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    고든의 오디에이션 이론에 기초한 초등음악수업에서의 즉흥연주지도 = Teaching Audiation-based Improvisation in Elementary Music Class

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    https://www.riss.kr/link?id=A100120572

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

    Successful improvisation is dependent on the recognition of relationships among musical elements and the assimilation of the syntactic feature of the music. In order to be able to manipulate the structures of music into an organized, spontaneous, meaningful performance, students should create organized musical meaning in their thought process. Gordon coined the term “audiation” to describe the process of making musical meaning. Audiation is the ability to hear and to comprehend music for which the sound is not physically present, is no longer physically present, or may never have been physically present. Audiation is the ability to think musically. Although music is not a language, the process is the same for audiating and giving meaning to music as for thinking and giving meaning to language. The highly skilled audiators can recognize familiar music, identify unfamiliar parts on the basis of their relationship to familiar parts, and give meaning to the whole. They can also retain the understanding of musical sound over and over and draws on their understanding to improvise music. The more accurately students are able to audiate musical patterns, the better they can improvise music and eventually establish music understanding. For successful improvisation, it is vital to develop a larger vocabulary of musical patterns, and organize and restructure the patterns. Therefore the purpose of this study is to improve students` audiation and improvisation abilities and enhance their musical understanding using Gordon`s audiation-based improvisation activities and sample lesson plans in elementary music class. The sample lesson plans provide music teachers with knowledge and tools to develop students` audiation within the context of traditional music teaching practice. Gordon`s music learning theory gives a powerful way to enhance the many things music teachers already do well. Although they do not directly apply Gordon`s music learning theory to their music class, they would be able to help the enhancement of students` audiation and improvisation ability by teaching the skills and contents students learn in music class applied to music learning theory. Some guidelines that help teachers apply the suggested improvisation activities and sample lesson plans to their music class are as follows: First, to improvise meaningfully, students should spend enough time listening to a song and sing it while audiating, then improvise. Second, teachers have musical ear and competency so that they can provide accurate modeling and feedback. Third, it is desirable that the steps to improvisation should be modeling, audiating, whole class improvising, and individual improvising. Last, the introduction of music notation is somewhat delayed until stu- dents` executive audiation vocabulary of rhythm patterns and tonal patterns are developed. Based on this study, it is expected that the effectiveness of the audiation-based improvisation activities and sample elementary music lesson plans would be carried out in the further study.
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    Successful improvisation is dependent on the recognition of relationships among musical elements and the assimilation of the syntactic feature of the music. In order to be able to manipulate the structures of music into an organized, spontaneous, mean...

    Successful improvisation is dependent on the recognition of relationships among musical elements and the assimilation of the syntactic feature of the music. In order to be able to manipulate the structures of music into an organized, spontaneous, meaningful performance, students should create organized musical meaning in their thought process. Gordon coined the term “audiation” to describe the process of making musical meaning. Audiation is the ability to hear and to comprehend music for which the sound is not physically present, is no longer physically present, or may never have been physically present. Audiation is the ability to think musically. Although music is not a language, the process is the same for audiating and giving meaning to music as for thinking and giving meaning to language. The highly skilled audiators can recognize familiar music, identify unfamiliar parts on the basis of their relationship to familiar parts, and give meaning to the whole. They can also retain the understanding of musical sound over and over and draws on their understanding to improvise music. The more accurately students are able to audiate musical patterns, the better they can improvise music and eventually establish music understanding. For successful improvisation, it is vital to develop a larger vocabulary of musical patterns, and organize and restructure the patterns. Therefore the purpose of this study is to improve students` audiation and improvisation abilities and enhance their musical understanding using Gordon`s audiation-based improvisation activities and sample lesson plans in elementary music class. The sample lesson plans provide music teachers with knowledge and tools to develop students` audiation within the context of traditional music teaching practice. Gordon`s music learning theory gives a powerful way to enhance the many things music teachers already do well. Although they do not directly apply Gordon`s music learning theory to their music class, they would be able to help the enhancement of students` audiation and improvisation ability by teaching the skills and contents students learn in music class applied to music learning theory. Some guidelines that help teachers apply the suggested improvisation activities and sample lesson plans to their music class are as follows: First, to improvise meaningfully, students should spend enough time listening to a song and sing it while audiating, then improvise. Second, teachers have musical ear and competency so that they can provide accurate modeling and feedback. Third, it is desirable that the steps to improvisation should be modeling, audiating, whole class improvising, and individual improvising. Last, the introduction of music notation is somewhat delayed until stu- dents` executive audiation vocabulary of rhythm patterns and tonal patterns are developed. Based on this study, it is expected that the effectiveness of the audiation-based improvisation activities and sample elementary music lesson plans would be carried out in the further study.

