사회의 발전과 더불어 중국 유치원 교사의 전통적인 성악교학은 곤경에 빠지게 된다. 이런 교학방식은 시대의 발전에 따라가지 못하고 중국 아동의 교육수요도 만족시킬 수 없다. 21세기에 진입해서 중국 아동 교육은 새로운 도전과 새로운 수요에 앞서고 있다. 지금 아동 성악 레슨에 대한 개혁과 음악교사에 대한 새로운 요구에는 여전히 비교적 큰 차이가 존재하고 있다. 코다이 교수법은 가창을 주요 핵심으로 하고 있는데 이 는 자기만의 독특한 관점이나 내용을 담고 있으며 이동도법, 코다이 손기호을 주요로 교학을 전개하고 있다. 코다이 교수법은 유치원 음악교사의 실제교학에서도 아주 중요한 역할을 발휘하고 있다. 코다이 교수법과 중국 아동성악 교육방법과 결합하며 코다이 교수법을 진일보 계승, 발전할 수 있을 뿐만 아니라 우리나라 유치원 성악교사의 교학수준을 위해 새로운 시도와 발전방향을 제공할 수 있다. 그리하여 코다이 교수법을 중국 아동 성악교육에 응용할 수 있는지는 아주 큰 의의를 품고 있으며 또한 중국 유치원 교사 체계에 대한 개혁을 진일보 촉진할 수 있다.

This study analyzed M. Kagel(1931‐2008)’s Anagrama(1957‐58) and G. Ligeti(1923‐2006)’s Aventures(1962) to present the diversity in the creation of vocal music during the latter half of the 20th Century. The point for the analysis of music was set through the analysis of vocal music by Kagel and Ligeti when the concept of ‘sound composition’, ‘language composition’, ‘vocal composition’ and others apply, and through the pieces of the composers who lived in the same era when it comes to the changes during the latter half of the 20th Century. Among Kagel’s numerous vocal music pieces, there were not many pieces that placed the ‘emphasis of the Phonetic aspect’ at the front without text. At best, they are Phonophonie, Hallelujah für Stimmen and Die Mutation. Ligeti’s compositional tendency in vocal music is slightly different from that of Kagel’s. Ligeti’s Aventures and Nouvelles Aventures, pieces based on the synthesis of the voice originated in actual diverse languages are the vocal music pieces of the 1960s that realize experimental thinking towards ‘stage piece’ from very early on. After this piece, Ligeti did not continue on this tendency. Along with Clocks and Clouds that uses the consonants and voiced vowels, 13 each, that follow the international phonetics’ phonetic notation and the mix of these instead of the text conform with Syntactics, and other pieces that used text such as Requiem, Lux aeterna, Drei Phantasien nach Friedrich Hölderlin, Nonsense Madrigals confirm this. Analysis of Kagel’s Anagrama shows that the composer did not set music to text. Instead, it was shown clearly that it was handled musically regardless of the contents of the text. Besides the conclusion that non‐semantics was realized or that another meaning was formed compared to the Latin phrase that serves as the basis of this piece, it includes the contents that could lead to yet another conclusion. Not only was basic Latin text used as Phonetic material, but it is possible to verify the conclusion that it embraces the meaning of linking to drama through analysis. Analysis of the Aventures composed of the Phonetic text that Ligeti himself explained in person according to E. Dieth and H. F. Wendt’s pronunciation presents diverse methods that can be defined as ‘vocal composition’ and verified the matters concerning ‘toning of the voice’(tone melody). Moreover, ‘musical gestures’ (crying, laughing, whispering, yelling, sigh and others) presented directly on the music note can be re‐appreciated with the opera‐like parody or caricature expression.

The class rooms for vocal music lessons at the college of music should be prepared with acoustic performance having similar quality to a real theater. However, most of domestic music colleges used too many sound absorbing materials, so that a sound is too dry and poor, which makes a singer to increase the sound level. Furthermore, because of this acoustic characteristics, at a theater a singer comes to hear a total different sound of his own song. For this, students and professors are in trouble during a lesson. At the study from this point of view, the finishing materials were changed to have the best sound condition by site measurement and acoustic simulation. It is assumed that the study result above will be used as an effective document to improve acoustic performance.