교원임용 박성선/박정아 전공음악 -...

교원임용 박성선/박정아 전공음악

2015학년도 음악임용시험 합격 전략

및 출제동향

박 성 선 ․ 박 정 아

http://cafe.daum.net/musicteacherpark

박문각임용고시학원(www.ngosi.co.kr)

온라인강의 티치스파(www.teachspa.com)

목 차

1. 음악과 중등임용고시의 성격 ······································································································ 1

2. 평가 영역 및 평가 내용요소 상세화 ························································································· 2

3. 평가 영역별 기본 개론서 ············································································································ 4

4. 시험 유형분석 ······························································································································· 5

5. 전공음악 정격종지 순서 ············································································································ 24

6. 악곡암기법 및 교과서분석법 ···································································································· 30

7. 2014년 대비 연간강의 ··············································································································· 34

8. 현행 음악과 교육과정 정리

2015대비 전공음악 가이드 / 전공음악 박성선.박정아 박문각 임용고시학원

http://cafe.daum.net/musicteacherpark - 1 -

1. 음악과 중등임용고시의 성격

국가시험에 해당하는 중등 임용시험에서의 평가도구의 개발 근거는 교직과정의 ‘기본 이수 과목 및 분야’에서 제시하는 교과목을 중심으로 하는 것이 공정성을 가질 수 있다. 음악과 임용시험의 ‘기본 이수 과목 및 분야’에 해당되는 교과목은 “음악교육론, 서양음악 실기, 화성법, 대위법, 시창청음, 국악개론, 국악 실기, 작곡, 지휘, 한국 음악사, 서양음악사, 음악형식론, 장구 반주법, 피아노 반주법” 등 14개의 교과목이다. 신규교사를 선발하는 임용시험에서 제일 먼저 고려해야 할 점은 ‘기본 이수 과목 및 분야’에 해당하는 교과목에 대한 평가도구를 개발하는데 있어 중등학교 현장 교육에 대한 질적 제고이다. 현장 교육에서 요구되는 우수한 음악교사인가에 대한 평가로서 교과에 대한 전문 지식의 이해와 적용 측면에서 평가도구가 개발되어야 한다. 그러므로 교과목의 평가도구를 개발하는데 있어 공정성과 타당성 및 객관성을 확보하기 위하여 각 교과목의 평가 영역과 평가 영역에 따른 평가 내용 요소를 설정하여 교과목 이해에 대한 기준틀을 제시하였다. 이러한 관점에서 각 교과의 평가 영역은 교과에 대한 전문지식을 평가하는 측면, 평가 내용 요소는 음악과 교육과정의 이해와 적용 능력을 평가하는 측면에서 그 내용을 추출하여 설정하고자 한다. 따라서 음악과 임용고시는 이러한 평가영역과 평가 내용 요소에 근거하여 다양한 문항 유형을 개발하고 이를 통해 음악과 교육과정을 이해하고 교과의 전문지식도 갖춘 우수한 음악교사

를 선발하려는데 목적이 있다.



2. 기존 시험의 평가 영역 및 평가 내용요소 상세화

->평가 영역 분류의 틀은 2014년대비부터 1-2차 합하여 서답형으로 출제

구분기본이수과목 및 분야

평가 영역 평가 내용 요소

출제비율(%)

