기술사회에서의 음악교육의 역할 = Role of Music Education in a Technological Society
저자
安美子 (음악대학 종교음악과)
발행기관
학술지명
권호사항
발행연도
1988
작성언어
Korean
KDC
051
자료형태
학술저널
수록면
311-326(16쪽)
제공처
소장기관
This paper was attempted to suggest possibilities to lead a meaningful life through music education in a technological mass society. Following questions are discussed to examine the function of music to modern society:
1. Why do human beings need arts? In a society that depends so much on technology, on knowledge, on practicality, and on precision, is there a room for sensitivity to imaginative perception, to vagueness of meaning, to individuality, to thee unique particular?
2. What is the value of music education both in school and society where the cognitive, the practical, the social, the moral not the aesthetic values, have the high priorities?
3. How should music education program be prepared to teach students in a technological society?
Development of technological culture turned the man to be dehumanized and brought furious social disorder. However, it cannot eliminate man's need toward self-expression and self-actualization. Rather, the more values are put to the functional and economic productions, the more values are considered to select the individual self-expressions. Science and technology are not merely means to achieve ends that the humanities have selected. They just created the possibilities of new goals.
Music is not a necessary condition for life, but it is a necessary condition for the good human life. Science and technology have altered the conditions to exercise every one of the virtues, honesty, courage, temperance, and justice. That is why they have to find new behavioral expressions.
Even though science has multiplied the possibilities of virtue, it is the arts yet to create life style embodying these possibilities. In music, better than in other arts, the rhythm of conflict and resolution is objectified for our perception, and the possibilities of unity and variety more purely and richly exemplified.
Scumbling of reality and fantasy, the world of machines, and of hallucinogenic drugs, of lust and love, in a technological society are all inexpressible in art forms that shape sound, color, and line into rational and formally clear pattern. For that reason, contemporary art altered its traditional idiom that ordinary man cannot perceive the image and there certainly are needed new and strange idioms.
The basic goal of education is to supply as much knowledge as what students basically needed; as much as knowledge as possible about themselves, other people, the environment, and relationships among these. To gain this knowledge, they also need to be able to perceive sensitively, to interpret what they perceive, to understand its significance, and then to express it. The arts make a contribution toward the acquisition of that knowledge that is basic to education and also the essence of humanness. The uniqueness of the arts is in their ability to symbolize and express human feeling.
Contemporary music educators must have capabilities to search for the alternatives in the process of actual teaching situations and changing educational goals. In the world and a universe, there are no two things exactly the same which include music. However, one can operate quite effectively if he can classify such a various objects into a certain category. The capability to classify dissimilar objects, events, or situations is actually the ability to conceptualize. In music that has various forms, functions, and styles in technological society its definition has to be expanded to the system of sound and silence and should be approached as concept learning.
School curriculum centering toward music does not solve all of the problems in education. However, it can be an alternative to bring the people up to serious music, in the same sense that the common man has slowly been educated into the scientific tradition. This means that just as our people are expected to interpret the language of discursive symbols in the form of reading and writing, so are they to be expected to perceive the rich texture of sensory elements embodies in the work of music, the formal design properties of the work of music, the technical means by which the effects are produced, and finally the images of human import it expresses. At a more mature level, one might expect the perceiver not only to cherish works of music but also to know why he cherishes it.
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