發(fā)布時間：2018-05-11 20:54

  本文選題：中國 + 社會音樂教育��； 參考：《湖南師范大學(xué)》2013年博士論文

【摘要】：溯源于西方的鋼琴,已經(jīng)是與當(dāng)今中國音樂形影相隨的文化載體。特別是改革開放以后的30多年間,中國社會音樂教育蓬勃發(fā)展的時代背景下,鋼琴一直是社會音樂教育中學(xué)習(xí)人數(shù)最多的,普及性最廣、對中國人生活影響最大的一門樂器,鋼琴課程在我國音樂教學(xué)中涉及的絕非僅系一種樂器的教學(xué),而更關(guān)系到整個國民音樂教育、民族音樂事業(yè)的根本。鋼琴音樂文化在中國的傳播離不開鋼琴課程,鋼琴課程承擔(dān)著選擇、傳承與創(chuàng)新音樂文化的天然使命。因此我們將關(guān)注的目光投向鋼琴教育的根基---鋼琴課程。本論文從文化學(xué)的視角對社會音樂教育鋼琴課程進行審視,針對當(dāng)今社會音樂教育鋼琴課程的文化缺失問題進行研究,以文化中的鋼琴課程與鋼琴課程中的文化兩條線索展開論述,主要目的在于闡明社會音樂教育鋼琴課程的文化本質(zhì),探求鋼琴課程的文化內(nèi)涵,對社會音樂教育鋼琴課程進行文化重塑。論文的基本內(nèi)容和組織框架如下： 第一章,導(dǎo)言：關(guān)注社會音樂教育鋼琴課程——以文化的視角。本章主要陳述研究的緣起與意義、研究現(xiàn)狀、相關(guān)文獻綜述；闡述研究的國際課程研究背景、文化學(xué)與音樂人類學(xué)研究背景及音樂教育哲學(xué)理論基礎(chǔ)；對相關(guān)概念進行界定、提出論文研究的問題,闡明研究思路、視角及方法。 第二章,中國鋼琴課程的本土化歷程。本章主要對鋼琴課程在中國一百多年的本土化發(fā)展歷程進行梳理。鋼琴課程在中國的發(fā)展分為萌芽與探索階段(1840年-1949年),發(fā)展與停滯階段(1949年-1978年)與振興與崛起階段(1979年至今)。前兩個階段中國社會音樂教育鋼琴課程發(fā)展極為緩慢,從第三個階段起才進入了蓬勃發(fā)展的重要時期。本章以這三個發(fā)展階段為研究對象,對鋼琴課程的教學(xué)機構(gòu)、教學(xué)模式、教材與教學(xué)方法的特點進行總結(jié)與梳理,從中反映出不同的時代文化特征,可以讓我們更準確地把握當(dāng)今中國社會音樂教育鋼琴課程的現(xiàn)狀及展望未來的發(fā)展趨勢。 第三章,社會音樂教育鋼琴課程的文化原理概述。一方面主要依據(jù)特定課程理念及相應(yīng)的課程政策文件(如音樂課程標(biāo)準等),另一方面則取決于對音樂文化以及鋼琴課程的關(guān)系的認識。首先音樂文化與鋼琴課程之間的關(guān)系是通過音樂與文化、鋼琴與音樂文化以及鋼琴課程與音樂文化等多維關(guān)系來闡述。接著以文化的、審美的、實踐的音樂教育哲學(xué)為理論基礎(chǔ)論述鋼琴課程的“人文性”“審美性”“實踐性”文化品性。然后闡述鋼琴課程對音樂文化的生成與積淀功能、傳承功能、選擇功能、創(chuàng)造功能以及文化交往與和諧社會功能。最后論述鋼琴課程的文化旨趣所在,即培養(yǎng)具有良好音樂素養(yǎng)與文化修養(yǎng),具有音樂創(chuàng)造力的“文化人”。 第四章,社會音樂教育鋼琴課程的文化批判。本章首先重點批判了鋼琴課程目標(biāo)文化的“工藝學(xué)模式”,以及“情感、態(tài)度、價值觀”維度的遮蔽。隨后從課程內(nèi)容文化層面批判了鋼琴課程內(nèi)容以演奏技能和曲目為中心的片面單一,以及鋼琴課程中音樂文化精神的缺失問題。在鋼琴教學(xué)文化層面則批判了當(dāng)今社會音樂教育鋼琴教學(xué)脫離兒童的生活世界以及音樂創(chuàng)造能力的嚴重萎縮與衰退的問題；在鋼琴課程評價文化的層面批判了以鋼琴考級為中心的應(yīng)試教育鋼琴課程對“人"的忽視以及導(dǎo)致音樂創(chuàng)造力衰竭的問題；最后提出構(gòu)建以國家音樂課程標(biāo)準為指導(dǎo)的社會音樂教育鋼琴課程文化的觀點。 第五章,社會音樂教育鋼琴課程理念的文化建構(gòu)。本章提出建構(gòu)社會音樂教育鋼琴課程的“主體性”、“綜合性”、“創(chuàng)造性"等三個課程理念。首先提出確立兒童在鋼琴課程教學(xué)中的主體地位、尊重學(xué)生“主體性”的鋼琴教學(xué)原則以及鋼琴課程的內(nèi)在價值——激趣及激趣的原則。隨后闡釋了雷默的“綜合性”音樂課程觀以及“綜合性”鋼琴課程文化內(nèi)涵兩個方面內(nèi)容。最后提出發(fā)展鋼琴即興編創(chuàng)能力提升音樂“創(chuàng)造性"的觀點以及世界著名音樂教學(xué)法的音樂創(chuàng)造教學(xué)的啟示兩方面內(nèi)容。 第六章,社會音樂教育鋼琴課程目標(biāo)、內(nèi)容與教學(xué)的文化建構(gòu)。本章首先提出鋼琴課程的三維總體目標(biāo)；具體闡述了“以音樂能力為中心”的鋼琴課程目標(biāo)內(nèi)容；論述了鋼琴課程目標(biāo)與兒童音樂能力發(fā)展的關(guān)系,并提出了具體的建議。然后對鋼琴課程內(nèi)容從音樂感受與欣賞、鋼琴彈奏技巧與識讀樂譜、鋼琴即興編創(chuàng)內(nèi)容、以及樂曲詮釋與多樣性音樂文化等四個方面進行全面的闡釋和構(gòu)建。