인지적 도제이론에 의한 중학교 음악 창작 교수‧학습 모형 설계 및 적용

Abstract

본 연구의 목적은 구성주의 학습 모델의 하나인 ‘인지적 도제이론’과 ‘창작 중심 전략’을 고찰하여 창작 활동 모형을 설계하고, 이를 적용하여 체계적인 창작 교수․학습 과정안을 제시하는 데 있다. 본 연구의 Ⅱ장에서는 창작 활동 모형 설계 과정에 앞서, ‘인지적 도제이론’과 조성기(2010)의 ‘창작 중심 교수․학습 전략’을 고찰하였으며, 2009 개정에 따른 음악과 교육과정의 중학교 1~3학년 성취기준을 고려하여, 창작 수업의 활동목표 ‘주어진 조건에 의해 리듬 만들기’와 ‘주어진 조건에 의해 가락 짓기’를 도출하였다. 본 연구의 Ⅲ장에서는 이를 토대로 ‘인지적 도제이론’에 의한 중학교 음악과 창작활동 모형을 설계하였다. 설계 방향의 중점은 ‘메타인지 활용’, ‘창작 중심 수업’, ‘도제 전략의 활용’이며, 이러한 설계 방향과 이론적 고찰을 토대로, 모형의 구성요소 ‘일반적인 학습과정, 도제전략, 창작 중심 수업 전략, 음악 창작 과정’를 설계하였다. ‘일반적인 학습과정’은 콜린스 등이 제시한 ‘인지적 도제 이론에 의한 교수․학습의 실제적 구현을 위한 틀’에 따라 활동 주제 인식에서 정리 및 탐색까지 총 7단계로 설계하였으며, ‘음악 창작 활동 과정’은 ‘설계된 일반적인 학습과정’을 토대로 인지적 도제전략 7가지 ‘모델링, 코칭, 스캐폴딩, 페이딩, 명료화, 반영, 탐색’과 조성기(2010)의 ‘창작 중심 교수․학습 전략’ 5단계를 활용하여 설계하였다. 본 연구의 Ⅳ장에서는 설계된 창작 활동 모형을 적용하여 Ⅱ장에서 도출된 활동목표 성취를 위한 과정안을 구체적으로 제시하였다. 또한, 과정안 제시 과정에서는 현재(2012) 중학교 1, 2, 3학년 음악 교과서에서 본 연구의 과정안이 활용될 수 있는 창작 활동 단원을 소개하였다. 인지적 도제이론을 적용한 음악과 창작 수업이 음악 교육에 주는 시사점으로는, 첫째, 이러한 창작 수업을 통해 ‘음악수업에서의 창작활동 활성화’,둘째, ‘음악과 창작 수업의 방향 제시’, 그리고 셋째, ‘창작활동 과정에서 학습자의 자기 성찰 강조’가 있다. 음악과 창작 활동을 위한 체계적인 교수․학습 방법은 여전히 부족하다. 본 연구를 비롯하여 앞으로의 창작 교수․학습 방법 연구를 통해, 체계적이고 학습자가 적극적으로 참여하는 창작 수업이 이루어지리라 기대한다. |This study set out to examine the "cognitive apprenticeship theory," one of the constructivist learning models, and "creation-focused strategies," design and apply a creative activities model, and propose a systematic process plan for creative teaching and learning. Chapter II examined the "cognitive apprenticeship theory" and "creation-focused strategies" by Cho Seong-gi(2010) before designing a creative activities model. It also set activity objectives for creative lessons, which were "making rhythms according to the given conditions" and "making melodies according to the given conditions," by taking the Revised Music Curriculum of 2009 and the achievement criteria for the seventh to ninth grade into consideration. Chapter III designed a model for creative activities in middle school music according to the "cognitive apprenticeship theory" based on the previous chapter. Chapter IV applied the designed creative activities model and proposed a process plan to achieve the activity objectives identified in Chapter II. It also introduced the units of creative activities in the current(2012) seventh, eighth, and ninth music textbooks to which the process plan could be applied. The music and creative lessons where the cognitive apprenticeship theory was applied have the following implications: First, they promote the "activation of creative activities during music classes." In the conventional music lessons, creative activities are carried out "unanimously," which causes the students to have difficulty with solving a creative problem in many cases. In the process of creative activities according to the cognitive apprenticeship theory, the students are allowed to observe and mimic the expert and monitor the places where they have difficulty for themselves while the teachers continue to observe and offer assistance at the same time. Such a process lessens the students' burden with creative activities. Once the burden with creative activities is diminished, the students soon take interest in creative activities and thus contribute to the activation of creative activities during music classes. Second, "directions are set for creative classes in the music subject." The previous studies examined in Chapter II shed some light onto the students' positive views of "systematic creative activities." The model of "creative music activities according to the cognitive apprenticeship theory" was designed based on planned stages and strategies through theoretical consideration and systematically proposes directions for creative lessons. The teachers guide the students through activities by taking the "apprenticeship strategies" and "creative strategies" into account in a planned manner, and the students take active part in each stage of creative activities. Third, "the self-reflection of the students is emphasized in the process of creative activities." Creative music lessons according to the cognitive apprenticeship theory put much emphasis on the students' self-reflection process or cognitive monitoring process from the start stage to the arrangement stage of activities in creative music lessons. While the teachers provide the students with ongoing guidance for cognitive monitoring through the entire activity process, the students improve their higher-order abilities through cognitive monitoring. They also take active part in creative activities through ongoing cognitive monitoring, thus taking an initiative role in music lessons themselves. There is still an obvious shortage of systematic teaching and learning methods for creative activities in the music subject. The study will hopefully trigger more researches on creative teaching and learning methods for systematic creative lessons in which the students take active part.