문화예술교육사를 위한 음악 교수·학습방법
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| Publication Date | 2023/08/20 |
| Pages/Weight/Size | 188*257*30mm |
| ISBN | 9788925418148 |
| Categories | 대학교재 > 사범대 계열 |
Description
이 책에서는 다양한 수업이론과 수업모형, 동기 유발, 음악 교수 방법(music teaching method), 그리고 음악 수업 설계를 실제로 하는 방법 등에 대하여 구체적으로 다루고 있다. 문화예술 교사들은 여러 예술 분야의 전문가들이며, 특히 음악을 전공한 교사들은 음악에 관하여 많은 훈련을 받은 사람들이다. 이들이 ‘음악을 효율적으로 지도하는 방법’에 대한 지식을 쌓고 훈련을 받는다면, 누구를 대상으로 하든지 뛰어난 음악 교육, 그리고 성공적인 음악 수업을 수행할 수 있을 것이다.
Contents
머리말 / 3
제1장 교수 · 학습 과정 ·····································································11
1. 교수 · 학습 과정의 이해 ··························································13
가. 학습을 바라보는 세 가지 관점 ··············································13
나. 교사와 학습자의 역할 ·······················································14
다. 학습 공간 ·····································································17
라. 수업 방식 ·····································································19
2. 교수 · 학습 과정 모형 ····························································23
가. 글레이저 수업모형 ···························································23
나. 블룸의 완전학습 모형 ·······················································25
다. 가네의 수업모형 ······························································26
라. 오수벨의 수업모형 ···························································28
마. 프로젝트 수업모형 ···························································29
바. 인지적 도제학습 모형 ·······················································29
3. 교수 · 학습 과정 모형 활용상의 유의점 ·········································31
제2장 학습이론과 동기이론의 이해 ······················································33
1. 학습이론과 음악교육 ······························································35
가. 행동주의 학습이론 ···························································35
나. 인지주의 학습이론 ···························································36
다. 사회인지 학습이론 ···························································40
라. 인본주의 학습이론 ···························································42
2. 동기이론의 이해 ··································································44
가. 동기와 학습의 관계 ··························································45
나. 내재적 동기와 외재적 동기 ·················································47
다. 학습동기이론 ·································································49
제3장 학습유형과 대상에 따른 창의적 동기유발 ······································53
1. 학습과 동기유발 ··································································55
가. 학습 동기유발의 중요성 ·····················································55
나. 학습에서의 동기유발 요소 ···················································55
다. 음악학습에서의 동기유발 ····················································56
2. 음악 활동 영역에 따른 학습 동기유발 ··········································59
가. 듣기와 감상 ··································································59
나. 노래 부르기 ··································································62
다. 악기 연주 ·····································································65
라. 음악 창작 ·····································································69
3. 학습대상의 특성을 고려한 동기유발 ·············································75
가. 유아기 ·········································································75
나. 아동기 ·········································································76
다. 청소년기 ······································································78
라. 일반 성인 ·····································································80
마. 장애인 ·········································································81
제4장 학습자 중심의 음악교육 환경 구성 ··············································83
1. 구성주의와 음악교육 ······························································85
가. 구성주의의 배경 ······························································85
나. 구성주의의 인식론적 특징 ···················································89
다. 구성주의 관점에서의 음악교육 ··············································93
2. 학습자 중심의 음악교육 환경 ···················································101
가. 학습자 중심 교육의 특징 ···················································101
나. 학습자 중심의 음악교육 ····················································103
제5장 음악 교수 · 학습 모형 1 ··························································115
1. 음악과 교수 · 학습모형 ··························································117
가. 가창 수업 ····································································117
나. 기악 수업 ····································································118
다. 창작 수업 ····································································119
라. 감상 수업 ····································································121
2. 캐나다 온타리오주의 창의적 과정과 비판적 분석과정을 통한 음악교육 ·····123
가. 음악교육과 창의적 과정 ····················································123
나. 음악교육과 비판적 분석과정 ···············································126
3. 문제해결을 위한 음악과 학습 모형 ·············································128
가. 문제중심 학습 ·······························································131
나. 프로젝트 학습 ·······························································136
다. Arts PROPEL의 연주 도메인 프로젝트 ····································141
라. 인지적 도제이론 ····························································146
제6장 음악 교수 · 학습 모형 2 ··························································153
1. 음악과 협동학습 ·································································155
가. 음악과에서의 협동학습 ·····················································155
나. 음악과 협동학습에서의 교사와 학생의 역할 ······························157
다. 협동학습을 적용한 음악교육 ···············································158
라. 음악과 협동학습 모형을 적용한 수업 ·····································163
2. 통합적 음악교육을 위한 학습 ···················································167
