School of Oriental and African Studies University of London

SOAS-AKS Working Papers in Korean Studies

No. 26

Research on Samullori Education in Schools

In Suk KIM

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Research on Samullori Education in Schools

In Suk KIM (Gyonggi Province Educational Research Institute) © 2012

Preface Korean traditional music has been taight in schools since the 1990s. It has been emphasized furthermore since the 2000s. Rhythmic cycle, changdan education in Korean traditional music is considered very important, because the court and folk music of Korea is all based on changdan. The system of changdan used in school textbooks has included basic rhythmic cycles such as chajinmori, saemach’i, kutkŏri, chungjungmori and chungmori. These are usually mentioned briefly In a section on folksong, therefore students cannot learn about them in a continuous way, taking in other genres of music. Meanwhile, samullori has a lot of merit to be used in a more continuous way, because a samullori piece is a suite including a variety of changdan and students participate in samullori classes with interest. In these respects, I consider that samullori is a very good way to introduce changdan. With the increased interest in samullori and the teachers' enhanced capabilities, attempts to systemize samullori education and guidance have steadily been made. The process of systemizing samullori was steadily presented in the form of theses, after establishing a theoretical system in graduate courses. The research that has resulted is much more than I had expected, and the contents of theses were also more varied. Despite this, discussions have not yet involved teachers in the field, and so are not actively reflected on in the school curriculum. As a result, the capabilities of individual teachers have not been strengthened and expanded, and the research results have not been comprehensively reviewed. It is time to do so, and to suggest new directions arising from a review of the existing research. In this article, I will analyze the education research accomplishments of samullori based on 100 studies1related with school education and seek a desirable research direction for samullori education in the future.

Direction in the Revision of Music Curriculum The national curriculum can be said to select, organize, practice and evaluate education contents in order to achieve education goals and objectives of schools.2 The contents

1 Korea Education and Research Information Service, KERIS, http://www.riss.kr. Identified using the keywords samullori, p’ungmulnori, nongak, Primary school, middle school. 2 Ministry of Education, Science and Technology, Description and Outline of Elementary School Curriculum in Accordance with the Revised Curriculum (2009): 9. The periods during which specific curriculum were promoted were 1954-1963 (1st), 1963-1973 (2nd), 1973-1981 (3rd), 1981-1987 (4th) 1987-1992 (5th), 1992-1997 (6th), 1997-2007 (7th), 2007- 2009 (‘Revised’), 2009 on (‘Revised (2009)’)

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related to samullori in the music subject curriculum in the <7th National Curriculum (1997)> and <2007 Revised Curriculum (2007)> are as follows:

Table 1 Comparison of contents in music subject curriculums for samullori 7th National Curriculum 2007 Revised Curriculum (2007-2009) (1997-2007) 1st Grade × × 2nd (Appreciation) (Appreciation) ‘The Hobgoblin That Became four Grade p’ungmulnori instruments’; (Expression) chajinmori changdan (Expression) Characteristics of p’ungmulnori 3rd Grade × Instruments and rhythms (Appreciation) samullori – Uttari 4th Grade (Appreciation) samullori (Illustration) p’ungmulnori 5th Grade × × (Expression) ‘The Hobgoblin That Became four 6th Grade × Instruments, using text by Taesung Publishing Co.

The contents in each curriculum in textbooks designed for appreciating or playing/expressing samullori or the related rural form of p’ungmulnori are as shown above. In the textbooks for the <7th Curriculum>, samullori and p’ungmulnori are presented only as appreciation of pieces. But, In the 2007 textbook, the contents of samullori and p’ungmulnori are more deeply considered in a more advanced way, up to the stage of expression. It is encouraging that the 3rd grade textbook looks at the characteristics of p’ungmulnori instruments. ‘The Hobgoblin that Became four instruments’ is the musical piece used to characterise the four instruments of samullori . The second grade textbook aims at appreciation and learning chajinmori, while the sixth grade textbook aims at playing the piece in accordance with its rhythmic elements. The elements of this music are kutkŏri, chajinmori, tongsalp’uri and hwimori, and it is composed to accelerate faster and faster with kutkŏri and hwimori, creating student interest and fun in participation. Despite such positive aspects, it is somewhat regrettable that guidance on samullori is still restricted, since in the authorized 5th and 6th grade textbooks adopted from 2011 different teaching materials are selected depending on the circumstances of each school; this reflects differences in the emphasis on education and guidance by each publisher.