1차 시험

2차 시험

교과 교육학

음악 교육론

음악과 교육과정

음악과 교육과정의 변천, 형행 교육과정

35 65

음악교수법

전통적 음악과 교수법, 현대의 음악교수법, ICT 활용 음악교육

음악교육철학

교육철학과 음악철학, 미학적 관점과 음악교육, 심미적 음악교육철학, 실천주의 음악교육철학, 현대의 음악교육철학

음악교육심리

교육심리학과 음악 교육, 음악심리 이론, 음악교육심리이론

음악과 평가음악과 평가 절차, 음악과 평가 방법, 새로운 음악과 평가 도구 및 방법

소계 35 65

교과 내용학

화성법

음정 두 음들 사이의 간격에 대한 이해

65 35

3화음 및 7화음 3화음 및 7화음과 이들의 전위화음에 이해 및 분석

반음계적 화음변화화음 및 부속화음을 포함한 반음계적 화음에 대한 이해 및 분석

종지법 종지법의 이해 및 분석

비화성음 화음 밖의 음에 대한 이해 및 분석

이조(조옮김) 선율의 이조 실습

전조(조바꿈) 전조의 이해 및 분석

대위법

종별 대위법 1：1, 1：2, 1：4 방식에 의한 대위 기법의 이해 및 실습

대위법 악곡 분석

모방기법에 의한 인벤션 및 푸가 작품의 분석

음악형식론

악곡형식

악구 및 악절

2부분형식, 3부분형식, 복합3부분형식

론도형식, 소나타 형식

연주형태

독주곡, 독창곡

실내악곡, 관현악곡

오페라, 오라토리오

작곡선율 창작 악구 및 악절형식으로 된 선율 만들기

국악창작 가락과 장단을 바꾸어 창작하기



구분

기본이수

과목 및

분야

평가 영역 평가 내용 요소

출제비율(%)

1차

시험

2차

시험

서양

음악사

시대별

음악양식음악사의 시대 구분에 따른 각 시대의 음악양식

작곡가와 작품 주요 작곡가들과 이들 작품이 음악사에 끼친 영향

국악

개론

기초이론

여러 가지 기보법 이해

여러 장단의 구조 이해, 장단 관련 용어 이해

시김새·조·형식과 관련한 용어 및 개념 이해

다양한 연주 형태 이해

악곡분석국악곡의 특징

국악곡의 갈래에 따른 분류

악기 악기의 구조와 특징 및 분류법

국악

실기

성악 여러 갈래의 성악곡 연주

기악 여러 가지 선율악기 및 타악기 연주

지휘

음악해석

능력

악기/연주매체에 대한 지식

총보 독해력, 음악문헌 지식

박자 젓기

빠르기와 다양한 다이내믹스의 표현

시작, 맺음

분할법

한국음악사

음악양식사 시대별 음악양식 이해와 감상

인물사 인물중심의 음악사 이해

교류사 외국과의 음악교류에 대한 역사적 이해

장구 반주법

기본연주법 장구 주법 및 여러 가지 장단 연주법의 이해

반주법의 적용한배와 장단의 세(勢)에 알맞은 연주

악곡의 사설 붙임새에 알맞은 기본형과 변화형 연주하기

피아노 반주법

반주형태반주형태 및 페달 사용법

리듬형태에 따른 반주법

화성진행 및

코드네임

화성 진행 및 코드 네임

악곡의 전주부 만들기

조옮김 성역파악 및 조옮김

소개 65 35

합계 100 100



3. 평가 영역별 기본 참고 개론서

전공 음악 영역별 참고 개론서

구분 제목 저자 출판사

교과 교육학

음악교육의 현대적 접근 이홍수 세광음악출판사

음악교육의 기초 권덕원 외 교육과학사

음악교육학 총론 민경훈 외 학지사

음악 미학 오희숙 음악세계

음악교육철학 최은식 외

음악교육론 박성선 외 편저 서로연

교과 내용학

화성법 및 분석

화성학 백병동 수문당

화성 김홍인 세광음악출판사

연주자를 위한 조성 음악 분석 송무경 예솔

대위법

대위법－ 16세기 스타일－ 스텔라 로버트 외 수문당

대위법－18세기양식－켄트캐난 저

나인용 역세광음악출판사

대위 김홍인 현대음악출판사

음악 통론, 형식론

및 지휘, 음악이론

등

음악은이울리히 미헬스 저

홍정수, 조선우역세광음악출판사

대학음악이론 백병동 현대음악출판사

음악 이론(예고 교과서) 신현남 외 교학사

합창지휘 홍정표 중앙아트

지휘법의 이론과 실제 김중석 음악춘추사

서양 음악사 및

악곡

그라우트의 서양 음악사 그라우트 이앤비플러스

들으면 배우는 서양 음악사 김문자 외 심설당

두길 서양 음악사 홍정수 외 나남출판

음악사(예고 교과서) 김춘미 외 교학사

한국 음악사 및

악곡,

국악개론,

장구 반주법,

국악 창작

한국음악통사 송방송 민속원

국악통론 서한범 태림출판사

국악총론 장사훈 세광음악출판사

알기쉬운 국악개론 이성천 풍남

전통음악개론 백대웅 어울림

한국전통음악분석론 백대웅 어울림

음악사(예고 교과서) 김춘미 외 교학사

음악이론(예고 교과서) 신현남 외 교학사



4. 2014년대비 시험유형 분석

1) 논술형

2009 개정 교육과정에 따른 음악과 교육과정에서 중학교 1~3학년 군 ‘감상’영역의 성취기준을 모두 제시하시오. 그리고 각각의 성취기준을 리머의 경험중심 음악교육철학 내용관 연관지어 논하시오. [10점]

