本文關(guān)鍵詞：中國現(xiàn)代音樂教育主題演進(jìn)研究　出處：《山東大學(xué)》2017年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 中國現(xiàn)代音樂教育 主題 民族 國家 個(gè)體

【摘要】：中國現(xiàn)代音樂教育的產(chǎn)生,與其對中國傳統(tǒng)儒家"樂教"精神的重新認(rèn)識有關(guān),而從更直接的客觀原因上說,則是與近代以來深重的民族災(zāi)難及其所帶來的求變、求富強(qiáng)、求革新的意識相連。正是出于革新政治、改造社會(huì)的現(xiàn)實(shí)需要,古老儒家注重音樂外在社會(huì)功用的觀念才重新進(jìn)入人們的視野,"樂教"精神才在新的時(shí)代環(huán)境中重新凸顯并獲得新的文化內(nèi)涵。與此同時(shí),晚清政府所推行的教育改革,尤其是《癸卯學(xué)制》的頒布和實(shí)施,也為中國現(xiàn)代音樂教育的發(fā)生提供了強(qiáng)有力的政策性支持。由于中國現(xiàn)代音樂教育產(chǎn)生于災(zāi)難深重的近代社會(huì),因而民族的獨(dú)立與發(fā)展成為中國現(xiàn)代音樂教育所面臨的第一個(gè)時(shí)代要求。在此前提下,中國現(xiàn)代音樂教育又形成了幾個(gè)階段性的主題觀念:首先是"新民",即通過音樂教育來改造國民性,將音樂教育納入啟蒙的范圍,這具體地體現(xiàn)為音樂教育對"尚武"精神的宣揚(yáng),進(jìn)而表現(xiàn)為通過音樂教育來提升人的道德品質(zhì),其中以"學(xué)堂樂歌"為主要的教育載體。在"五四"前后及二十世紀(jì)二三十年代,隨著時(shí)代精神的轉(zhuǎn)換,以直接的政治功利性為主導(dǎo)的"新民"主題逐漸被更為深沉且更具文化改造內(nèi)涵的"立人"主題所替代,對人的情感的完善、審美的陶冶成為音樂教育觀念的主導(dǎo),音樂審美教育成為音樂教育的主流,音樂教育這一新的主題觀念鮮明地體現(xiàn)在當(dāng)時(shí)的音樂教育制度及其實(shí)踐中,以培養(yǎng)"健全人格"為核心的教育觀念滲透到以《壬子·癸丑學(xué)制》為代表的音樂教育政策之中,同時(shí)以"上海專科師范學(xué)校"為代表的普通音樂教育與以上海"國立音專"為代表的專業(yè)音樂教育也在美育的旗幟下進(jìn)行著自身的"立人"構(gòu)建。在抗戰(zhàn)時(shí)期,原有的"啟蒙"、"新民"、"立人"等時(shí)代話語都紛紛隱退到時(shí)代邊緣,讓位于"救亡"這個(gè)新的時(shí)代主題,通過音樂教育鼓舞民眾,使其投入到對敵斗爭中,實(shí)現(xiàn)救亡圖存的民族任務(wù),成為音樂教育觀念的主流,以音樂大眾化為基本形式的社會(huì)音樂教育成為音樂教育的主體,合唱成為實(shí)現(xiàn)音樂教育"救亡"功能的一種有效手段。但與此同時(shí),在主流的社會(huì)音樂教育之外,仍然存在著堅(jiān)守音樂教育獨(dú)立性的音樂審美教育模式,它們以自己特有的方式在強(qiáng)化音樂教育的審美特性的前提下詮釋著音樂教育的"救亡"主題。新中國成立以后,從晚清以來確立起的民族獨(dú)立、民族發(fā)展的時(shí)代任務(wù)大部分得以實(shí)現(xiàn),因而音樂教育的"民族"主題逐漸退守到次要地位,代之而起的時(shí)代要求則是新獲取政權(quán)的執(zhí)政黨需要從各個(gè)方面來加強(qiáng)和鞏固革命成果,同時(shí)也需要從各個(gè)層面上建設(shè)新生的社會(huì)主義國家,因此,"國家"觀念成為這一時(shí)期音樂教育的主題,圍繞這一主題,音樂教育展開了自身的階級性、民族性建設(shè)。在推動(dòng)國家建設(shè)的總體要求下,這一時(shí)期的社會(huì)音樂教育繼續(xù)發(fā)展,合唱依然是其主導(dǎo)的音樂教育形式,但與抗戰(zhàn)時(shí)期的音樂教育不同,這一時(shí)期的社會(huì)音樂教育加入了很多階級性的要素,在維護(hù)紅色政權(quán)的前提下強(qiáng)化音樂的階級屬性,并且對各種非革命性的音樂形式進(jìn)行批判,成為社會(huì)音樂教育觀念的主導(dǎo)。除此之外,這一時(shí)期的學(xué)校音樂教育同樣把美育作為音樂教育的一項(xiàng)核心內(nèi)容加以倡導(dǎo),但與以往所不同的是,這一時(shí)期的音樂審美教育是建立在階級性的基礎(chǔ)之上的,具有明確的階級意識和階級屬性的"社會(huì)主義新人"的培養(yǎng)是音樂審美教育的主要目標(biāo)。在經(jīng)歷了極左思潮的沖擊之后,隨著美育被重新確立為教育方針,音樂教育中"人"的要素也在長期的沉寂之后再度凸顯出來,"人的全面發(fā)展"在新時(shí)期得到全面的展開,并且顯示出了新的時(shí)代特色,人的個(gè)性特征、個(gè)性化需求、個(gè)體化的興趣在音樂教育中逐步取得主體性地位。在這一基本主題觀念的指導(dǎo)之下,新時(shí)期音樂教育的課程標(biāo)準(zhǔn)、教育體系、教學(xué)方法逐漸完善起來,成為中國現(xiàn)代音樂教育發(fā)展過程中少有的體系化時(shí)代。而在進(jìn)入新世紀(jì)以后,隨著北美音樂教育觀念的引入,以"人的全面發(fā)展"為核心的音樂審美教育受到質(zhì)疑,部分學(xué)者對"音樂教育的核心是審美教育"這一觀點(diǎn)展開批判,但其批判的落腳點(diǎn)并非是中國當(dāng)下的音樂教育實(shí)際,而是對北美音樂教育觀念論爭的簡單移植,因而批判的有效性和針對性需要謹(jǐn)慎地加以反思。可以說,中國現(xiàn)代音樂教育是沿著民族一國家一個(gè)體這一線索開啟自身的主題演進(jìn)歷程的,而在這過程中展現(xiàn)出的規(guī)律性要素則既能拓寬音樂教育的發(fā)展空間,又能為當(dāng)代音樂教育的構(gòu)建提供強(qiáng)有力的理論參照。
[Abstract]:Chinese modern music education, and the Chinese Confucian tradition of "music education" spirit of re understanding, and from the objective reasons more directly that is and the modern history of national disaster and the change, for prosperity, is seeking reform consciousness. It is out of political reform, need to be improved the social reality of ancient Confucianism emphasizes the social function of the concept of music outside to enter people's vision, "music education" spirit in the new era to highlight and obtain new cultural connotation. At the same time, the implementation of the education reform in the late Qing Dynasty, especially the promulgation and implementation of "guimao educational system", also the policy provides strong support for the occurrence of Chinese modern music education. The modern society Chinese modern music education in disaster-ridden, thus the independence and development of nation has become the China modern music education The first time facing. Under this premise, China modern music education and the formation of several stages: the first is the concept of the theme of "new people", through the music education reform national character, the music education into the scope of enlightenment, this is manifested in order to promote music education on the "Warrior" spirit. Then the performance through music education to improve the moral quality of people, among which the "school songs" as the main carrier of education. In the "54" before and after twentieth Century and 20s and 30s, with the conversion of the spirit of the times, to direct the political utilitarian oriented "theme has been more profound and more cultural transformation the connotation of" human nature "theme replaced the feelings of the people to improve the aesthetic edification, become the dominant concept of music education, music aesthetic education has become the mainstream of music education, music education in this new concept of distinctive theme Reflected in the music education system and