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The Ministry of Education, Science and Technology finalized and release the <2009 Revised Curriculum> on 17 February 2009.3 The music elements and conceptual framework related to rhythm suggested are as follows.4 [Table 2] Music Elements and Conceptual Frame Table 3rd-4th Grade 5th-6th Grade 1st-2nd Grade Elementary School Elementary School Middle School Various Times Beat, Time Beat, Time Rhythm (chungmori, ŏnmori, Rhythm (chungjungmori, kutkŏri Rhythm (chajinmori, Song), Korean traditional poem, Force semach’i) Force of Rhythm of Rhythm Length of Notes Rhythm Patterns of Various Various Rhythmic Patterns Simple Rhythmic Pattern Meters Rhythmic Patterns (Rhyming Rhythmic Pattern Rhythm Patterns of Various Patterns, Closing Patterns) Malpuch’imsae Rhythms Malpuch’imsae Malpuch’imsae

According to the music elements and conceptual framework presented in Table 2, only overall necessary elements are listed in the curriculum, while concrete guidance on samullori or p’ungmulnori and the details of education goals are not presented. However, students can be guided to learn how to play traditional instruments using oral sounds, while the method of learning a sense of rhythm using dancing can be utilized. The curriculum states that students should enjoy music in life and have the correct values on music and in particular Korean traditional music through it. In addition, if we look at the rhythmic elements in Table 2, they are designed to learn in the order chajinmori ㆍ semac’hi → chungjungmori ㆍ kutkŏri ㆍ Korean traditional poem → chungmori ㆍ ŏnmori ㆍ Korean traditional poem. As the elements of rhythm presented are mainly extracted from commonly used songs like traditional nursery rhymes and children's songs, they can be said to be inadequate for the rhythmic elements that are characteristic of samullori, where the speed of a piece gets faster and faster. Therefore, having samullori in mind, it is regrettable that the rhythmic elements suitable for its performance and education are not presented. Although there are no big differences between the new textbooks and the revious curriculum, it can be said to be positive in so far as the contents of education can be re-ordered depending on the school and region.

3 'Revised National Curriculum (2009)' will be applied by stages from 2011 in the order elementary school (1st–2nd grade), middle school (1st grade), high school (1st grade) in 2011, elementary school (3rd–4th grade), middle school (2nd grade), high school (2nd grade) in 2012, and elementary school (5th–6th grade), middle school (3rd grade), high school (3rd grade) in 2013. 4 Ministry of Education, Music and Curriculum: 9 (2009).

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Research Tendency of Samullori Education in Schools We cannot help but write that the research done so far and the results are valuable to education on Korean Traditional music and guidance in samullori. In addition, these provide an important background in applying and utilizing related education materials in the fields of music systems and related contents. My attempts here is therefore to analyze the 100 research papers related to samullori, p’ungmulnori and nongak produced between 1990 and February 2012.

Research Tendency by Year Samullori school education began to be studied in earnest at the beginning of the 1990s. Only 1 or 2 papers were produced by the middle of the 1990s, and then the number showed a tendency to rapidly grow, to 3, 7 and 16 annually by the beginning of the 2000s. It is notable that the number of researches related to samullori education made in 2008 and 2009 increased rapidly, but has been on a declining curve since.

