本文選題：音樂欣賞教學(xué)　切入點：釋義學(xué)美學(xué)　出處：《湖南師范大學(xué)》2005年碩士論文　論文類型：學(xué)位論文

【摘要】：隨著音樂欣賞教學(xué)地位的日漸提高,人們對音樂欣賞教學(xué)的理論研究也隨之增多,但現(xiàn)有的研究多從教育學(xué)和心理學(xué)的角度切入和展開。從美學(xué)的視角審視音樂欣賞教學(xué)的研究并不多見。可以說美學(xué)是音樂欣賞教學(xué)的全新研究視角。本論文試從美學(xué)的角度審視音樂欣賞教學(xué),主要涉及的美學(xué)流派有兩個:釋義學(xué)美學(xué)和接受美學(xué)。通過揭示這兩個美學(xué)流派對音樂欣賞教學(xué)的影響和啟示,促進音樂欣賞教學(xué)的改革和發(fā)展。本論文的主要內(nèi)容包括以下四個部分: 1.緒論。這個部分主要包括兩個方面,其一論述音樂欣賞教學(xué)的地位和作用以及音樂欣賞教學(xué)的現(xiàn)狀,其二論述美學(xué)為什么是音樂欣賞教學(xué)的全新研究視角。 2.第一章:音樂的內(nèi)容是什么一音樂欣賞教學(xué)的首要問題。這一章中探討的內(nèi)容有他律論美學(xué)觀中的音樂內(nèi)容,自律論美學(xué)觀中的音樂內(nèi)容,以及音樂欣賞教學(xué)中的音樂內(nèi)容。弄清楚這個問題,有利于理解音樂欣賞教學(xué)的本質(zhì)內(nèi)涵,也有利于明確音樂欣賞教學(xué)的發(fā)展方向。 3.第二章:釋義學(xué)美學(xué)對音樂欣賞教學(xué)的啟示。這一章中分別論述了傳統(tǒng)釋義學(xué)和現(xiàn)代釋義學(xué)對音樂欣賞教學(xué)的不同影響和啟示。傳統(tǒng)釋義學(xué)在幫助學(xué)生結(jié)合音樂的背景知識全方位欣賞音樂的同時,也不可避免地導(dǎo)致了學(xué)生對音樂本身的不夠重視�，F(xiàn)代釋義學(xué)解放了學(xué)生對音樂作品意義理解上的禁錮,打破了學(xué)生在音樂欣賞教學(xué)中的被動地位,同時激發(fā)了學(xué)生欣賞音樂作品時的主觀能動性。 4.第三章:接受美學(xué)對音樂欣賞教學(xué)的啟示。主要內(nèi)容包括介紹
[Abstract]:With the music appreciation teaching status is rising, people in music appreciation teaching theory research is increasing, but the existing research from the perspectives of pedagogy and psychology. And starting from the angle of aesthetics through music appreciation teaching research is rare. It can be said that beauty is a whole new angle in music appreciation teaching. This paper tries to review from the perspective of aesthetics of music appreciation teaching, there are two main genres: Hermeneutics aesthetics and aesthetics. Through revealing the two aesthetic schools teaching the influence and Inspiration of music appreciation, music appreciation and promote education reform and development. The main contents of this thesis include the following four parts:
1. introduction. This part mainly includes two aspects. First, it discusses the status and role of music appreciation teaching, and the current situation of music appreciation teaching. Secondly, it discusses why aesthetics is a new perspective of music appreciation teaching.
The 2. chapter: the content of music is a primary problem of what music appreciation teaching. To explore this chapter in heteronomous aesthetics of music content, autonomic aesthetics of music content, and the teaching of music appreciation in music content. To clarify this issue, it is helpful to understand the teaching of music appreciation the essential connotation, but also conducive to clear the development direction of music appreciation teaching.
The 3. chapter second: Hermeneutics aesthetics and its implications for the teaching of music appreciation. This chapter discusses the traditional and modern hermeneutics theories and different influence and Enlightenment on teaching music appreciation. The traditional hermeneutics in helping students with music background knowledge to enjoy the full range of music at the same time, also inevitably cause the students do not pay enough attention on the music itself. The modern interpretation of the liberation of the students of music understanding imprisonment, breaking the students in music appreciation teaching in a passive position, and stimulate students' initiative to enjoy music.
4. and third chapters: the Enlightenment of reception aesthetics to the teaching of music appreciation. The main contents include the introduction

【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2005
【分類號】：J605

【引證文獻】

相關(guān)博士學(xué)位論文 前1條

1 崔學(xué)榮;主體間性視野中的中國傳統(tǒng)音樂文化教育[D];福建師范大學(xué);2010年

相關(guān)碩士學(xué)位論文 前2條

1 李冠蓮;中學(xué)音樂欣賞課之生成性教學(xué)研究[D];福建師范大學(xué);2008年

2 盧媛婷;舒蘭市初中音樂欣賞教學(xué)研究[D];延邊大學(xué);2010年

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本文編號：1561301