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    참고문헌 (Reference)

    1 임미경, "음악교수법" 학지사 2010

    2 양종모, "음악 6" 금성출판사 2011

    3 양종모, "음악 5" 금성출판사 2011

    4 Laughlin, J. E., "The use of notated and aural exercises as pedagogical procedures intended to develop harmonic accuracy among beginning jazz improviser" 63 : 534-, 2002

    5 Davison, P. D., "The role of self-efficacy and modeling in improvisation: The effects of aural and aural/notated modeling condition on intermediate instructional music students'improvisation achievement" 68 : 540-, 2006

    6 Sadie, S., "The new Grove dictionary of music and musicians" Oxford University Press 2003

    7 Sloboda, J. A., "The musical mind: The cognition psychology of music" Oxford University Press 1985

    8 Guilbault, D. M., "The effect of harmonic accompaniment on the tonal improvisation of students in first through sixth grade" 57 (57): 81-91, 2009

    9 Guilbault, D. M., "The effect of harmonic accompaniment on the tonal achievement and tonal improvisation of children in kindergarten and first grade" 52 (52): 64-76, 2004

    10 Watson, K. E., "The effect of aural versus notated instructional materials on achievement and self-efficacy in jazz improvisation" 58 (58): 240-259, 2010

    1 임미경, "음악교수법" 학지사 2010

    2 양종모, "음악 6" 금성출판사 2011

    3 양종모, "음악 5" 금성출판사 2011

    4 Laughlin, J. E., "The use of notated and aural exercises as pedagogical procedures intended to develop harmonic accuracy among beginning jazz improviser" 63 : 534-, 2002

    5 Davison, P. D., "The role of self-efficacy and modeling in improvisation: The effects of aural and aural/notated modeling condition on intermediate instructional music students'improvisation achievement" 68 : 540-, 2006

    6 Sadie, S., "The new Grove dictionary of music and musicians" Oxford University Press 2003

    7 Sloboda, J. A., "The musical mind: The cognition psychology of music" Oxford University Press 1985

    8 Guilbault, D. M., "The effect of harmonic accompaniment on the tonal improvisation of students in first through sixth grade" 57 (57): 81-91, 2009

    9 Guilbault, D. M., "The effect of harmonic accompaniment on the tonal achievement and tonal improvisation of children in kindergarten and first grade" 52 (52): 64-76, 2004

    10 Watson, K. E., "The effect of aural versus notated instructional materials on achievement and self-efficacy in jazz improvisation" 58 (58): 240-259, 2010

    11 Gordon, E. E., "Taking a look at music learning theory" 8 (8): 3-8, 1995

    12 Gordon, E. E., "Rhythm: Contrasting the implications of audiation and notation" GIA Publications 2000

    13 Kratus, J., "Relationships among children's music audiation and their compositional processes and products" 42 (42): 115-130, 1994

    14 Walters, D. L., "Readings in music learning theory" GIA Publications 1989

    15 Seashore, C. E., "Psychology of music" McGraw-Hill 1938

    16 Gromko, J. E., "Predictors of music sight-reading ability in high school wind players" 52 (52): 6-15, 2004

    17 Serafine, M. L., "Music as cognition:The development of thought in music" Columbia University Press 1988

    18 Gordon, E. E., "Learning sequence in music: Skill, content, and patterns" GIA Publications 2007

    19 Grunow, R. F., "Jump right in: The instrumental series" GIA Publications 1989

    20 Gordon, E. E., "Implications in the music classroom" GIA Publications 2003

    21 Brophy, T. J., "Developing improvisation in general music classes" 88 (88): 34-41, 2001

    22 "Classroom activities"

    23 Azzara, C. D., "Audiation-based improvisation techniques and elementary instrumental students' music achievement" 41 (41): 328-342, 1993

    24 Azzara, C. D., "Audiation, improvisation, and music learning theory" 2 (2): 105-109, 1991

    25 Azzara, C. D., "An aural approach to improvisation" 86 (86): 21-25, 1999

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