The creative industry in the 21st century is driven by creativity and imagination. This social trend has brought changes to the educational environment by revising curricula. This study looks into schools with regular curricula together with creative experiencing activities and "education outside th...
The creative industry in the 21st century is driven by creativity and imagination. This social trend has brought changes to the educational environment by revising curricula. This study looks into schools with regular curricula together with creative experiencing activities and "education outside the school". The research is conducted at a museum, a place for the secondary education in order to support school curricula and teach creativity outside the school.
The music education program in a museum consists of three phases. The details of the program are based on Brenda Laurel’s Six Experiential Elements.
The first phase is the "Exploring Sound"which looks for the sound from the reenacted old space. In this phase, a researcher is addressed to explore the sounds created by the space and material when they come together. In thisspace-oriented phase, SENSE and ACT are the main elements. SENSE of vision and touch meets relics and ACT expresses understanding of sounds in the space.
The second phase is the "Development of Sound" which expresses materials of relics in sounds. A researcher is addressed to look for sounds of relics’materials in connection with 8 materials of Korean traditional musical instruments. This relic-oriented phase is based on experimental elements such as SENSE, LANGUAGE, THOUGHT, and ACT. The SENSE element meets the relics’materials with the sense of hearing which is stimulated by the sense of vision and touch. Relics become the LANGUAGE in 6 phased pitches which are not in a visual form. Finally, the ACT expresses the harmony of cognition of relics and sounds.
The third phase is the "Strengthening Sound" which listens to the relics’ materials through music. A researcher is addressed to classifythe relics and traditional musical instruments into 8 materials and look for similarities among them. Appropriate relics are chosen and music is played by the instruments made out of the same materials. This phase is RELATE experience that brings interest toward relics through music. The THOUGHT experience suggests materials and allows one to approach to the process of the suggested materials turning into relics and music.
This research is significant in three points.
Firstly, the development of music education programs in relation to creativity 1) is based on theoretical and biological elements which stimulate creativity, 2) restructures experiences, 3) provides well designed various experiencing activities, and 4) can be continued even after a creativity education session.
Secondly, the development of music education programs in a museum 1) allows people to experience and understand relics with various senses, 2) can be connected to school curricula, 3) can promote local museums with its unique educational programs, and 4) actualizes extended education with relics.
Thirdly, the music education programs in the music educational point of view, 1) understand the source of sounds rather than the function of music, 2) overcome the special limitation of the music education, 3) extend the music education from sense of hearing to all senses, and 4) are applicable in various areas to enhance creativity.
The creative industry in the 21st century is driven by creativity and imagination. This social trend has brought changes to the educational environment by revising curricula. This study looks into schools with regular curricula together with creative experiencing activities and "education outside the school". The research is conducted at a museum, a place for the secondary education in order to support school curricula and teach creativity outside the school.
The music education program in a museum consists of three phases. The details of the program are based on Brenda Laurel’s Six Experiential Elements.
The first phase is the "Exploring Sound"which looks for the sound from the reenacted old space. In this phase, a researcher is addressed to explore the sounds created by the space and material when they come together. In thisspace-oriented phase, SENSE and ACT are the main elements. SENSE of vision and touch meets relics and ACT expresses understanding of sounds in the space.
The second phase is the "Development of Sound" which expresses materials of relics in sounds. A researcher is addressed to look for sounds of relics’materials in connection with 8 materials of Korean traditional musical instruments. This relic-oriented phase is based on experimental elements such as SENSE, LANGUAGE, THOUGHT, and ACT. The SENSE element meets the relics’materials with the sense of hearing which is stimulated by the sense of vision and touch. Relics become the LANGUAGE in 6 phased pitches which are not in a visual form. Finally, the ACT expresses the harmony of cognition of relics and sounds.
The third phase is the "Strengthening Sound" which listens to the relics’ materials through music. A researcher is addressed to classifythe relics and traditional musical instruments into 8 materials and look for similarities among them. Appropriate relics are chosen and music is played by the instruments made out of the same materials. This phase is RELATE experience that brings interest toward relics through music. The THOUGHT experience suggests materials and allows one to approach to the process of the suggested materials turning into relics and music.
This research is significant in three points.
Firstly, the development of music education programs in relation to creativity 1) is based on theoretical and biological elements which stimulate creativity, 2) restructures experiences, 3) provides well designed various experiencing activities, and 4) can be continued even after a creativity education session.
Secondly, the development of music education programs in a museum 1) allows people to experience and understand relics with various senses, 2) can be connected to school curricula, 3) can promote local museums with its unique educational programs, and 4) actualizes extended education with relics.
Thirdly, the music education programs in the music educational point of view, 1) understand the source of sounds rather than the function of music, 2) overcome the special limitation of the music education, 3) extend the music education from sense of hearing to all senses, and 4) are applicable in various areas to enhance creativity.
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