진도아리랑 교육의 문제와 개선방안

Abstract

Currently, in music education, Jindo arirang is handled as a representative song of Namdo folksongs in order to educate characteristics of Namdo folksongs. Jindo arirang was taught at middle school level until the 7th national curriculum and after the 2007 revised curriculum it is dealt at elementary school level. This paper examines the issues of Jindo arirang in elementary school and middle school music textbook and propose measures for education. Firstly, in singing section, yukjabagitori and sigimsae should be presented in scales as ‘mi ra ti do’ or ‘mi ra do-ti’. Sigimsae such as trill, bending notes, middle-level sound should be left to autonomous selection. In addition, in order for the natural heterophony which occurs in folksong singing to take place naturally in class, various melodies with giving sound and receiving sound be presented. Secondly, rhythms for instrumental part should be taught with Jungmori rhythm as the frame. Jindo arirang is a slower version of 3 small beat and 4 beat Jungjungmori, and therefore, sections are formed as 4 rhythm unit with the accent on the 9th beat of 12 beats. Therefore, there is a need to understand the structure of Jungmori rhythm. Jungmori rhythm which is used for pansori and sanjo originates from Namdo music and naturally Jindo arirang must go together with Jungmori for its regional identity. Also, yukjabagitori goes best with stringed instruments such as gayaguem. In 2009 curriculum the range of Korean traditional music is extended so as to use gayaguem. Therefore, there is a need to come up with a way to utilize gayageum. Thirdly, as an activity of creativity section, lyric-changing activities can stimulate creativity easily through the presentation of interesting lyric and be presented as an activity to change the existing lyric. Also, activities such as melody-changing activities and rhythm-making activities should be made easier by having students change a part from the existing rhythms. Also, activities to change the speed and the rhythms are possible. By singing Jindo arirang slower, semachi can be divided into Jinyangjo of 6 beat and by singing faster, it can be made to Jungjungmori of 3 small beat and 4 beat. During the process, activities to insert and remove sigimsae can be tried. Fourthly, in terms of appreciation section, various dimensions are feasible. Most directly, through semachi-rhythmed songs of Jeallado folksongs, methods and cases of creating new songs by utilizing the existing ones can be examined and it can stimulate creativity. Also, various genre utilization of yukjabagitori can be compared, appreciated, and correlated to the many cultures of Jindo. Multi-dimensional integrated education about Jindo arirang can be tried. For integration. there can be inter-disciplinary integration, sectional integration, and singing-playing music-dancing artistic integration, etc. For inter-disciplinary integration, Korean, physical education(dancing), and social civics can be related. For sectional integration, singing, playing musical instrument, creating music, and appreciating can be integrated without limit. Sectional integration can be intensified to singing-playing music-dancing artistic integration. This means singing, playing musical instruments, and physical expressions are performed simultaneously.