[Graph 1] Research Tendency of Samullori Education by Year

As Graph 1 shows, since the 1990s interest in school education on samullori increased, increasing rapidly at the beginning of the 2000s, and now declining. This is mostly due to the result of guidance by individual teachers committed to samullori in the 1990s when the genre began to spread because of extracurricular activities. In other words, samullori was not part of a regularly operated curriculum but a club activity targeting selected students. It was at the beginning of the 2000s that samullori was reflected in school education more actively than before. Not only the proportion of the teachers capable of samullori education increased remarkably but also the number of academic researches increased. Although the number of researches has decreased since 2010, some research is still being carried out, and it is possible that the data for recent years is not yet available.

Research Objects

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The research targets dealt within in the papers related to samullori education were looked at. Looking at elementary and middle schools, out of a total of 100 papers, 86 dealt with the elementary schools, 12 middle and high schools and two were mixed. The papers for middle and high schools showed that samullori education was not active that much compared to elementary schools. The fact that samullori education at elementary schools was not continued into middle and high schools shows that developing it through the education cycle is difficult.

[Table 3] Research Papers by School Level

School Level Elementary Mid-High Etc.

No. of Papers 86 12 2

A Consideration on the Terms of Samullori I investigated what terms are used when researching samullori in schools. ‘Samullori‘ is the most widely used term for title and contents, while others such as ‘P’ungmul’ and ‘Nongak’ are also used. Of the total, 70 (70%) used ‘Samullori’ 23 (23%) ‘P’ungmulnori’ and seven (7%) ‘Nongak’. I now consider the concept of each term.

[Table 4] Frequency of Using Terms of Samullori , Pungmulnori, Nongak

Terms Samullori Pungmul Nongak

Total 70 23 7

◆ Samullori The music played by the four typical percussion instruments of farmer’s bands, p’ungmulgut: kkwaenggwari (small gong), changgu (double-headed drum with a narrow waist), puk (barrel drum) and ching (large gong). Samullori was originally the term referring to four instruments at a Buddhist temple, mogŏ, unp’an, pŏgo and pŏmjong. From here they were converted to become the term for the four musical instruments. Out of the p’ungmul music developed in each region, only some music was deeply developed as samullori, the genre being performed for the first time in 1978. It began to be widely known afterwards, and with its use of indoor space and its easiness of learning, it has become the form of percussion band performance preferred by schools.

◆ P’ungmul P’ungmul is the music of a village community ritual (kut), composed of kisu (leaders), t’aep’yŏngso (shawm), sogo (small drum), chapsaek (actors) as well as the four core

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instruments. P’ungmul embraces many terms, including p’ungjang, ture, kŏlgung and nongnak. Strictly speaking, p’ungmul was the object used for p’ungjang or p’ungak, that is, musical instruments, and was used as the word to mean what was called nongak more broadly in the area of Kyŏnggi province; ture means an organization for labour. Kŏlgung refers to the action of hanggan collecting money or rice donated between villages. When used for p’ungmul or ture, a high level of performance skills was not required as it was villager-centered fun. When a performance group such as the itinerant Namsadang played the percussion instruments, it was more professional. P’ungmulnori includes music as well as the pinari prayer of blessing, sangmonori dance with twirling ribbons, sogonori acrobatic dance with small drums, and so on. Even though p’ungmul from various areas was designated as intangible cultural heritage, the regions can be largely divided into five, with, characteristically, Uttarip’ungmul in Kyŏnggi and Ch’ungch’ŏng, in the southwest Left Province and Right Province styles, Kyŏngsang p’ungmul and Kangwŏn p’ungmul. I will here look comprehensively at p’ungmul as handed down as village community rituals. As p’ungmulnori is a form of playing instruments in a standing position, physical movement and breathing are required; the positive aspects in school education are that many people can play the simple rhythms together without special skills, and they can raise their level of cooperation. The difficulties for education include the space where students can practice on their feet, the burdens imposed when playing heavy musical instruments and inconvenience of holding the instruments.