2회 모의고사 B형1. 2009 음악과 교육과정의 내용 체계와 각 기준을 리머의 경험중심 음악적 지능의 개발과 관련하여 설명하되, 2009 음악과 교육과정의 중학교 1~3학년군의 성취기준과 관련하여 그 적용과정을 설명하시오.(조건: 리머가 제시한 분류와 그에 따른 8가지 이상의 활동 예를 들어 설명할 것 ) 또한 리머가 나눈 음악적 앎의 유형은 2009 음악과 교육과정에서 어떻게 적용되고 있는지 설명하시오. (10점)

3회 모의고사

리머의 경험중심 음악교육론은 2009 음악과 교육과정의 이론적 바탕이 되고 있다. 아래 에서 제시된 네 가지 영역에 대하여 의미하는 바를 설명하고 2009 음악과 교육과정의 목표에 어떻게 반영되었는지 설명하시오.

리머의 경험중심 음악교육철학에서 음악의 주요영역을 감성영역, 창작영역, 의미영역, 맥락적 영역으로 간주하였다.

다음 악곡을 리머의 절충주의적(synergistic aesthetics) 관점은 2009 음악과 교육과정에 적용되고 있다. 절충주의적 관점을 4가지 제시하고 그 입장에서 아래 악곡을 지도하려고 할 때 악곡을 예로 들어 설명하시오



a.

b.

문제풀이반

다음 두 악기의 역사적 유래와 조율법을 비교 설명하시오.

다음 중 산조악기와 정악에 쓰는 악기가 구별되어 연주되는 악기를 4가지 적으시오.

다음 가야금의 표현기호 중 기호와 의미가 올바르게 적으시오.

부호 명칭 설명

① 뜰표 오른손의 엄지로 줄을 위로 떠 올려 소리 내라는 표

② 뜰동표 왼손으로 줄을 깊이 눌렀다 놓는 표

③ 튕김표 오른손의 검지 끝을 엄지로 말아 쥐었다가 줄을 튕겨 소리 내라는 표

④ 연튕김표 오른손의 소지, 명지, 장지, 검지로 차례대로 줄을 튕겨 소리 내라는 표

⑤ 엄지표 오른손의 엄지로 줄을 밖으로 내어 타라는 표

다음 산조 가야금의 1~12현의 구음을 적으시오. (2점)



다음과 같은 사회적 배경에서 나타난 음악적 특징을 지도하려고 한다. 질문에 답하시오. (총5점)

조선후기에는 임진왜란과 병자호란으로 궁궐이 불타면서 보유하고 있던 악기와 악보가 소실되었다. 양반중심의 신분체제

는 흔들렸으며, 중인층의 역할이 크게 대두되어 양반의 숫자가 크게 증가하였다. 이앙법의 보급, 농사기술의 발달로 상품화폐경

제가 활성화 되었으며, 이로인해 서민의 생활 수준이 향상되었다.

1) 밑줄 친 계층에서 음악적 전문성을 가지고 활동했던 이들을 무엇이라 하는지 그들의 역할에 따라 2가지로 제시하시오. (1점)

2) 와 같은 배경속에 나타난 악곡을 에서 모두 선택하시오. (1점)

ㄱ.

ㄴ.

ㄷ.

ㄹ

3) 와 같은 사회적 맥락과 연계된 음악사적 변화를 아래 위에서 선택한 악곡에서 나타난 변화와 관련지어 세 가지로 설명하시오.



1) 다음 악곡의 연주순서를 적고, 2)이 모든 악곡을 연주하기 전에 연주하는 악곡은 무엇인지 적으시오.

a .

b .

c .

d .

2) 서술형



실용주의적 관점에서 중시하는 것은 악곡 자체의 위대함보다는 악곡을 ( )이다. 학생들은 음악가들이 하고

있는 모든 분야의 활동 즉, 노래부르기, 악기 연주, 창작, 감상 등을 두루 경험해야 하며 그러한 활동을 통해 교사가 학생들의

음악 세계를 존중함으로써 심미적 가능성을 최대한 계발할 수 있다고 믿는다

6. 실용주의와 실재주의와 관련하여 다음 질문에 답하시오.

