국악 감상은 국악이 갖고 있는 미적 특징과 의미를 이해하고 즐기는 행위로 이는 음악을 형성하고 있는 구성요소와 개념을 지각하고 반응하는 것이다. 이런 관점에서 볼 때 국악 감상교육의 핵심은 감상곡이 담고 있는 국악적 요소를 직접적인 활동을 통해 경험하게 하고, 그에 따라 유의미한 반응을 하도록 하여 학생들에게 미적 경험과 즐거움을 느끼도록 하는 것이다. 이에 본 연구에서는 초등 국악교육의 능동적인 감상지도를 위해 음악적 반응을 강조한 감상 지도단계와 그에 따른 수업모형을 구안하였다. 연구 결과 음악적 반응을 위한 국악 감상학습을 감각적 단계, 신체 표현적 단계, 시각적 단계, 이해적 단계, 내면화의 5단계로 위계화한 국악감상 수업모형을 구안하였고,「대취타」곡을 바탕으로 초등 감상수업에서 적용할 수 있는 교수-학습 지도안을 제시하였다. 이렇게 제시한 음악적 반응 중심 국악 감상 수업모형으로 기대할 수 있는 교육적 효과로는 악곡이 담고 있는 국악요소를 보다 의미 있게 이해할 수 있을 것이고, 축적된 국악적 경험과 이해를 바탕으로 국악을 통한 미적 경험을 가능하게 할 것이다. 또한 음악 감상 능력의 향상도 기대할 수 있으며, 가치화와 내면화를 통해 국악적 성취도 이루게 될 것이다.

Gukak(Korean traditional music) appreciation is the behavior of understanding and enjoying the aesthetic characteristics and meaning that gukak has. And it is to perceive and respond to the components and concepts that music consists of. In this sense, the key point of gukak appreciation education is to have students experience the gukak elements that the appreciation songs contain through direct activities and respond to them meaningfully so that they can have the aesthetic experience and feel the pleasure from it. Thereupon, for the active appreciation teaching of elementary gukak education, this study devised the appreciation teaching steps emphasizing musical responses and the teaching model corresponding to them. As a result, for gukak appreciation learning for musical responses, this paper devised the gukak appreciation teaching model with the hierarchy of 5 steps: the sensible step, physical expression step, visual step, understanding step, and internalization step. Regarding the application of the response-centered gukak appreciation teaching model developed in this study, this paper suggests the teaching-learning plans applicable to appreciation class at elementary schools based on the song titled as「Daechuita」. About the educational effects expected from the musical response-centered gukak appreciation teaching model suggested here, it is possible to understand the gukak elements that the song contains more meaningfully and also have aesthetic experience through gukak based on the accumulated gukak experience and understanding. Moreover, it is also expected to improve music appreciation ability and make achievements in gukak through valuation and internalization.

Gukak(Korean traditional music) appreciation is the behavior of understanding and enjoying the aesthetic characteristics and meaning that gukak has. And it is to perceive and respond to the components and concepts that music consists of. In this sense, the key point of gukak appreciation education is to have students experience the gukak elements that the appreciation songs contain through direct activities and respond to them meaningfully so that they can have the aesthetic experience and feel the pleasure from it. Thereupon, for the active appreciation teaching of elementary gukak education, this study devised the appreciation teaching steps emphasizing musical responses and the teaching model corresponding to them. As a result, for gukak appreciation learning for musical responses, this paper devised the gukak appreciation teaching model with the hierarchy of 5 steps: the sensible step, physical expression step, visual step, understanding step, and internalization step. Regarding the application of the response-centered gukak appreciation teaching model developed in this study, this paper suggests the teaching-learning plans applicable to appreciation class at elementary schools based on the song titled as「Daechuita」. About the educational effects expected from the musical response-centered gukak appreciation teaching model suggested here, it is possible to understand the gukak elements that the song contains more meaningfully and also have aesthetic experience through gukak based on the accumulated gukak experience and understanding. Moreover, it is also expected to improve music appreciation ability and make achievements in gukak through valuation and internalization.

korean traditional music appreciation, korean traditional music appreciation teaching model, musical response, aesthetic experience, music education