가. 주제중심 통합교육 수업안 1 ···············································168
나. 주제중심 통합교육 수업안 2 ···············································171
다. 주제중심 통합교육 수업안 3 ···············································173
제7장 달크로즈 교수법 ····································································177
1. 달크로즈 교수법의 개요 ·························································179
가. 목적 ··········································································179
나. 주요 개념 ····································································180
2. 달크로즈 교수법의 주요 영역 ···················································183
가. 유리드믹스(eurhythmics) ····················································184
나. 솔페이즈(solfe?ge) ····························································186
다. 즉흥연주(improvisation) ····················································188
3. 달크로즈 교수법을 적용한 교수 · 학습 사례 ···································189
가. 유리드믹스의 적용 ··························································190
나. 솔페이즈의 적용 ····························································192
다. 즉흥연주의 적용 ····························································193
제8장 코다이 교수법 ·······································································195
1. 코다이 교수법의 개요 ···························································197
가. 코다이 교수법의 원리 ······················································197
2. 코다이 교수법의 지도방법 ······················································200
가. 이동도법 계명창 ····························································201
나. 손기호 ·······································································202
다. 리듬음절 ·····································································203
라. 그 외 지도방법 ······························································205
3. 코다이 교수법을 적용한 교수 · 학습 사례 ·····································207
가. 교수 · 학습 활동 예시 ······················································207
나. 교수 · 학습 사례 ·····························································209
제9장 오르프 접근법 ·······································································213
1. 오르프 접근법의 교수법적 요소 ················································215
가. 모방 ··········································································215
나. 탐색 ··········································································216
다. 독보 및 기보 ································································218
라. 즉흥연주 ·····································································218
2. 오르프 접근법의 학습 매체 ·····················································219
가. 듣기 ··········································································219
나. 말하기 ·······································································220
다. 노래 부르기 ·································································221
라. 신체 움직임 ·································································221
마. 악기 연주 ····································································222
3. 오르프 접근법을 적용한 교수 · 학습 사례 ·····································225
제10장 포괄적 음악성 접근법 ····························································231
1. 포괄적 음악성 접근법의 원리 ···················································233
가. 공통요소 접근 ·······························································233
나. 음악가적 기능 ·······························································235
다. 포괄적 교육 전략 ···························································237
2. 포괄적 음악성 접근법의 적용 ···················································238
가. 수업 목표 ····································································238
나. 악곡 선택 ····································································239
다. 악곡 분석 ····································································239
라. 기대 결과 ····································································240
마. 교수전략 ·····································································240
바. 평가 ··········································································242
3. 포괄적 음악성 접근법 사례: 사라스폰다 ·······································242
가. 악곡 선택 ····································································243
나. 수업 목표 ····································································243
다. 악곡 분석 ····································································244
라. 교수 전략 및 평가 ··························································244
마. 기대 결과 ····································································248
제11장 문화예술교육으로서 음악교육을 위한 수업설계실습 1(교육목표 설정) ·············251
1. 음악수업의 구조화 ·······························································253
가. 목표의 설정 ·································································253
나. 내용의 선정 ·································································255
2. 문화예술교육의 음악수업 설계 과정 ···········································257
가. 음악수업 설계의 원리 ······················································257
나. 음악수업 설계 절차 ·························································260
다. 수업지도안 구성 ····························································263
라. 교수 · 학습 자료 선정 ······················································267
마. 평가도구 개발 ·······························································268
제12장 문화예술교육으로서 음악교육을 위한 수업설계실습 2(교수 · 학습 과정 설계) ···271
1. 음악수업안 작성의 실제 ·························································273
가. 수업계획안 작성의 실제 ····················································273
나. 차시별 지도안 작성의 실제 ················································277
2. 수업실행 및 반성 ································································286
가. 수업실행 ·····································································287