1) 각 철학이 음악교육의 목적을 어떻게 인식하고 있는지 각 철학의 관점과 연관지어 비교하여 서술하시오.

2) 각 철학에서 교사의 역할과 평가에서 나타나는 방법면에서의 특징을 비교서술하시오.

24. 다음 빈칸을 채우시오.



※ 다음 악보를 보고 물음에 답하시오.106. 위 기보법은 어떤 악기를 위한 것인지 적으시오.

107. 위에 사용된 기보법에서 알수 있는 내용을 쓰고 장과 단점을 각각 적으시오.

1) 기보법의 종류 2) 장점 3) 단점 4) 남아있는 고악보 5) 어느 악기를 위한 악보인지 적으시오.



다음 악곡을 연주하는 악기명을 6가지 이상 각각 적으시오.



a.

b.

다음 두 악곡의 특징을 세 가지로 비교서술 하시오.

①

②

③



a.

b.

111. 다음 두 악곡의 공통점과 차이점을 각각 두 가지씩 제시하시오.

3) 단답형



41. 포괄적 교육이론에서 제시하는 ‘종합적 음악성(comprehensive musicianship)’의 개념과 이를 함양하기 위한 원리가 올바로 제시되지 않은 내용을 모두 고르시오.

① ‘종합적 음악성의 개념’은 마그넷 프로그램에서 도출된 것으로 ‘학생들로 하여금 음악의 본질에 대한 통찰력을 갖게 하고, 음악의 요소들과 음악 행위를 종합적으로 다루게 하며, 폭넓은 안목으로 음악을 볼 수 있도록 하는 하나의 음악 교육적 개념’이라 할 수 있다.

② 공통요소 접근 방법은 모든 문화, 모든 양식의 음악들이 공통적으로 가지고 있는 구조적 요소들을 인지하고 이해할 수 있도록 이끄는 방법을 말한다. 따라서 음악학습에서 연주는 그 자체가 목적이 아니라 음악의 공통요소를 파악하고 이해하기 위한 수단이 된다.

③ 종합적 음악성 함양을 위해서 학생들이 모두 연주자, 감상자, 작곡자의 세 가지 역할을 동시에 한다고 간주하므로 교사는 이러한 역할을 다양하게 수행할 수 있는 수업을 계획하여야 한다.

④ 종합적 음악성을 함양하기 위해서는 음악은 미술과 문학, 무용, 연극 등 다른 예술과 관련 속에서 다룰 필요가 있다. ⑤ 가락은 흐름결 및 화성과 관련되며 음악이론은 연주하는 악곡의 시대성과 관련되어 있으므로 모든요소들은 통합적으로

다루어야 한다. ⑥ 진정한 의미의 교육은 사물이나 지식에 대하여 배우는 것이 아니라 내면적으로 체험하는 것이며, 의미는 가르쳐질 수 있는

것이 아니라 발견되는 것이므로 종합적 음악성을 기르기 위해서는 음악의 내면화가 중시된다. ⑦ 예술적 ․ 문화적 ․ 역사적 특성과 인간적 필요성을 강조한다.

2007 음악과 교과과정은 음악과의 성격을 음악의 본질과 음악 교과의 본질, 음악 교과의 목적으로 나누어 제시하였다.

중 음악의 본질과 음악교과의 본질에 대한 내용으로 빈칸에 1)적당한 단어를 적고 2)물음에 답하시오.

음악은 사람의 느낌과 생각을 소리를 통해 표현하고 ( ① )하는 예술로, 예로부터 인간의 삶에 큰 영향을 끼쳐왔다. 사람은 음악 활동을 통하여 미적 경험과 즐거움을 얻고 잠재된 음악성과 ( ② )을(를) 계발하여 음악의 사회적 역할과 가치를 인식함으로써 ( ③ )의 가능성과 삶에 관한 이해의 폭을 넓히게 된다. 음악 교과는 학생들에게 다양한 음악적 경험을 제공하고 음악 활동에 필요한 기본적인 능력과 음악성을 기르며, 풍부한 음악적 정서를 함양하도록 체계적으로 도와줌으로써 음악을 ( ④ )할 수 있는 바탕을 마련하는 교과이다. 그러므로 음악을 느끼게 하고 음악의 기본 감각과 기초 기능을 기르며, 음악 경험의 질적 향상과 ( ⑤ )를 위해 탐구하고 연마하도록 하는 한편, 창의력을 발휘하면서 능동적으로 표현하고 수용하도록 지도하는 데 중점을 둔다.