◆ Nongak Nongak is presumed to originate in the rites of ancient tribal countries. Currently, there are several different names that refer to the genre, including maegu, ture, p’ungjang, p’ungmul, kut, p’ungmulgut and kŏlgung. The word ‘nongak’ was first used in the agricultural encouragement movement, which was one a agricultural exploitation policy for delivering more production during the Japanese colonial era. For that reason, progressive scholars of Korean literature and folklorists mainly use 'p’ungmul' instead of 'nongak'. Yi Pohyŏng has - noted there is no need to use ‘p’ungmul’ or to remove the word ‘nongak’ as it originated from 'nongnak', a term already used in ancient society but changed to 'nongak’ as an academic term in recent times. According to the Cultural Property Administration, since the word 'nongak' was used in 1966 when the important intangible cultural property for the genre was first designated, 'nongak' has been used in 33 items that are connected to the genre. The types of nongak designated within the important intangible cultural property by the government is seven, while the number of types designated as provincial cultural properties by provincial governments is 26.

[Table 5] List of Nongak Intangible Cultural Properties [MoE Romanizations] Date of No Item Name Area Designation

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1 Important ICP 11 Nongak - 1966/06/29 2 Important ICP 11-Ga Jinju Samcheonpo Whole Area of 1966/06/29 Nongak Gyengnam 3 Important ICP 11-Na Pyeongtaek Whole Area of 1985/12/01 Nongak Gyeonggi 4 Important ICP 11-Da Iri Nongak Whole Area of 1985/12/01 Jeonbuk 5 Important ICP 11-Ra Gangneung Whole Area of 1985/12/01 Nongak Gangwon 6 Important ICP 11-Da Imsil Pilbong Whole Area of 1988/08/01 Nongak Jeonbuk 7 Important ICP 11-6 Gurye Jansu Jeonnam 2010/10/21 Nongak 8 Chungcheongbuk-do ICP 1 Cheongju Nongak Cheongju, 1992/10/23 Chungbuk 9 Daejeon City ICP 1 Utdari Nongak Daedeok-gu, 1989/03/18 Daejeon 10 Daegu City ICP 1 Gosan Nongak Suseong-gu, Daegu 1984 /07/25 11 Daegu City ICP 3 Wooksu Nongak Suseong-gu, Daegu 1988 /05/30 12 Gyeongsangbuk-do ICP 4 Cheongdo Chasan Cheongdo-gun, 1980/12/30 Nongak Gyeongbuk 13 Busan City ICP 6 Busan Nongak Seo-gu, Busan 1980/02/12 14 Jeollanam-do ICP 6 Hwasun Han Hwasun-gun, 1979/08/03 cheon Nongak Jeonnam 15 Jeollabuk-do ICP 7 Nongak Whole Area of 19871231 Jeonbuk 16 Jeollabuk-do ICP 7 Jeongeup Jeongeup, Jeonbuk 1999/04/23 Nongak(sogo) 17 Jeollabuk-do ICP 7-1 Buan Buan-gun, Jeonbuk 1987/12/31 Nongak(sangsoe) 18 Jeollabuk-do ICP 77-2 Jeongeup Nongak Jeongeup, Jeonbuk 1996/03/29 (sangsoe) 19 Jeollabuk-do ICP 77-3 Gimje Gimje, Jeonbuk 1999/07/09 Nongak(sangsoe) 20 Jeollabuk-do ICP 7-4 Namwon Nongak Namwon, Jeonbuk 1998/01/09 (sangsoe)

