제1장 음악교육의 이해 13
음악교육의 당위성···················································································13
음악교육의 영역·······················································································15

제2장 음악교육철학의 이해 23
음악교육철학의 필요성············································································23
현대의 음악교육철학················································································25
예악사상과 음악교육················································································35

제3장 음악교육심리의 이해 43
교육심리학 이론과 음악 교수학습·······················································43
음악교육심리 ··························································································52

제4장 음악과 교육과정의 이해 61
음악과 교육과정이란················································································61
우리나라 음악과 교육과정의 변천···························································62

제5장 음악과 교수법 107
달크로즈 교수법····················································································107
코다이 교수법 ······················································································114
오르프교수법·························································································123

제6장 이해영역 지도방법 137
이해영역 학습의 필요성········································································137
음악적 개념 중심의 지도법···································································138
다른 영역(활동)과의 통합적인 지도법··················································140
요소별 지도 내용과 방법······································································143

제7장 감상지도방법 161
감상활동의 중요성·················································································161
감상수업의 전략 ···················································································163

제8장 가창지도방법 177
가창활동의 중요성 ···············································································177
가창수업의 전략····················································································178

제9장 기악지도방법 189
기악활동의 중요성·················································································189
이론적 배경···························································································191
기악수업의 전략····················································································195

제10장 창작지도방법 201
창작활동의 중요성·················································································201
창작수업의 전략····················································································202

제11장 음악과 교수-학습안 작성의 실제 215
음악수업 설계의 원리············································································215
교수ㆍ학습 지도안 작성········································································218
음악과 교수학습안 예시 ···································································230

제12장 음악과 평가 259
음악평가의 정의 및 목적······································································259
음악학습 평가의 절차············································································260
음악과 수행평가····················································································277
음악과 포트폴리오 평가의 절차····························································280

▣ 참고문헌···································································································309
▣ 찾아보기···································································································317