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오르프의 음악교육론: 루소의 자연주의 음악의 현대적 계승

The Theory of Carl Orff's Music Education: Contemporary Succession of Russeau's Naturalistic Music

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주제분류교육학

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The purpose of this study is to understand the music education doctrine of Carl Orff in a view of modern inheritance of Jean-Jacques Rousseau’s the natural music education doctrine. Orff is an acknowledged 20th century’s German music educator. Orff’s influential teaching approach has still been researched around the world, including United States, Asia, and Europe, as well as implemented in the field of education. Orff’s teaching approach has opened a new era for music education with a method never been used before. That is the reason Orff’s music education is widely studied beyond his time. Orff suggested the music education for children with detailed ideas and implemented child-centered music education. Orff’s education is influenced by Rousseau’s child-centered approach and has a foundation of the naturalism. The purpose of Rousseau’s education is to raise a natural human being by promoting a child’s natural abilities, which is the basic of the doctrine. Also, Rousseau’s music education is deeply involved with this view of nature which is its origin. The pursuit of nature-congruent music education is about seeking a simple and natural life in compliance with the laws of nature. This perspective is presented well on Rousseau’s educational view of music which is about a simple melody, sensory training, musical expression from inside, respect for creativity, and discovery of a self-song. Orff’s music education has a foundation of naturalism, called ‘Elementary music'. It says: music has to be simple and easy so that every child plays and enjoys; also, music education should be complied with the laws of nature to meet the developmental stages of their own; children need to discover and develop their own world of music; music classes should be the time to learn the true fun of it, not to learn music for a study; this can inspire children’s own creative musicality; music activity does not necessarily require musical talent to be a subject of music. It shows that Orff’s music education has been understood and implemented in same terms of Rousseau’s. Understanding Orff’s doctrine is helpful to learn the implications of how to practice child-centered music education.

Abstract

The purpose of this study is to understand the music education doctrine of Carl Orff in a view of modern inheritance of Jean-Jacques Rousseau’s the natural music education doctrine. Orff is an acknowledged 20th century’s German music educator. Orff’s influential teaching approach has still been researched around the world, including United States, Asia, and Europe, as well as implemented in the field of education. Orff’s teaching approach has opened a new era for music education with a method never been used before. That is the reason Orff’s music education is widely studied beyond his time. Orff suggested the music education for children with detailed ideas and implemented child-centered music education. Orff’s education is influenced by Rousseau’s child-centered approach and has a foundation of the naturalism. The purpose of Rousseau’s education is to raise a natural human being by promoting a child’s natural abilities, which is the basic of the doctrine. Also, Rousseau’s music education is deeply involved with this view of nature which is its origin. The pursuit of nature-congruent music education is about seeking a simple and natural life in compliance with the laws of nature. This perspective is presented well on Rousseau’s educational view of music which is about a simple melody, sensory training, musical expression from inside, respect for creativity, and discovery of a self-song. Orff’s music education has a foundation of naturalism, called ‘Elementary music'. It says: music has to be simple and easy so that every child plays and enjoys; also, music education should be complied with the laws of nature to meet the developmental stages of their own; children need to discover and develop their own world of music; music classes should be the time to learn the true fun of it, not to learn music for a study; this can inspire children’s own creative musicality; music activity does not necessarily require musical talent to be a subject of music. It shows that Orff’s music education has been understood and implemented in same terms of Rousseau’s. Understanding Orff’s doctrine is helpful to learn the implications of how to practice child-centered music education.

참고문헌 (17)

  1. 金順英, "Carl Orff의 敎育用 作品 Schulwerk 分析연구", 석사, pp.1977
  2. 김유라, "슈타이너의 인지학적 관점에서 본 유아교육론 구성", 박사, 교육학과 교육철학및사학전공, pp.2012
  3. 박균섭, "교육사상사강론" (2011), 문음사
  4. 윤영배, "오르프(Orff) 접근법과 악기 앙상블." (2005), 창지사
  5. "음악대사전" (1982), 세광음악출판사
  6. 임태평, "교육철학" (2010), 교육출판사
  7. Grout, D. J., "A History of Western Music" (1960), W. W. Norton & Company Inc
  8. Orff, C., "Music for children. vol.1: Pentatonic" (1954), Schott
  9. Orff, C., "Music for children. vol.2: Major; drone bass triads" (1954), Schott
  10. Orff, C., "Music for children. vol.3: Major; dominant and subdominant triads" (1954), Schott
  11. Orff, C., "Music for children. vol.4: Minor; drone bass triads" (1954), Schott
  12. Orff, C., "Music for children. vol.5: Minor; dominant and subdominant triads" (1954), Schott
  13. Orff, C., "Orff Schulwerk: Past and Future, In Perspectives in Music Education: Source Book Ⅲ" (1966), Music Educators Educations National Conference
  14. Rousseau, J. J., "Emile", pp.1911, J. M. Dent & Sons Ltd
  15. Rousseau, J. J., "Les Confessions", Gallimard
  16. Rühle, U., "음악에 미쳐서" (2004), 비룡소
  17. 公典武嘉津, "世界音樂敎育史" (1985), 세광음악출판사

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