다음 괄호안에 2009 음악과 교육과정에서 제시한 ‘음악’의 목표를 완성하시오.

‘음악’은 다양한 음악활동을 통하여 음악의 ( ㉠ )을(를) 경험하고, 음악성과 창의성, 음악의 ( ㉡ )과(와) ( ㉢ )에 대한 안목을 키움으로써 음악을 삶속에서 즐길 수 있도록 하는 교과이다. 음악교과는 음악적 ( ㉣ )과(와) ( ㉤ )을(를) 계발하고, 문화의 다원적 가치를 인식하여 타인을 존종하고 배려하는 ( ㉥ ) 인재 육성을 목표로 한다. 이를 통해 우리 문화 발전에 기여하고 세계 시민으로서 문화적 소양을 지닌 ( ㉦ ) 인간이 되는데 기여한다.



① 화성반주를 위해 이 곡에서는 ( ㉠ )이(가) 사용하되었다.② 바로크 시대의 거의 모든 음악에 사용되며, ( ㉡ )의 기능을 가진다. ③ 계속저음은 ( ㉢ )연주방식으로 내성이 채워지며 작곡에서 화성적 사고를 촉진하였다.④ 폴리포니의 모든 성부를 연주하지 못할 경우 음악을 ( ㉣ )(라)는 의미한다.

① 몇 개의 패턴을 듣고 경토리임을 알기 ② 굿거리 장단의 변형장단을 즉흥적으로 치면서 노래부르기 ③ 경토리와 굿거리 장단의 특징에 대해 설명 ④ 굿거리 장단을 듣고 구음으로 부르기 ⑤ 12/8박자의 가락리듬 패턴을 듣고 디딤질로 표현하기

⑥ 풍년가를 듣고 경토리임을 알기

⑦ 정간보를 보고 의 악곡을 익히기

문제풀이 87. 아래 악보에 나타난 바로크 시기의 계속저음에 대한 올바른 설명이 되도록 빈칸에 알맞은 단어를 적으시오.

56. 아래 내용은 악곡을 고든의 기능위계에 입각하여 지도하는 과정이다. 각 내용에 해당하는 과정이 어떤 단계인지 적으시오.



潢 정 潢 유林潢-

해--

潢 여 潢 여 黃 낙 㣡 황仲南-

보허-

仲 동 仲 황南汰-

민-

-△

汰 방 汰 곡 南 령南林-

락- 南 민 林 양 ㄱ

仲汰

--

潢 령 林 락 ㄱ

潢 곡 潢 유

潢仲--

해 -△-

南 만 黃 춘

仲 황 南 령 汰-△

汰 곡-△-

㣖 하 仲 자

㣡 청1)

여민락만, 여민락령, 해령, 정동방곡, 낙양춘, 보허자

. 다음 제시된 악곡을 연주하는 공통적인 연주형태와 선율상의 특징을 설명하시오.

1) 황하청은 향악곡화되어 황종을 C로 연주하지 않으며, 위 악보는 거문고보이나 편의상 보허자와 함께 묶어서 표시하였음.



5. 순서

01 서양음악 통론 7

1 음의 성질과 음계 ·············································································································································································7

2 음정과 음계 ·····················································································································································································10

3 음악형식과 음악양식 ·······································································································································································15

3.1 악곡형식 ························································································································································································15

3.2. 양식의 특징과 작품에서의 쓰임새 ············································································································································29

4 장르와 연주형태 ·············································································································································································30

4.1 성악 장르와 연주형태 ·································································································································································30

4.2 기악장르와 연주형태 ···································································································································································36

5 악기 및 연주 매체에 대한 지식 ····················································································································································43

5.1 악기의 분류 ··················································································································································································43

5.2 악기의 특성 ·················································································································································································44

5.3 피아노 반주법 ··············································································································································································53

6 총보 독해력과 지휘법 ····································································································································································77

6.1 기보법 ···························································································································································································77

6.2 총보(score)독해력 ·······································································································································································85

6.3 지휘하기 ·······················································································································································································91

