Rhythm is the most important of all musical components. There could be no music without rhythm, whereas there is much music that has neither melody nor harmony. Music educators emphasize the development of rhythmic perception and response in music education. Because these are essential abilities for all musical activities, children would have difficulty in musical perception and cognition with them. Most music teachers recognize the importance of rhythm in music education, but they don't sufficiently understand the different attributes of rhythm. Rhythm structure, both as an objective physical phenomenon and as a psychological phenomenon, is explained. These two attributes of rhythm are considered as mathematical and musical rhythm, respectively, Music psychologist Jeanne Bamberger's study of children's graphic representations of music is analyzed. Bamberger found that the drawings of children fall into two categories, which she labeled 'figural' and 'metric'. The differences between the two types are based on the kinds of features and relations the children chose or were able to determine : children who made metric drawings focused their attention on measuring the relative duration of events. In contrast, children who made figural drawings focused their attention on grouping of performed events into phrase or figures. Rhythmic groupings may be different for different children while listening to music. Various representational drawings by children for the conventional notation of two short rhythmic sequences are introduced from Bamberger's work to help in understanding the multiple hearing modes of children in rhythm cognition. The purpose of this study is to help in understanding the different attributes of the physical phenomenon of mathematical rhythm and the psychological phenomenon of musical rhythm on a psychological basis, and based on Bamberger's study, to introduce different strategies that children use for rhythmic cognition while listening to short rhythmic sequences. Music teachers should be aware of the attributes of rhythm and both the figural and metric interpretations of the drawings of children and should understand the multiple hearing modes of music cognition that children use and their potential in musical structure. Music teachers who understand the psychological basis of music education can better help children to develop musical intelligence.

In recent years, research on the brain has provided information on how the brain works. Neurologists have been interested in the study of the relationship between music and the brain in normal people. They have tried to determine how the human brain processes musical sounds differently from other sounds. It has been believed that music is associated with the type of thinking in the right brain. But the right brain is not solely responsible for all musical abilities. The purpose of this study was to review the current neurological research in order to show the importance of the use of the whole brain, to give scientific support to aesthetic music education and to determine the implications for music instruction for young children. Musical ability is not a single capacity. Music perception is complex and involves multisensory, emotional and intellectual experiences. The musical mind presented in this study is based on the whole brain/mind, i.e., the musical mind functions with the whole brain. Musical training encourages the use of the whole brain in processing musical information. Higher cognitive processes involve the activity of the whole brain. Music can be used not only as a window into examining higher brain functions but also as a means to enhance them. From many scattered research findings, the picture of the musical mind was outlined as understanding the functions of the brain in music. The formation of the musical mind is very important in aesthetic music education for young children because of its contributions to the development of the aesthetic potential. A holistic approach to music education proposed in this study is based on a sense of wholeness having two basic ideas; the musical mind using the whole brain and an aesthetic experience focusing on wholeness. Holistic education nurtures the development of the whole person. The aesthetic domain is an area in which music makes unique contributions to the development of the whole being. This concept is now reinforced by current neurological research which supports the viability of the whole brain/mind. The early years are very important since it is the time when the malleable mind is being formed. Research findings provide clear implications for music instruction. Researchers emphasize that the emotion is very important, that the brain's ability for learning is infinite, that enriched environment and opportunity are very important, that early music training helps remodel young brains, and that music instruction has an effect on other types of intelligence if the brain is exposed to music in the children's early years. Aesthetic music education is comprehensive education. Music education is not a process for providing a number of professional musicians or music educators. Rather, it is a process for cultivating the whole child/person. This study tried to show the importance of music education from neurological research findings.

본 연구는 광주광역시 초등학교 통합교육의 실태 및 특수학급과 통합학급 교사들의 의견을 조사하여 이를 근거로 통합교육의 진전을 위한 방안을 모색하는데 그 목적이 있다. 실태 조사 결과, 1) 연구에 참여한 40개 학교의 5%는 특수교육 자격이 없는 일반교사가 특수학급을 맡고 있는 것으로 조사되었으며, 2) 보조 교사와 보조 인력의 지원을 모두 받는 학교와 보조 교사의 지원만을 받는 학교는 각각 12개(30%), 보조 인력의 지원만을 받고 있는 학교는 13개(32.5%), 지원이 전혀 없는 학교가 3개(7.5%)인 것으로 조사되었고 3) 통합학급의 교재는 일반교육과정 및 교과서를 사용하며 통합학급 교재의 개발에 대해서는 54.6%가 필요하다고 응답하였다. 또한 특수/통합학급 교사들의 의견 조사 결과, 1) 통합학급 운영의 가장 큰 단점을 통합학급 교사의 무관심이나 장애학생이 방치되는 것이라고 37.5%의 특수교사들이 응답한 반면, 장애학생의 수업 방해로 일반학생이 피해를 보는 것이라고 36.4%의 일반교사들이 응답하는 등 특수교사와 일반교사의 인식의 차이를 좁히기 위한 노력이 필요하며, 2) 장애에 대한 편견이나 차별이 교육을 통해 개선될 수 있도록 건강한 인간관계 교육이 실시되어야 하고, 3) 응답자의 30%에 해당하는 특수교사들이 학부 교육과정에 특수/통합 교육의 시수 및 실습이 확대되어야 한다는 의견을 제시하는 등 교육적 통합을 위한 전문성이 요구되며, 4) 통합교육이 수월하다고 인식하고 있지만 실제로는 통합교육에 대한 연구와 수업 설계가 제대로 이루어지지 않는 예술, 체육교과의 전문적인 교수·학습 방법이 연구되어야 할 것 등이 논의되었다.

교과교육에 있어 교사용 지도서의 역할은 중요하다. 음악교육에 있어서도 교사용 지도서의 역할은 매우 중요한데, 특히 초등학교 음악과 교사용 지도서는 현장의 교사들이 일차적으로 활용하게 되는 교수․학습 자료로 그 영향력은 매우 크다 하겠다. 본 연구에서는 M. Mosston의 스펙트럼 아이디어를 적용하여 음악 교수․학습 방법의 통합적 모델로 개발된 음악 교수․학습 스펙트럼에 기초하여 초등학교 3-6학년 음악과 교사용 지도서의 교수․학습 방법이 분석되었다. 음악 교수․학습 스펙트럼은 완전한 교사 중심의 스타일에서부터 완전한 학습자 중심의 스타일에 이르기까지 그 사이에는 하나의 스펙트럼처럼 10가지 교수 스타일이 연속성을 이루고 있다. 음악 교수․학습 스펙트럼에 기초하여 지도서 내용을 분석한 결과, 문제점으로는 1) 지도서의 수업 예시가 1-2가지의 교수 스타일에 집중된 것, 2) 지도서의 수업 예시가 교사 중심의 교수 스타일에 집중된 것, 3) 지도서 집필의 의도가 충분히 전달되지 못한 것, 4) 개인차가 고려된 수준별, 흥미별 음악 활동이나 창의성 계발을 위한 발견형 음악 수업이 부족한 것 등이 제기되었다. 이러한 문제점의 개선 방안으로는 1) 제재곡 중심의 음악수업에서 다양한 음악수업으로의 변화, 2) 다양한 수업의 흐름 예시, 3) 교수 스타일의 선택적 예시, 4) 발견학습 수업에 관한 체계적 연구, 5) 언어적․활동적 서술의 상세화가 제안되었다.