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21 Jeollabuk-do ICP 7-6 Gochang Nongak Gochang, Jeonbuk 2005/12/16 (seoljango) 22 Gwangju City ICP 8 Gwangsan Gwangsan-gu, 1992/03/16 Nongak Gwangju 23 Gyeongsangbuk-do ICP 8 Geumneung Gimcheon, 1984/12/29 Bitnae Nongak Gyeongbuk 24 Gyeongsangnam-do ICP 13 Haman Hwacheon Haman-gun, 1991/12/23 Nongak Gyeongnam 25 Gangwon-do ICP 15 Pyeongchang Pyeongchang, 2003/04/25 Dunjeonpyeong Gangwon Nongak 26 Jeollanam-do ICP 17 Woodo Nongak Yeonggwanggun, 1987/08/25 Jeonnam 27 Gangwon-do ICP 18 Wonju Maeji Wonju, Gangwon 2006/01/06 Nongak 28 Incheon City ICP 19 Gapbi Gocha Ganghwa-gun, 2008/12/15 Nongak Incheon 29 Gyeonggi-do ICP 20 Gwangmyeong Gwangmyeong, 1997/09/30 Nongak Gyeonggi 30 Jeollanam-do ICP 27 Goheun Wolpo Goheung-gun, 1994/12/05 Nongak Jeonnam 31 Jeollanam-do ICP 35 Gokseong Juldong Gokseonmg-gun, 2002/04/19 Nongak Jeonnam 32 Jeollanam-do ICP 39 Jindo Sopogeolgun Jindo-gun, Jeonnam 2006 /12/27 Nongak 33 Gyeonggi-do ICP 46 Yangju Nongak Yangju, Gyeonggi 2006/03/20

Agriculture was a very important means of living in traditional society. Nongak had a lot of roles in giving vitality to the tired people and promoting harmony. However, villagers could hear p’ungmulnori resounding not only when farming was happening but also during holidays. As our consideration is not limited to 'nongak' functionally, I will here use the term 'p’ungmul', except when considering the intangible property designation, when 'nongak' is used. There are, then, differences in the name or nature of samullori, p’ungmul and nongak, but there is a need to combine them within school education. Even when referring to the intangible cultural properties, different terms are frequently used by writers. In general, the term samullori is now commonly used in schools, and it can be seen that this name has been

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adopted because rhythm-centered education uses the samul musical instruments, typically indoors. However, a new and more clear approach is needed in the use of terms.

Research Institutes Research on samullori education were mainly done by graduate schools of education. These are divided into graduate schools of general universities and graduate schools of teacher training institutions. Amongst the universities, papers were produced in descending order by Yongin University (11%), Chugye University for Arts (10%) and Keimyung University (3%); universities other than these three usually produced only one or two papers.

[Graph 2] Research Tendency of General Universities

Among the general universities, Yongin University and Chugye University for Arts show a high study frequency, which is to be expected because both universities have departments of traditional music at the undergraduate level and are in Seoul.

[Graph 3] Research Tendency of National University of Education

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Among the universities of education, the study frequency was in the descending order of Gyeongin National University of Education (7%), Chuncheon National University of Education (6%) and Jinju National University of Education (5%).

Research Contents of Samullori School Education The research divides into three types of studies: samullori guidance research (49%), music analysis (28%) and surveys (23%).

[Table 6] Type of Research Content Teaching Research Content Analysis Status Research Total Method

Percentage (%) 49 28 23 100

Guidance Plans Discussions in the research outputs are in the categories of regional p’ungmul guidance, step-by-step samullori guidance, guidance plans using the body, breathing or oral mnemonics, samullori appreciation, and so on.

[Graph 4] Type of Guidance Plan

Materials Appreciation Speaking/Breathing Body Teaching Step Province Pungmul

0 5 10 15 20

Guidance is mainly discussed to seek ways that can efficiently promote p’ungmul (nongak) in being handed down from each region. It is appreciated that guidance tries to help students have regional pride. The guidance expected teachers to learn the regional p’ungmul in advance; it then took a period of several months to learn, after which the final plan was amended and presented.

