Comparison and Analysis of Music Education Theories of Dalcroze, Kodály and Orff Hye-ju Jeong Major in Music Graduate School of Education Jeonju University Adviser : Professor Young-shin kim Music education curriculum in Korea has changed and developed from period of syllabus right after the ...
Comparison and Analysis of Music Education Theories of Dalcroze, Kodály and Orff Hye-ju Jeong Major in Music Graduate School of Education Jeonju University Adviser : Professor Young-shin kim Music education curriculum in Korea has changed and developed from period of syllabus right after the liberation in 1945 to the 7th curriculum by accepting social, academic demand widely each time when it had been revised. The first syllabus period, singing and theory-focused education had been performed for gentle and mild nature. Afterward, the curriculum has turned into the contents about sensibility through expression deepening and appreciation beyond the singing and basic theories. Also, educational objectives are aimed at harmonious character building, devotion to the country and to the people by enhancing the general wisdom, but they has been changed into creative development and emotion cultivation. Recently, the core of revised curriculum in 2007 is the expressive activities and music as a life. The music education is aimed at providing the basis so as to develop musical abilities and creativity and to aware the music value and to make music a part of life by cultivating the abundant musical feeling and patriotism. Music education curriculum in Korea is almost similar to the educational theories and ideology of Dalcroze, Kodály and Orff as it has been turned into theirs. This is because the curriculum or objectives of music have accepted the universal values as Korea has grown as a stable culture nation away from the vulnerable society such as Japanese colonial rule and Korean Civil War. Therefore, the educational methods that apply the theories of Dalcroze, Kodály and Orff are as follows. The teaching method in phases should be applied as they claimed based on the aim of music curriculum in 2007 - students are able to go through the beauty of music based on various music that is suitable for students' level and varied learning activities. Melody is read as two notes begin adding one by one, the length of main sound is first taught and other one is added or a eighth note and a half note follow quarter note. Also, the followings are the examples of systematic instruction defined music sheet with two or tree lines can replace staff notation to make it easy to read and write, the firs letter for tonic sol-fa can be used and pole can only be used without note or tag. To accomplish the second aim-to express music that are appropriate for students, impromptu expression can be applied. Impromptu expression has begun from Dalcroze's eurhythmics and it can be applied in the various way such as physical expression, voice expression, musical instrument expression. At this time, student are taught to express freely. To understand the musical concepts, the third aim, Dalcroze's eurhythmics would be applied. Music is expressed through the physical movements in a class and various musical concepts are formed. The musical concepts are intensified. Sometimes, learning starts from the concept such as that a song is getting louder. For example, they can established by activating step intervals. Afterward, we can hear crescendo much better. To teach and intensify, physical movements can be used such as Orff's clapping, stamping, hitting knees. Kodály's musical measure of rhythm or hand signs as a method of reading music are utilized for students to grasp a musical score. To achieve the fourth aim, to love music and to participate in musical activities, the method of singing songs they emphasized can be applied. At this time, rhythm accompaniment and chord accompaniment with improvisation can be accompanied to synthetically grasp the music not only focused on practicing songs. aesthetic insight can be cultivated by students listening to music and expressing their opinion. Above all, it is important to have an interest in new teaching method and materials as well as to appreciate and apply the music educational theories of Dalcroze, Kodály and Orff and better musical pleasure should be delivered to students. For this, teachers should be reeducated ceaselessly so that they can develop the new teaching methods to consider students' levels and propensities.
Comparison and Analysis of Music Education Theories of Dalcroze, Kodály and Orff Hye-ju Jeong Major in Music Graduate School of Education Jeonju University Adviser : Professor Young-shin kim Music education curriculum in Korea has changed and developed from period of syllabus right after the liberation in 1945 to the 7th curriculum by accepting social, academic demand widely each time when it had been revised. The first syllabus period, singing and theory-focused education had been performed for gentle and mild nature. Afterward, the curriculum has turned into the contents about sensibility through expression deepening and appreciation beyond the singing and basic theories. Also, educational objectives are aimed at harmonious character building, devotion to the country and to the people by enhancing the general wisdom, but they has been changed into creative development and emotion cultivation. Recently, the core of revised curriculum in 2007 is the expressive activities and music as a life. The music education is aimed at providing the basis so as to develop musical abilities and creativity and to aware the music value and to make music a part of life by cultivating the abundant musical feeling and patriotism. Music education curriculum in Korea is almost similar to the educational theories and ideology of Dalcroze, Kodály and Orff as it has been turned into theirs. This is because the curriculum or objectives of music have accepted the universal values as Korea has grown as a stable culture nation away from the vulnerable society such as Japanese colonial rule and Korean Civil War. Therefore, the educational methods that apply the theories of Dalcroze, Kodály and Orff are as follows. The teaching method in phases should be applied as they claimed based on the aim of music curriculum in 2007 - students are able to go through the beauty of music based on various music that is suitable for students' level and varied learning activities. Melody is read as two notes begin adding one by one, the length of main sound is first taught and other one is added or a eighth note and a half note follow quarter note. Also, the followings are the examples of systematic instruction defined music sheet with two or tree lines can replace staff notation to make it easy to read and write, the firs letter for tonic sol-fa can be used and pole can only be used without note or tag. To accomplish the second aim-to express music that are appropriate for students, impromptu expression can be applied. Impromptu expression has begun from Dalcroze's eurhythmics and it can be applied in the various way such as physical expression, voice expression, musical instrument expression. At this time, student are taught to express freely. To understand the musical concepts, the third aim, Dalcroze's eurhythmics would be applied. Music is expressed through the physical movements in a class and various musical concepts are formed. The musical concepts are intensified. Sometimes, learning starts from the concept such as that a song is getting louder. For example, they can established by activating step intervals. Afterward, we can hear crescendo much better. To teach and intensify, physical movements can be used such as Orff's clapping, stamping, hitting knees. Kodály's musical measure of rhythm or hand signs as a method of reading music are utilized for students to grasp a musical score. To achieve the fourth aim, to love music and to participate in musical activities, the method of singing songs they emphasized can be applied. At this time, rhythm accompaniment and chord accompaniment with improvisation can be accompanied to synthetically grasp the music not only focused on practicing songs. aesthetic insight can be cultivated by students listening to music and expressing their opinion. Above all, it is important to have an interest in new teaching method and materials as well as to appreciate and apply the music educational theories of Dalcroze, Kodály and Orff and better musical pleasure should be delivered to students. For this, teachers should be reeducated ceaselessly so that they can develop the new teaching methods to consider students' levels and propensities.
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