最后從回歸兒童“生活世界”的鋼琴教學(xué)及教學(xué)組織原則、“綜合性”鋼琴教學(xué)的實施以及鋼琴即興編創(chuàng)教學(xué)策略等三個方面進行鋼琴課程教學(xué)文化的構(gòu)建。 結(jié)語,中國社會音樂教育鋼琴課程的“人文回歸”。本部分闡明從文化的視角審視中國社會音樂教育鋼琴課程,要解決鋼琴課程中的文化缺失問題,就要正本清源,使鋼琴課程從偏離其文化本質(zhì)的道路上走向“人文回歸”的正軌上來,從而培養(yǎng)具有良好音樂素養(yǎng)和文化修養(yǎng)的創(chuàng)造性人才,建構(gòu)具有時代性、民族性、開放性的鋼琴課程文化。這是21世紀鋼琴課程改革和發(fā)展的使命和新的契機,未來的社會音樂教育鋼琴課程必定是“人文”引領(lǐng)的鋼琴課程。
[Abstract]:The piano, which is traced to the west, has been a cultural carrier with the contemporary Chinese music. Especially in the more than 30 years after the reform and opening up, the piano has been the most popular in the social music education, the most popular and the most influential instrument in the life of the Chinese people. The piano course is not only a kind of musical instrument teaching in our country music teaching, but it is more related to the whole national music education and the root of national music. The dissemination of piano music culture in China can not be separated from the piano course, the piano course bears the choice and the natural mission of inheriting and innovating the music culture. Therefore, we will pay attention to the mission of the music culture. This paper examines the piano course of social music education from the perspective of culture and studies the cultural loss of the piano course in the current social music education, and discusses the two cultural clues in the piano course and the piano course in the culture. The cultural essence of the piano course in social music education is clarified, the cultural connotation of the piano course is explored, and the cultural remolding of the piano course in social music education is made. The basic contents and organizational framework of this paper are as follows:
Chapter 1, introduction: attention to the piano course of social music education - cultural perspective. This chapter mainly describes the origin and significance of the study, the research status, related literature review, the background of international curriculum research, the background of cultural and musical anthropology research and the theoretical basis of music education, and the definition of related concepts. It puts forward the research questions, and expounds the research ideas, perspectives and methods.