its practice at that time, in order to cultivate the "perfect personality" as the core concept of education permeated with < - > Renzi Guichou system of education as the representative of the music education policy, at the same time to "Shanghai normal college school" as a representative of the ordinary music education and professional music education in Shanghai "national music academy" as the representative of the aesthetic education in under the banner of "people" own construction. In the period of Anti Japanese War, the original "Enlightenment", "new people", "people" and the speech of the times have retreated to the edge of time, that is located in the "salvation" of the new era theme, encouraging people through music education. And to put it in the struggle against the enemy, for the salvation of the national task, become the mainstream concept of music education, social music education is the basic form of music to mass become the subject of music education, music education has become a chorus of "salvation" function One of the most effective means. But at the same time, in addition to the mainstream of social music education, music aesthetic education mode still exists to the independence of music education, they are in their own way in strengthening the education of music aesthetic characteristics under the premise of the interpretation of music education in the "salvation" theme. After the new China was established, from the late Qing Dynasty the establishment of the national independence, national development, most of the mission can be realized, thus the "national music education" theme gradually retreated to a secondary position, the requirements of the times is replaced by new power of the ruling party needs to strengthen and consolidate the revolutionary achievements from various aspects, but also need from all levels of construction of new socialist country therefore, the concept of "country" music education has become the theme of this period, around the theme of music education, launched a class of the national construction. In promoting the general requirements of the national construction, social music education during this period continue to develop, the chorus is still the dominant forms of music education and music education, but different in the period of Anti Japanese War, the social music education in this period with many factors of class, strengthen the class attribute of music in the premise of maintaining the red political power under all kinds of non critical and revolutionary music form, has become the leading social music education. In addition, the school music education in this period also take aesthetic education as a core content of music education to advocate, but the difference with the past, the music aesthetic education in this period is based on the class nature, with a clear class consciousness and class attribute of the "new socialism" the cultivation of music aesthetic education is the main target. After the very left thoughts After impact, the aesthetic education was re established for the education policy, the music education in the "people" elements in a long period of silence once again highlighted, "all-round development" has been in full swing in the new period, and shows the characteristics of the new era, people's individuality characteristic, the personalized needs of the individual the interest gradually achieve a dominant position in music education. Under this basic theme concept, the music education in the new period of the curriculum standard, education system, teaching methods improved gradually, has become a rare China system of modern music education development in the process of the era. After entering the new century, with the introduction of North America the concept of music education, music aesthetic education with "all-round development" as the core of the question, some scholars of the "core of music education is the idea of aesthetic education development criticism, but the criticism settled The point is not Chinese the current music education practice, but the simple transplantation on North American music education debate, effectiveness and pertinence of the need to carefully reflect and critique. It can be said that the China modern music education is a national one along the clue of opening its own theme, evolution, and regularity the elements displayed in this process can not only expand the space for development of music education, but also can provide a strong theoretical reference for the construction of contemporary music education.

【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：J60-4

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