02 화성법 108

1 화음의 성격 ···················································································································································································108

2 화음의 진행의 원리 ·······································································································································································110

3 종지 ································································································································································································113

4 3화음의 제 2전위 ··········································································································································································114

5 여러 가지 7화음과 전위 ·······························································································································································116

6 부속화음 및 부감7화음 ··································································································································································117

7 비화성음 ·························································································································································································119

8 변화화음과 변성화음 ·····································································································································································121

9 전조 ·······························································································································································································124

10 화성실습 ·······················································································································································································125

11 대위법 ···························································································································································································127

03 서양음악사 137

1 서양음악의 흐름 ·············································································································································································137

2 고대음악 ························································································································································································139

2.1. 고대음악의 일반적 음악 양식적 특징 ······································································································································139

3 중세 ·······························································································································································································140

3.1 중세의 음악의 일반적 음악양식 특징 ·····································································································································140

3.2 그레고리오 성가 ·········································································································································································141



3.3 노트르담시대의 다성음악 ··························································································································································144

3.4 13C 중세 말 세속음악의 특징 ··················································································································································145

3.5 14C 아르스 노바(Ars Nova) ·····················································································································································146

3.6 트레첸토 음악 ············································································································································································147

3.7 기보법의 발달 ············································································································································································148

3.8 중세 주요작곡가와 작품 ····························································································································································150

4 르네상스 ·························································································································································································151

4.1 르네상스의 일반적 음악 양식적 특징 ········································································································································151

4.2 영국과 부르고뉴 작곡가 시대(1420~1460) ······························································································································155

4.4 플랑드르악파 세대별 특징 ·························································································································································157

4.6 종교개혁과 반종교개혁 ······························································································································································162

4.7 16세기 세속음악 ·········································································································································································162

4.8 16세기 후반 기악음악에 대한 관심 고조 ·································································································································163

4.9 르네상스 작곡가 정리 ·······························································································································································164

5 바로크 ····························································································································································································167

5.1 바로크 시대의 일반적 음악양식특징 ·········································································································································167

5.2 주요 성악장르 ············································································································································································169

5.3 주요 기악장르 ·············································································································································································172

5.3 바로크 시기의 주요 작곡가와 작품 ··········································································································································174

6 고전 ································································································································································································176

6.1 고전시대의 일반적 음악양식특징 ···············································································································································176

6.3 주요 형식 ···················································································································································································178

6.4 주요장르 ·····················································································································································································179

6.5 주요작곡가와 작품 ·····································································································································································180

7 낭만 ································································································································································································184

7.1 낭만시대의 일반적 음악 양식적 특징 ·······································································································································184

7.2 절대음악과 표제음악 ··································································································································································185

7.3 예술가곡 ·····················································································································································································186

7.4 표제 교향곡 ················································································································································································187

7.5 음악극 ·························································································································································································187

7.6 교향시 ·························································································································································································188

7.7 오페라의 발달 ·············································································································································································189

7.8 대표적 작곡가 및 악곡 ······························································································································································190

8 국민악파 ························································································································································································193

8.1 국민악파 시대 일반적 음악적 특징 ··········································································································································193

8.2 대표적인 작곡가와 작품 ····························································································································································193

9 20세기 음악 ··················································································································································································196

9.1 20세기 음악양식특징과 역사적 흐름 ········································································································································196

9.2 20세기 여러 가지 음악양식 ······················································································································································198

9.3 대표적인 작곡가와 작품 ····························································································································································210

10 세계의 음악 ··················································································································································································211

10.1 세계 민요 ···················································································································································································211

10.2 세계의 예술음악 ·······································································································································································214

10.3 세계의 대중음악 ·······································································································································································218



국 악

01 국악통론 7

1 국악의 율과 조율법 ···········································································································································································7

2 기보법과 독보법 ···············································································································································································9

2.1 기보법 ·····························································································································································································9

2.2 정간보 독보법 ···············································································································································································17

2.3 옛 악보의 개관 ············································································································································································29

3 음계론 ·····························································································································································································36

3.1 조, 선법, 음계 ··············································································································································································36

3.2 전통음악의 조 ··············································································································································································37

4 전통음악에서 조옮김과 변조 ·························································································································································45

5 장단론 ·····························································································································································································52

5.1 장단의 음악적인 개념 ··································································································································································52

