional music was first established at the Seoul National University in 1959, many universities around the country founded a department of Korean traditional music, and in many local areas public orchestras for Korean traditional music where most graduates could play Korean traditional music were launched. Also a competition for Korean traditional music at the national level was held to give an opportunity for cultivating talented Korean musicians. It seems that all of these factors contributed to the growth of Korean traditional music. In consideration of these findings, it is concluded that the following factors should be practiced in order to revitalize locally Korean traditional music in Cheongju: First, a department of Korean traditional music should be established at the Chungbuk National University located in Cheongju. Second, the National Institute of Korean traditional music should be built in Cheongju. Third, a national competition for Korean traditional music commemorating Dr. Jang Sa-hun should be regularly held in Cheongju.

아일랜드 전통음악의 현재화

안은지 ( Ahn Eun Gee ) 민족음악학회 2021 음악과 민족 Vol.- No.62

아일랜드의 전통음악은 전통 속에 갇혀 있지 않고, 현재의 삶과 함께하는 살아 숨 쉬는 음악으로 향유되고 있다. 아일랜드 전통음악의 현재화는 수많은 아일랜드 튠 및 민요의 수집과 출판으로 인한 전통음악 선율의 축적으로부터 시작된다. 전통음악의 현재화는 곧 전통음악의 문화화(enculturation)와 관련된다. 아일랜드 전통음악의 문화화는 가족, 지역사회 및 기관 등에서 제공하는 다양한 학습 경험에 크게 의존한다. 아일랜드 음악인협회(CCÉ)의 지부, 여름학교, 축제 등에서 제공하는 전통음악 수업과, 곳곳에서 참여할 수 있는 세션을 통해 함께 연주하면서 전통음악이 오늘날의 문화의 한 부분으로 수용되고 다음 세대로 이어지고 있는 것이다. 본 연구에서는 전통음악 문화를 오늘날의 문화로 이어지게 하는 데 아일랜드의 음악세션, 음악협회, 음악축제와 같은 요인이 어떻게 적용되었는지 알아보고자 하였다. 세션은 누구나 어디서나 음악만들기를 할 수 있게 하고 즐길 수 있게 하는 기능을 감당한다. 음악협회는 전통음악이 계속해서 향유되도록 하는 가장 근본적인 기관으로 전통음악 관련 수업과 축제 등을 조직하고 운영하고 있다. 축제는 끊임없이 전통음악에 젖어들도록 하는, 그래서 모든 세대의 음악적 감수성이 전통음악을 향해 열려있게 하고 있다. 또한 음악축제의 다양성, 다회성으로 전통음악에 대한 국민적 관심의 증대와 관광객을 끌어들이는 역할을 감당하고 있다. 이 연구를 통해 전통음악이 아일랜드인들의 정체성 함양에 기여하며, 전통음악 축제와 곳곳에서 이루어지는 세션을 통해 전통음악 문화가 상품화 되며 사회적으로 유용한 가치를 창출하는 것을 확인 할 수 있었다. Irish traditional music is not trapped in tradition, but is enjoyed as a living and breathing music with the present life. The currentization of Irish traditional music begins with the accumulation of traditional music tunes through the collection and publication of numerous Irish tunes and folk songs. The presentization of traditional music is directly related to the enculturation of traditional music. The culturalization of traditional Irish music relies heavily on the diverse learning experiences provided by families, communities and institutions. Traditional music classes provided by the Irish Musicians Association (CCÉ) branches, summer schools, festivals, etc. and through sessions that can be participated in various places, traditional music is accepted as part of today's culture and passed on to the next generation. This study attempted to find out how factors such as Irish music sessions, music associations, and music festivals were applied to lead traditional music culture to today's culture. Sessions have a function that allows anyone to make music anywhere and enjoy it. The Music Association is the most fundamental institution to continue enjoying traditional music, and it organizes and operates classes and festivals related to traditional music. The diversity and pluralism of music festivals play a role in increasing public interest in traditional music and attracting tourists. Through this study, it was confirmed that traditional music contributes to the cultivation of the identity of the Irish people, and traditional music culture is commercialized through traditional music festivals and sessions held in various places, creating socially useful values.