本文選題：音樂教育　切入點(diǎn)：范式　出處：《南京師范大學(xué)》2004年碩士論文　論文類型：學(xué)位論文

【摘要】：當(dāng)前的普通學(xué)校音樂教育為一種審美范式所主宰。 作為一種寬泛的界定,審美范式概括了一大批音樂教育實(shí)踐者和理論者的思維。他們的信念:美育,然后音樂教育;他們的問題:音樂教育過程如何成為審美過程?他們的解題方式:以情感人,以美育人。 審美范式的歷史樣式有三種:強(qiáng)調(diào)教育功用的音樂審美——陶冶式;追求表演效果的音樂審美,技能主義——訓(xùn)練式;追求過程美育的音樂審美,反技能主義——體驗(yàn)式。 這種范式的引領(lǐng)下教育實(shí)踐面臨著一些無法解決的問題:“學(xué)生喜歡音樂但不喜歡音樂課”成為十分流行的話語;音樂課越來越陷入唯美的泥潭,成了面向少數(shù)學(xué)生、演給少數(shù)人看的“節(jié)目”。 將視界擴(kuò)展到現(xiàn)代西方哲學(xué)、后現(xiàn)代教育學(xué)與課程論、比較音樂學(xué)、文化人類學(xué)和音樂人類學(xué)等多個(gè)學(xué)科領(lǐng)域,重新審視音樂教育的理論。音樂教育理論必須突破審美范式,實(shí)現(xiàn)文化轉(zhuǎn)向。把文化理解作為音樂教育的基本前提,把審美放回它應(yīng)有的位置。 這要從兩個(gè)方面做起。一要擴(kuò)大并重建學(xué)術(shù)基礎(chǔ)。充分地吸取其他人文社科的研究成果,以保持自身的活力。作為學(xué)科基礎(chǔ)的音樂學(xué),不應(yīng)是早已“限于西方藝術(shù)音樂”的“音樂學(xué)”,而應(yīng)代之以“范圍包括所有時(shí)代所有民族的音樂”的“音樂人類學(xué)”。二要立足于實(shí)踐教育學(xué)的層面,從親身實(shí)踐入手,以意義探尋取代普適規(guī)律的探究。
[Abstract]:The current school music education is dominated by an aesthetic paradigm. As a broad definition, the aesthetic paradigm summarizes the thinking of a large number of music education practitioners and theorists. Their beliefs: aesthetic education, then music education; their question: how does the music education process become the aesthetic process? Their way of solving problems: emotional touching, aesthetic education. There are three historical styles of aesthetic paradigm: musical aesthetic with emphasis on educational function-edifying style; music aesthetic with performance effect, skill doctrine-training style; music aesthetic with pursuit of process aesthetic education and anti-skill-experience style. Under the guidance of this paradigm, educational practice faces some problems that cannot be solved: "students like music but do not like music lessons" has become a very popular discourse; music lessons are more and more trapped in the quagmire of beauty and become a minority of students. A "show" for a small number of people. The field of view is extended to modern western philosophy, postmodern pedagogy and curriculum theory, comparative musicology, cultural anthropology and musical anthropology, etc. To realize the cultural turn, to take cultural understanding as the basic premise of music education and to put aesthetics back into its proper position. This should start from two aspects. First, we should expand and rebuild the academic base, fully absorb the research results of other humanities and social sciences, so as to maintain our vitality. "Musicology" should not be "limited to Western art music", but should be replaced by "Musical Anthropology" which covers all nationalities of all ages. Second, it should be based on the level of practical pedagogy and begin with personal practice. The exploration of universal laws is replaced by the exploration of meaning.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2004
【分類號】：J60-4

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前3條

1 齊斌;20世紀(jì)90年代以來中國音樂教育哲學(xué)觀念研究[D];南京藝術(shù)學(xué)院;2011年

2 都臣;對“以音樂審美為核心”的認(rèn)識和思考[D];西南大學(xué);2010年

3 張香君;奧爾夫音樂教學(xué)法在中國本土化的研究與分析[D];南京藝術(shù)學(xué)院;2010年

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本文編號：1646392