5.2 정악장단 ·······················································································································································································56

5.3 민속악 장단 ·················································································································································································59

5.4 전통음악 장단의 네 가지 유형 ··················································································································································60

6 형식론 ·····························································································································································································62

6.1 형식 ······························································································································································································62

6.2 종지형 ··························································································································································································64

7 연주형태 ··························································································································································································67

02 국악악곡 69

1 국악의 분류 ·····················································································································································································69

1.1 역사상의 분류 ···············································································································································································69

1.2 계열에 따른 분류(계통상의 분류) ···············································································································································70

1.3 향유계층, 기능에 따른 분류－정악과 민속악, 의식음악 ············································································································71

2 의식 음악 ························································································································································································72

2.1 종묘제례악 ····················································································································································································72

2.2 문묘제례악 ···················································································································································································78

2.3 범패 ······························································································································································································82

2.4 무악 ······························································································································································································83

3 정악 ·································································································································································································85

3.1 수제천 ···························································································································································································85

3.2 동동 ······························································································································································································88

3.3 여민락 ··························································································································································································90

3.4 영산회상 ·······················································································································································································94

3.6 보허자 ························································································································································································100

3.７ 도드리 ·······················································································································································································104

3.8 천년만세 ·····················································································································································································107

3.9 낙양춘 ························································································································································································108

3.10 정동방곡과 유황곡 ···································································································································································109

3.11 대취타 ························································································································································································110

3.12 취타 ····························································································································································································111

3.13 길군악 ························································································································································································112



3.14 길타령 ························································································································································································113

3.15 별우조타령 ·················································································································································································113

3.16 대풍류 ························································································································································································113

4 가악 ································································································································································································113

4.1 가곡 ······························································································································································································113

4.2 가사 ····························································································································································································120

4.3 시조 ·····························································································································································································122

5 민속악 ····························································································································································································125

5.1 시나위 ··························································································································································································125

5.2 산조 ····························································································································································································126

5.3 판소리 ·························································································································································································129

5.4 창극과 극음악 ············································································································································································140

5.5 잡가 ····························································································································································································142

5.5 민요 ····························································································································································································145

5.6 풍물놀이 ·····················································································································································································154

5.7 사물놀이 ······················································································································································································157

5.8 가야금 병창 ················································································································································································163

6 창작국악 ························································································································································································164

03 악기론과 국악실기 169

1 성악실기 및 국악선율창작 ····························································································································································169

1.1 각 토리별 선법과 시김새에 따른 선율창작 ······························································································································169

1.2 판소리 창법 ·················································································································································································177

1.3. 시조와 가곡 창법 ····································································································································································180

2 악기론 - 악기의 구조와 특징 및 분류법 ····································································································································181

3 기악실기와 장구반주법 ·································································································································································192

3.1 관악기 ·························································································································································································192

3.2 현악기 ·························································································································································································195

3.3 타악기 연주 ················································································································································································201

04 한국음악사 217

1 상고시대 ·························································································································································································217

1.1 상고시대 음악의 특징 ·································································································································································217

1.2 여러 군장 국가들의 제천 의식 ··················································································································································217

1.3 상고시대의 교류사 ······································································································································································218

2 삼국시대(B. C. 37년－A. D. 935년) ···········································································································································218

2.1 고구려 음악(B. C. 37년－A. D. 668년) ···································································································································218

2.2 백제 음악(B. C. 18년－A. D. 660년) ·······································································································································221

2.3 신라 음악(통일 이전의 음악：B. C. 1세기－A. D. 7세기) ·····································································································222

2.4 통일 이후의 음악(A. D. 7세기－A. D. 10세기) ·······················································································································223

2.5 발해의 음악 ···············································································································································································225

3 고려시대(918년－1392년) ·····························································································································································226

3.1 역사적 전통과 시대구분 ····························································································································································226

3.2 아악 ····························································································································································································227

3.3 당악 ····························································································································································································228

3.4 향악 ····························································································································································································231

3.5 고려시대 음악 관장기관 ···························································································································································234



4 조선시대의 음악(1392~19세기말) ················································································································································235

4.1 초기의 음악 ················································································································································································235

4.2 세종, 세조 때의 음악 ································································································································································236

4.3 성종 때의 음악 ··········································································································································································239

4.4 연산군 이후－임진왜란 전까지의 음악 ·················································

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