[Table 7] Guidance Plan Steps

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Learning Regional Preparation of Student Amendment of – – – Pungmul Guidance Plan Guidance Guidance Plan

In the above cases, teachers guided students through extracurricular activities after privately finishing their own training in samullori in most cases. The programmes promoted can be seen as a very useful process, but general teachers have difficulties in carrying this sort of programme out in most fields of school education. On the other hand, as self reflection on guidance methods mainly for teachers trained in the functions of samullori, the plans combine physical activities, oral mnemonics and breathing to help students interestingly learn rhythms from lower school grades onwards. Through the basic rhythmic cycles like chajinmori, semach’i and kutkŏri of traditional nursery rhymes or creative Korean traditional music, physical activities allow students to actively participate in the programmes. Oral mnemonics are designed for students to memorize syllable names with ease much like the way students memorize solfège at the basic stage of learning tunes in Western music, and creates interest. Whereas Western music is faithful to a beat, breathing is the method to have students be familiarized with the characteristics of Korean rhythm. It is an important element that allows students to learn most p’ungmul characteristics where students are prone to play them functionally but without the propert feeling; breathing correctly has showed its effectiveness through research. Guidance through appreciation was designed to have students experience the musical characteristics and artistic beauty, taking full advantage of creative Korean traditional music while comparing different traditional music. Developing multimedia data, integrating intelligence theory, utilizing Orff's teaching method, adding musical plays, the sangmo and sanggo, and guidance on the artistic characteristics of p’ungmul performance were all part of the samullori guidance program. Among these elements, Orff's teaching method has been interesting for teachers in South Korea.

Analytic Research Amongst the sample, papers that attempted to analyze the essential contents of the materials, such as analysis of music in the subject curriculum or music textbooks, and the impacts of samullori on children’s learning and analysis of the teaching materials used accounted for 28% of all papers.

[Graph 5] Type of Analytic Research

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Tranning Books

Influence

Curriculum

0 5 10 15 20

The importance of Korean traditional music education is suggested by examining the kind and entire percentage of songs published in textbooks. In teacher training materials, the percentage of Korean traditional music reached 40% in the <7th National Curriculum (1997)>, but teacher training remained insufficient. A problem was that teachers needed to register at the National Gugak Center or at private centres to receive higher level training while the training materials focused only at lower levels. Thus, a system for continuous training by each provincial government is needed. Regardless of whether teachers specialist in elementary or middle schools, there are not many who are able to conduct practical training in school. In many cases, there is only one or no music specialist per school. Because of this, a music teacher pool is being established to vitalize school art education, and papers considering the training materials for Korean traditional music instructors are noticeable. Such a pool system is encouraging, in that school teachers are unburdened by being able to bring in professional instructors in the field and students are thus better instructed in professional materials. At the moment, the training contents include too many theory-oriented classes and are unchanging since the same instructor teaches every year. Studies on the emotional effects of samullori, on the utilization of group music learning, on ego-resilience targeting institutionalized children, on the attitude towards children with disabilities and on children in an international family are also noticeable. In other words, the survey suggests that samullori education is useful not only for learning Korean rhythm but also to help students adapt to society in various aspects. This gives a sense that it works with various problem children as well as in general education.

Regional School Survey The survey subjects for samullori education materials were all elementary school students, apart from one school at middle school level. The guidance materials also concentrated on elementary school students. The frequency of research on the status of samullori education was, in descending order, Kyŏnggi, Seoul, Ch’ungch’ŏng and Kangwŏn Province. There were more research papers from the graduate schools in these areas.

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[Table 8] Nongak Intangible Cultural Properties and Education Research Papers Chungche Gyeongsa Area Seoul Gyeonggi Gangwon Jeju Jeolla ong ng No. of Intangible 0 4 2 7 0 0 16 Cultural Asset No. of Research 6 7 5 3 4 1 1 Paper