나. 수업반성 ·····································································288
참고문헌 ·············································································292
찾아보기 ·············································································295
제1장 교수 · 학습 과정 ·····································································11
1. 교수 · 학습 과정의 이해 ··························································13
가. 학습을 바라보는 세 가지 관점 ··············································13
나. 교사와 학습자의 역할 ·······················································14
다. 학습 공간 ·····································································17
라. 수업 방식 ·····································································19
2. 교수 · 학습 과정 모형 ····························································23
가. 글레이저 수업모형 ···························································23
나. 블룸의 완전학습 모형 ·······················································25
다. 가네의 수업모형 ······························································26
라. 오수벨의 수업모형 ···························································28
마. 프로젝트 수업모형 ···························································29
바. 인지적 도제학습 모형 ·······················································29
3. 교수 · 학습 과정 모형 활용상의 유의점 ·········································31
제2장 학습이론과 동기이론의 이해 ······················································33
1. 학습이론과 음악교육 ······························································35
가. 행동주의 학습이론 ···························································35
나. 인지주의 학습이론 ···························································36
다. 사회인지 학습이론 ···························································40
라. 인본주의 학습이론 ···························································42
2. 동기이론의 이해 ··································································44
가. 동기와 학습의 관계 ··························································45
나. 내재적 동기와 외재적 동기 ·················································47
다. 학습동기이론 ·································································49
제3장 학습유형과 대상에 따른 창의적 동기유발 ······································53
1. 학습과 동기유발 ··································································55
가. 학습 동기유발의 중요성 ·····················································55
나. 학습에서의 동기유발 요소 ···················································55
다. 음악학습에서의 동기유발 ····················································56
2. 음악 활동 영역에 따른 학습 동기유발 ··········································59
가. 듣기와 감상 ··································································59
나. 노래 부르기 ··································································62
다. 악기 연주 ·····································································65
라. 음악 창작 ·····································································69
3. 학습대상의 특성을 고려한 동기유발 ·············································75
가. 유아기 ·········································································75
나. 아동기 ·········································································76
다. 청소년기 ······································································78
라. 일반 성인 ·····································································80
마. 장애인 ·········································································81
제4장 학습자 중심의 음악교육 환경 구성 ··············································83
1. 구성주의와 음악교육 ······························································85
가. 구성주의의 배경 ······························································85
나. 구성주의의 인식론적 특징 ···················································89
다. 구성주의 관점에서의 음악교육 ··············································93
2. 학습자 중심의 음악교육 환경 ···················································101
가. 학습자 중심 교육의 특징 ···················································101
나. 학습자 중심의 음악교육 ····················································103
제5장 음악 교수 · 학습 모형 1 ··························································115
1. 음악과 교수 · 학습모형 ··························································117
가. 가창 수업 ····································································117
나. 기악 수업 ····································································118
다. 창작 수업 ····································································119
라. 감상 수업 ····································································121
2. 캐나다 온타리오주의 창의적 과정과 비판적 분석과정을 통한 음악교육 ·····123
가. 음악교육과 창의적 과정 ····················································123
나. 음악교육과 비판적 분석과정 ···············································126
3. 문제해결을 위한 음악과 학습 모형 ·············································128
가. 문제중심 학습 ·······························································131
나. 프로젝트 학습 ·······························································136
다. Arts PROPEL의 연주 도메인 프로젝트 ····································141
라. 인지적 도제이론 ····························································146
제6장 음악 교수 · 학습 모형 2 ··························································153
1. 음악과 협동학습 ·································································155
가. 음악과에서의 협동학습 ·····················································155
나. 음악과 협동학습에서의 교사와 학생의 역할 ······························157
다. 협동학습을 적용한 음악교육 ···············································158
라. 음악과 협동학습 모형을 적용한 수업 ·····································163
2. 통합적 음악교육을 위한 학습 ···················································167
가. 주제중심 통합교육 수업안 1 ···············································168
나. 주제중심 통합교육 수업안 2 ···············································171
다. 주제중심 통합교육 수업안 3 ···············································173
