한국의 대위법 교육에 대한 진단과 제언: ≪한국서양음악이론학회≫ 주최 대위법 세미나 보고를 중심으로

Abstract

This paper issues the current educational situations, in which the counterpoint is taught for music majors in the college level, and proposes problems related to the educational setting and finally pursues possible solutions to the problems. The survey begins by reviewing the pedagogical seminar hosted by KSMT (Korean Society of Music Theory) in July, 2006. The seminar features diverse programs from a historical approach to the counterpoint to a more practical ones including teaching workshops by selected lecturers who have much experience of the counterpoint teaching. Focus of the seminar has been gradually changed from how to teach to what to teach in the counterpoint class for performers: from methodology to goal and contents of the counterpoint class. The seminar draws a conclusion that the counterpoint for performers should be concentrated on the voice-leading analysis of the music literature, not on writing or on composing a counterpoint against the given cantus firmus. The survey suggests a practical and pedagogical way, in which the Schenkerian approach to the music analysis could be incorporated into the conventional counterpoint teaching method and finally proposes the possibility of the subsequent research and the necessity of appropriate textbooks to support the new counterpoint teaching.