The frequency that national or regional nongak was designated as intangible cultural properties mitigates against education papers. In particular, as compared to the many more nongak intangible properties in the southwestern province of Chŏlla, research on samullori in this area is very infrequent. Other results might be produced if the overall research tendency on p’ungmul is looked at, however, when looking at education research only, the interest in samullori education is concentrated on Seoul and Kyŏnggi. My survey method used in the research was out to identify regional research based on the contents answered by nearby elementary schools and province-level elementary schools after completing questionnaires. Results were analyzed after identifying status and web sites targeting as few as 10 elementary schools or as many as 200 elementary schools. The comment presented commonly in many papers is that teacher training should be continued. As elementary teachers teach several subjects, they have functional difficulties about teaching samullori. Middle school teachers also have the same difficulties with Korean traditional music education and samullori, as most received Western music education. According to one survey, teachers who had not received traditional music training in the last two years reached 80%. So, unlike the increase in traditional music content in the elementary curriculum, the ability of teachers to teach the field does not match it. Therefore the common difficulty across the country is the lack of teacher functionality, and the activation of traditional music training or efficient co-operation with professional traditional music instructors is vital. The second most reported problem was space and facilities for samullori training. Support is dependant on principals or is insufficient. It was proposed that national support should be provided to resolve the problem of space. Finally, the comments suggest a change in awareness of samullori. The effect had spread to school education within thirty years of its invention, and this is significant. There are a lot of possibilities for samullori to link to other school education, but the foundation for education, such as teacher training and continuing training needs the active support of district offices of education and school principals.

Research Achievements and Proposals

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My study analyzed 100 studies related to samullori school education from 1995 to 2012. The numbers of studies began to increase from the 2000s and showed explosive growth in 2008 and 2009. This was achieved by the activation of samullori education and the hard efforts made by teachers to provide systematic guidance. My study examined guidance plans, analytic research and the actual state of regional schools. Diverse approaches have been adopted to develop guidance plans, such as the phased guidance of regional p’ungmul, general phased guidance of samullori, learning methods involving the body, oral mnemonics and breathing, appreciation and material development. In spite of progress, many problems still exist. The following suggests directions for future research that respond to existing problems. First, samullori education must combine special classes with regular music classes. Special classes involve programmes to foster p’ungmul performance skills among a small number of students. But, most students can develop sensitivity for traditional music by sharing common experiences in music classes. As most of the existing studies have focused on special classes, future studies must research methods for using samullori in regular music classes. Second, research subjects must diversify. As the majority of existing studies focus on elementary school students, future research must look at samullori education for middle and high school students. In the present day, samullori education is taught in elementary schools not middle schools. From a regional perspective, it is important to develop measures that can activate p’ungmul in areas other than the central region. Third, research must be conducted on methodological aspects of changdan teaching. Previous studies have adopted various methods, such as the establishment of a learning structure according to the level of difficulty of changdan, or phased guidance based on regional p’ungmul. Future studies must focus on developing teaching methods that combine the use of body, oral mnemonics and breathing, which are the basic elements of performance. Fourth, research must be conducted on teaching materials for teachers. Many schools experience problems in relation to insufficient training of teachers. In this regard, it is important to develop realistic measures that can be used to enhance the qualitative standard of teachers. In conclusion, I believe that samullori must become more widespread in the public education of schools, and related studies must be continuously carried out to improve its use. This will serve as a foundation for developing teaching on Korean traditional music.

References 김기홍, 초등학교 사물놀이 지도 실태에 관한 분석 연구 : 강원도를 중심으로, 춘천교육대학교, 2001 강대상, 초등학교 어린이의 사물놀이 지도에 관한 연구, 광주교육대학교, 2001. 김윤영, 초·중등교원 국악연수프로그램에 관한 연구, 연세대학교, 2001.