제7장 달크로즈 교수법 ····································································177
1. 달크로즈 교수법의 개요 ·························································179
가. 목적 ··········································································179
나. 주요 개념 ····································································180
2. 달크로즈 교수법의 주요 영역 ···················································183
가. 유리드믹스(eurhythmics) ····················································184
나. 솔페이즈(solfe?ge) ····························································186
다. 즉흥연주(improvisation) ····················································188
3. 달크로즈 교수법을 적용한 교수 · 학습 사례 ···································189
가. 유리드믹스의 적용 ··························································190
나. 솔페이즈의 적용 ····························································192
다. 즉흥연주의 적용 ····························································193
제8장 코다이 교수법 ·······································································195
1. 코다이 교수법의 개요 ···························································197
가. 코다이 교수법의 원리 ······················································197
2. 코다이 교수법의 지도방법 ······················································200
가. 이동도법 계명창 ····························································201
나. 손기호 ·······································································202
다. 리듬음절 ·····································································203
라. 그 외 지도방법 ······························································205
3. 코다이 교수법을 적용한 교수 · 학습 사례 ·····································207
가. 교수 · 학습 활동 예시 ······················································207
나. 교수 · 학습 사례 ·····························································209
제9장 오르프 접근법 ·······································································213
1. 오르프 접근법의 교수법적 요소 ················································215
가. 모방 ··········································································215
나. 탐색 ··········································································216
다. 독보 및 기보 ································································218
라. 즉흥연주 ·····································································218
2. 오르프 접근법의 학습 매체 ·····················································219
가. 듣기 ··········································································219
나. 말하기 ·······································································220
다. 노래 부르기 ·································································221
라. 신체 움직임 ·································································221
마. 악기 연주 ····································································222
3. 오르프 접근법을 적용한 교수 · 학습 사례 ·····································225
제10장 포괄적 음악성 접근법 ····························································231
1. 포괄적 음악성 접근법의 원리 ···················································233
가. 공통요소 접근 ·······························································233
나. 음악가적 기능 ·······························································235
다. 포괄적 교육 전략 ···························································237
2. 포괄적 음악성 접근법의 적용 ···················································238
가. 수업 목표 ····································································238
나. 악곡 선택 ····································································239
다. 악곡 분석 ····································································239
라. 기대 결과 ····································································240
마. 교수전략 ·····································································240
바. 평가 ··········································································242
3. 포괄적 음악성 접근법 사례: 사라스폰다 ·······································242
가. 악곡 선택 ····································································243
나. 수업 목표 ····································································243
다. 악곡 분석 ····································································244
라. 교수 전략 및 평가 ··························································244
마. 기대 결과 ····································································248
제11장 문화예술교육으로서 음악교육을 위한 수업설계실습 1(교육목표 설정) ·············251
1. 음악수업의 구조화 ·······························································253
가. 목표의 설정 ·································································253
나. 내용의 선정 ·································································255
2. 문화예술교육의 음악수업 설계 과정 ···········································257
가. 음악수업 설계의 원리 ······················································257
나. 음악수업 설계 절차 ·························································260
다. 수업지도안 구성 ····························································263
라. 교수 · 학습 자료 선정 ······················································267
마. 평가도구 개발 ·······························································268
제12장 문화예술교육으로서 음악교육을 위한 수업설계실습 2(교수 · 학습 과정 설계) ···271
1. 음악수업안 작성의 실제 ·························································273
가. 수업계획안 작성의 실제 ····················································273
나. 차시별 지도안 작성의 실제 ················································277
2. 수업실행 및 반성 ································································286
가. 수업실행 ·····································································287
나. 수업반성 ·····································································288
참고문헌 ·············································································292
찾아보기 ·············································································295