01 음악교육론 5

Ⅰ. 음악과 교육과정 6
 1. 음악과 교육과정의 개발 ······································································································ 6
 2. 음악과 교육과정의 원리 ······································································································ 8
 3. 우리나라 음악과 교육과정의 변천 ······················································································ 10
 4. 음악과 교육과정의 활용 ······································································································ 16
 5. 음악과 교육과정과 교과서 평가기준 ·················································································· 17

Ⅱ. 음악교육철학 21
 1. 개괄 ····································································································································· 21
 2. 음악교육철학 ························································································································· 24
 3. 예악론 ···································································································································· 35

Ⅲ. 음악교육 미학 39
 1. 음악미학 ······························································································································ 39
 2. 대표적인 음악교육 미학적 관점 ·························································································· 39
 3. 심미적 경험의 특성 ·············································································································· 45

Ⅳ. 베넷 리머의 음악교육 철학 47
 1. 역사적 배경과 음악교육철학의 변천 ················································································ 47
 2. 심미적 음악교육 ··················································································································· 48
 3. 경험중심 음악교육철학 ········································································································ 52

Ⅴ. 엘리엇(D. J. Eliott)의 실천주의 음악교육론 61
 1. 배경 ······································································································································· 61
 2. Music Matters 제1판에 나타난 엘리엇의 음악교육론 ···················································· 61
 3. Music Matters 제2판에 나타난 개정된 교육론 ······························································· 65

Ⅵ. 음악교육사 76
 1. 서양 음악교육의 역사 ·········································································································· 76
 2. 우리나라 음악교육의 역사 ··································································································· 91

Ⅶ. 음악교육심리학 96
 1. 교육심리학과 음악교육 ········································································································ 96
 2. 음악심리이론 ·························································································································110
 3. 음악적 능력의 발달이론 ····································································································121

Ⅷ. 음악교육공학 127
 1. 개괄 ·····································································································································127
 2. 음악교육에서 공학기술 활용의 역사 ··················································································127
 3. 음악교육과 디지털 공학 ······································································································128
 4. ICT를 활용한 음악교육 ········································································································134

Ⅸ. 음악과의 평가 139
 1. 음악과 평가의 이해 ··············································································································139
 2. 음악과 수행평가의 이해 ····································································································150

Ⅹ. 달크로즈 교수법 158
 1. 달크로즈(Emile Jaques-Dalcroze 1865-1950)의 생애와 주요 활동 ······························158
 2. 교육철학과 교육원리 ··········································································································159
 3. 교수방법 ································································································································161

Ⅺ. 코다이 교수법 179
 1. 코다이(Zoltan Kodaly,1882-1967 헝가리)의 생애와 작품 ··············································179
 2. 음악교육철학 ·························································································································180
 3. 교수 ․ 학습 이론 ····················································································································183
 4. 코다이 주요 연습곡 ············································································································190

Ⅻ. 오르프 교수법 194
 1. 오르프(Carl Orff 1895-1982 독일) ·····················································································194
 2. 오르프-슐베르크(Orff-Schulwerk)의 철학과 원리 ·······························································196
 3. 음악교육내용(음악교육 방법) ·······························································································200

XIII. 고든 교수법 214
 1. 고든(Edwin Gordon)의 음악학습이론 ·················································································214
 2. 오디에이션(Audiation) ···········································································································214
 3. 내용학습이론 (내용 연계 학습 이론) ··················································································218
 4. 기술 연계 학습 이론(skill leaning sequence) ································································223
  5. Spiraling(건너뛰기) ················································································································226

XIV. 포괄적 음악교육론 227
 1. 배경 ·····································································································································227
 2. 포괄적 음악교육 관련 주요 세미나와 내용 ·······································································227
 3. 포괄적 음악성 ·······················································································································232
 4. MMCP(Manhattanville Music Curriculum Program) ·························································233

XV. 현대음악교수법 238
 1. 통합적 음악학습단계 이론(Comprehensive Music Learning Sequence, CMLS) ··········238
 2. 생성적 교수법(Generative Music Approach) ·····································································240
 3. 인지적 도제이론 ···················································································································249
 4. 협동학습 이론 ·······················································································································250

02 부록 255
 1. 음악과 교육과정의 변천 ····································································································256
 2. 내용영역의 변천 ···················································································································258
 3. 2015 개정 음악과 교육과정 ·······························································································259
 4. 철학적 관점 비교표 ············································································································277
 5. 음악교육 미학 사조별 보충자료 ························································································280
 6. 웹스터 창의성 모형 ··············································································································284
 7. 스와닉과 틸만의 음악발달 모형 ························································································284
 8. 교과서에 제시된 컴퓨터 음악 ·····························································································285
 9. 콜웰의 음악성취검사의 구성 ·····························································································290

03 2015개정 교육과정 293
 초 ․ 중등학교 교육과정 총론 ···································································································294
 음악과 교육과정 ·······················································································································313