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Research on Samullori Education in Schools 17

문현숙, 호남 우도 사물놀이 지도법에 관한 연구 : 초등학교 특기·적성활동을 중심으로 , 전주교육대학교 교육대학원, 2002. 김새정, 口音을 통한 초등학교 어린이의 삼도풍물가락 지도방안, 대구교육대학교 교육대학원, 2002. 강창열, 경기도 초등학교 음악교육의 실태, 인천교육대학교 교육대학원, 2002. 박천수, 초등학교 단계별 풍물굿 지도 방안 : 필봉 풍물굿을 중심으로, 우석대학교 교육대학원, 2002. 김우현, 초등학교 사물놀이 특기ㆍ적성교육 지도 방안 : 구음과 호흡을 중심으로, 경인교육대학교 교육대학원, 2005. 서지영, 사물놀이의 체계적 지도를 위한 프로그램 개발 연구 : 초등학교 4-6 학년 교과과정을 중심으로, 진주교육대학교 교육대학원, 2005. 김복연, 영남사물가락 지도방안 연구 : 초등학교 중심으로, 중앙대학교 국악교육대학원, 2005, 한의진, 오르프 교수법을 활용한 전통음악 교육방법 연구 : 초등학교 5 학년 전통음악 제재곡을 중심으로, 용인대학교, 2006. 인치규, 풍물굿의 연행예술적 특성 지도를 위한 창작 풍물놀이 활용방안 : 계발활동 시간을 중심으로, 경인교육대학교 교육대학원, 2006. 김민아, 초등학교 국악교육을 위한 사물놀이 특성화 활동에 대한 조사연구 : 경기도 사물놀이 특성화 학교를 중심으로, 건국대학교 교육대학원, 2008. 윤정호, 강원도 초등학교 사물놀이 교육의 특성화를 위한 '동해무속사물'장단 연구 : 푸너리·배기장·드렁갱이 장단을 중심으로, 춘천교육대학교 교육대학원, 2008. 방은경, 장단교육 방법에 관한 고찰 : 제 7 차 초등교육과정을 중심으로, 중앙대학교 국악교육대학원, 2008. 윤지현, 초등학교 국악 특기적성수업 실태에 관한 연구 : 경기도 용인시 수지구내 초등학교를 중심으로, 용인대학교, 2008. 고영선, 협동학습을 적용한 장단 지도 방안 연구 : 굿거리장단을 중심으로, 추계예술대학교 교육대학원, 2008. 정성미, 구음을 통한 장구장단 지도 방안 연구, 중앙대학교 국악교육대학원, 2008. 윤선영, 사물악기를 활용한 놀이 형태의 리듬 지도 방안 연구 : 초등학교 4 학년을 중심으로, 춘천교육대학교 교육대학원, 2009. 권덕원, ‘2009 년 개정 음악과 교육과정에 기초한 국악교육의 방향’, 국악과 교육 제 27 집, 한국국악교육학회, 2009. 안선화, 춤동작을 활용한 창의적인 타악놀이 : 초등학교 3~4 학년을 중심으로, 명지대학교 사회교육대학원, 2010.

http://www.soas.ac.uk/japankorea/research/soas-aks-papers/

Research on Samullori Education in Schools 18

이부영, 초중등학교 예술강사 연수교재에 관한 고찰 : 국악분야를 중심으로, 전남대학교 대학원, 2010. 이동남, 현행 개정 초등 음악 교과서의 문제점, 국악과교육/30, 91-115, 한국국악교육학회, 2010. 박초롱, 웃다리 사물놀이에 대한 이해와 지도 방안에 관한 연구 : 초등학교 고학년 창의적 체험 활동을 중심으로 , 청주교육대학교 교육대학원, 2011. 김소연, 초등학교 국악교육 실태 조사 연구 : 충청남도 천안시를 중심으로, 용인대학교, 2011. 이병선, 말 붙임새를 활용한 사물놀이 장단 지도 방안, 전주교육대학교 교육대학원, 2011. 곽은아, 국악 관련 특수분야 교원연수에 관한 연구, 국악과교육/31, 7-32, 한국국악교육학회, 2011. 유경옥, 호남 우도농악을 활용한 초등학교 농악교육 프로그램 개발, 학위논문(박사), 한국교원대학교 대학원, 2011.

http://www.soas.ac.uk/japankorea/research/soas-aks-papers/