The second chapter, the localization course of the Chinese piano course. This chapter mainly combs the course of the localization of the piano course in China in the more than 100 years. The development of the piano course in China is divided into the stage of germination and exploration (1840 -1949), the stage of development and stagnation (1949) and the stage of revitalization and rise (1979). The first two steps The development of the piano course in Chinese social music education is very slow. It has entered an important period of vigorous development from the third stages. This chapter summarizes and combs the characteristics of the teaching institutions, teaching modes, teaching materials and teaching methods of the three stages of development, reflecting the different culture of the times. The characteristics will enable us to more accurately grasp the present situation of Chinese music education piano course and prospect the future development trend.
The third chapter is an overview of the cultural principles of the piano course in social music education. On the one hand, it is mainly based on the specific curriculum concept and the corresponding course policy documents (such as the music curriculum standard). On the other hand, it depends on the understanding of the relationship between the music culture and the piano course. The multi-dimensional relations with culture, piano and music culture, piano courses and music culture are expounded. Then the cultural, aesthetic and practical music education philosophy is used as the theoretical basis to discuss the "Humanistic" "aesthetic" "practical" cultural character of the piano course, and then explain the formation and accumulation of the piano course to the music culture. Ability to inherit function, choose function, create function and function of cultural communication and harmonious society. Finally, the cultural purport of the piano course is to cultivate "cultural man" with good musical accomplishment and cultural accomplishment and musical creativity.
The fourth chapter, the cultural criticism of the piano course in social music education. This chapter first criticizes the "technological model" of the piano course target culture, and the shadowing of the dimension of "emotion, attitude and value", and then criticizes the one-sided single of the piano course content with the performance skills and the repertoire from the cultural level of the course content. The problem of the lack of music culture spirit in the piano course. In the cultural level of piano teaching, it criticizes the serious atrophy and decline of the modern social music education piano teaching divorced from the life world of children and the ability of music creation. The piano curriculum has neglected the "people" and the problems that lead to the failure of music creativity. Finally, it puts forward the idea of constructing the culture of the piano course in social music education guided by the national music curriculum standard.
The fifth chapter, the cultural construction of the idea of the piano course in social music education. This chapter proposes the construction of the "subjectivity", "comprehensiveness" and "creativity" in the construction of the piano curriculum of social music education. First, it puts forward the main position of the children in the teaching of the piano course, and respects the principle of the piano teaching of the "subjectivity" of the students and the principle of piano teaching. The intrinsic value of the piano course, the principle of interest and interest, then explains the two aspects of Remer's "comprehensive" music curriculum and the cultural connotations of the "comprehensive" piano course. Finally, it puts forward the viewpoint of developing the piano improvisational creative ability and promoting the "creativity" of the music as well as the music creation of the world famous music teaching method. Two aspects of the Enlightenment of teaching.
The sixth chapter, the goal of the piano course in the social music education, the content and the cultural construction of the teaching. This chapter first puts forward the three dimensional overall goal of the piano course, and expounds the target content of the piano course "with the ability of music as the center", and discusses the relationship between the goal of the piano course and the development of the children's music ability, and puts forward some specific suggestions. Then the piano course content from the music experience and appreciation, piano playing skills and literacy music, piano improvisation creation content, music interpretation and diversity music culture, and other four aspects of comprehensive interpretation and construction. Finally, from the return of children's "life world" piano teaching and teaching organization principles, "comprehensive" Piano teaching. The construction of teaching culture of piano course is carried out in three aspects: the implementation of learning and the teaching strategy of improvisation of piano.
The conclusion, the "humanistic return" of the piano course of Chinese social music education. This part expounds the study of Chinese social music education piano course from the cultural perspective. To solve the problem of cultural loss in the piano course, it is necessary to make the piano course come up from the road of cultural essence to the "humanistic return". This is the mission and the new opportunity of the reform and development of the piano course in twenty-first Century. The piano course of the future social music education must be the piano course guided by the "humanities".

【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號】：J624.1-4

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