음악교육동향 ; 오르프교수법에서 다문화적 접근의 활용

• 영문명: A QUALITATIVE STUDY OF UNDERGRADUATE PRE-SERVICE GENERAL MUSIC EDUCATION FIELD EXPERIENCES
• 발행기관: 한국음악교육학회
• 저자명: Chet Yeng Loong
• 간행물 정보: 『음악교육연구』음악교육연구 제43권 제2호, 159~162쪽, 전체 4쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 2014.05.31

영문 초록

The idea of enhancing music teacher candidates` teaching experiences in the real classroom has become a topic of discussion in the field of music education. In Conway`s (2002) research, graduates mentioned getting out to schools before student teaching as a powerful part of their participation (p. 28). Dalcroze, Kodaly and Orff approaches are commonly and strongly advocated for use in the general music classroom (Orff Echo, 2001, Ardrey, 1999; Frego& Abril, 2003). As music education general music professors, can we structure an environment that will increase undergraduate student teachers` confidence in teaching the above three approaches? Can college and university professors working with public school teachers provide undergraduate students a teaching environment in a real classroom? Thus, the purpose of this research is to observe and describe the learning experiences of music candidates in elementary music classroom settings as they are integrating Kodaly, Dalcroze, and Orff into their teaching. The research was implemented in the Spring semester by fourteen pre-service music teachers who were enrolled in a course called “Elementary Music Methods” at a Mid-Western university. These subjects were assigned to observe and teach in three different elementary schools. The data collection procedures were based on observation with direct participation of the subjects: 1) the data for the project was collected by reviewing subjects` journals; 2) theory evolved after observing the data rather than before; and 3) the researcher allowed the data and the students` own decisions regarding what would be observed and recorded answer the research questions (Guba and Lincoln, 1985). Three major conclusions emerged from this research. They were the philosophy of teaching music; teacher effectiveness in music; and practicum field experience in music. Under the domain of the philosophy of teaching music, the subjects strongly agreed that Kodaly, Orff and Dalcroze should all be used in every music classroom, since focusing on only one approach would limit teaching effectiveness. They believed elementary students would get a broader, well-rounded view of music if these three approaches were combined together. The second domain was teacher effectiveness in music. Two main themes evolved from this domain: pacing and discipline; and lesson delivery skills. Most of the subjects noticed good pacing and transition were the main keys in keeping attention and interest of the students, and would thus reduce disciplinary problems. The third domain was practicum field experience in music. In this domain, the feedback from the subjects was overwhelming. The subjects responded positively to the needs of having structured fieldwork as a part of the elementary music methods class. They believed that teaching in a real classroom was different from teaching peers and teaching real students would help pre-service teachers become more effective teachers. In conclusion, college and university professors working with public school teachers can provide undergraduate students with a teaching environment in a real classroom. This process provides a valuable experience for students and helps them develop knowledge and skills related to teaching, build personal reflective skills, and measure current competence for future professional growth.