초록 열기/닫기 버튼
This paper is a basic study on the improvement strategies of traditional rhythm education in primary school. Rhythm in Korean traditional music may be absolutely important. In particular, its importance is great enough to say that the absence of double-headed drums or a drum that is in charge of rhythm in music, such as in Sujecheon or Sangyeongsan of Gwanakyeongsanheuisang, aria, and pansori, results in a lack of music performance. Such rhythm education cannot be conducted without intense thinking and active research, accordingly. In a situation where a teacher offers current Korean traditional music education while knowing merely several basic rhythms, it may be impossible to help students understand the nature of rhythm and experience rhythm in person. If rhythm education cannot be made in accurate and fundamental manners, students cannot even understand traditional music itself. As these problems are often discovered in the class, we cannot expect significant development in traditional music education without improving these problems. 1. Principle of Rhythm Education Cutting edge creativity and an impromptu nature may be the characteristics of Korean rhythm, and it would not be a fair comparison if we do not understand those characteristics and then criticize the scientific aspect of traditional rhythm by tailoring the rhythm based on Western music. Rhythm education should be based on understanding those characteristics of traditional music, first. It is of no less importance than teaching an accurate beat to let students know the characteristics of rhythm which change in times. If rhythm education results in merely performing several rhythms correctly, that would not be a true representation of rhythm but a creation of Korean rhythm translated into staff notation. 1) Rhythm does not simply mean ‘beat’. That is a core element of incorporating woof and warp threads with various forks and weaving traditional music. Rhythm education should not consist of teaching several rhythms but be in making students perform and appreciate music through rhythm. 2) Korean traditional rhythm features a spontaneous and impromptu nature. Rhythm pursues change consistently and such an impromptu nature should be learned as well. 3) Therefore, it is necessary to teach not only the original beat but also the method and principle of its changes. 2. Repeat of lessons composed of base plays for both of aria, melody and four instruments, Nong-ag. It is difficult to accept that rhythm can be simply taken by playing based music, since rhythm is composed of lots of beats and its length. Therefore, lessons concentrated on rhythm for four instruments or Nong-ag will be more efficient in the teaching of beats than let them play lonely beats and other instruments. 3. Teaching the Correct Reading of the Korean musical score -- (In comparison to staff notation) It is a correct attitude to consider the Korean musical score not as an alternative to staff notation but as the Korean traditional music score independently created by our ancestors. This means it is necessary to see the Korean musical score as our mother tongue which does not require that the Korean musical score be understood with staff notation and be ‘translated’ from staff notation. It is necessary to understand the intense learning process for the Korean musical score as a tool to identify all related elements in Korean traditional music, and to learn this intensively. This should allow additional time and effort as it is needed when we learn Korean vowels and consonants and how to combine them when learning the Korean language early in life. Since learning the Korean musical score may be difficult from the start, it is necessary to prepare a curriculum such that students in higher level classes can review what they have learned about the Korean musical score.
