中国社会音乐教育钢琴课程之文化阐释与建构

发布时间：2018-05-11 20:54

本文选题：中国 + 社会音乐教育　；参考：《湖南师范大学》2013年博士论文

【摘要】：溯源于西方的钢琴,已经是与当今中国音乐形影相随的文化载体。特别是改革开放以后的30多年间,中国社会音乐教育蓬勃发展的时代背景下,钢琴一直是社会音乐教育中学习人数最多的,普及性最广、对中国人生活影响最大的一门乐器,钢琴课程在我国音乐教学中涉及的绝非仅系一种乐器的教学,而更关系到整个国民音乐教育、民族音乐事业的根本。钢琴音乐文化在中国的传播离不开钢琴课程,钢琴课程承担着选择、传承与创新音乐文化的天然使命。因此我们将关注的目光投向钢琴教育的根基---钢琴课程。本论文从文化学的视角对社会音乐教育钢琴课程进行审视,针对当今社会音乐教育钢琴课程的文化缺失问题进行研究,以文化中的钢琴课程与钢琴课程中的文化两条线索展开论述,主要目的在于阐明社会音乐教育钢琴课程的文化本质,探求钢琴课程的文化内涵,对社会音乐教育钢琴课程进行文化重塑。论文的基本内容和组织框架如下：第一章,导言：关注社会音乐教育钢琴课程——以文化的视角。本章主要陈述研究的缘起与意义、研究现状、相关文献综述；阐述研究的国际课程研究背景、文化学与音乐人类学研究背景及音乐教育哲学理论基础；对相关概念进行界定、提出论文研究的问题,阐明研究思路、视角及方法。第二章,中国钢琴课程的本土化历程。本章主要对钢琴课程在中国一百多年的本土化发展历程进行梳理。钢琴课程在中国的发展分为萌芽与探索阶段(1840年-1949年),发展与停滞阶段(1949年-1978年)与振兴与崛起阶段(1979年至今)。前两个阶段中国社会音乐教育钢琴课程发展极为缓慢,从第三个阶段起才进入了蓬勃发展的重要时期。本章以这三个发展阶段为研究对象,对钢琴课程的教学机构、教学模式、教材与教学方法的特点进行总结与梳理,从中反映出不同的时代文化特征,可以让我们更准确地把握当今中国社会音乐教育钢琴课程的现状及展望未来的发展趋势。第三章,社会音乐教育钢琴课程的文化原理概述。一方面主要依据特定课程理念及相应的课程政策文件(如音乐课程标准等),另一方面则取决于对音乐文化以及钢琴课程的关系的认识。首先音乐文化与钢琴课程之间的关系是通过音乐与文化、钢琴与音乐文化以及钢琴课程与音乐文化等多维关系来阐述。接着以文化的、审美的、实践的音乐教育哲学为理论基础论述钢琴课程的“人文性”“审美性”“实践性”文化品性。然后阐述钢琴课程对音乐文化的生成与积淀功能、传承功能、选择功能、创造功能以及文化交往与和谐社会功能。最后论述钢琴课程的文化旨趣所在,即培养具有良好音乐素养与文化修养,具有音乐创造力的“文化人”。第四章,社会音乐教育钢琴课程的文化批判。本章首先重点批判了钢琴课程目标文化的“工艺学模式”,以及“情感、态度、价值观”维度的遮蔽。随后从课程内容文化层面批判了钢琴课程内容以演奏技能和曲目为中心的片面单一,以及钢琴课程中音乐文化精神的缺失问题。在钢琴教学文化层面则批判了当今社会音乐教育钢琴教学脱离儿童的生活世界以及音乐创造能力的严重萎缩与衰退的问题；在钢琴课程评价文化的层面批判了以钢琴考级为中心的应试教育钢琴课程对“人"的忽视以及导致音乐创造力衰竭的问题；最后提出构建以国家音乐课程标准为指导的社会音乐教育钢琴课程文化的观点。第五章,社会音乐教育钢琴课程理念的文化建构。本章提出建构社会音乐教育钢琴课程的“主体性”、“综合性”、“创造性"等三个课程理念。首先提出确立儿童在钢琴课程教学中的主体地位、尊重学生“主体性”的钢琴教学原则以及钢琴课程的内在价值——激趣及激趣的原则。随后阐释了雷默的“综合性”音乐课程观以及“综合性”钢琴课程文化内涵两个方面内容。最后提出发展钢琴即兴编创能力提升音乐“创造性"的观点以及世界著名音乐教学法的音乐创造教学的启示两方面内容。第六章,社会音乐教育钢琴课程目标、内容与教学的文化建构。本章首先提出钢琴课程的三维总体目标；具体阐述了“以音乐能力为中心”的钢琴课程目标内容；论述了钢琴课程目标与儿童音乐能力发展的关系,并提出了具体的建议。然后对钢琴课程内容从音乐感受与欣赏、钢琴弹奏技巧与识读乐谱、钢琴即兴编创内容、以及乐曲诠释与多样性音乐文化等四个方面进行全面的阐释和构建。最后从回归儿童“生活世界”的钢琴教学及教学组织原则、“综合性”钢琴教学的实施以及钢琴即兴编创教学策略等三个方面进行钢琴课程教学文化的构建。结语,中国社会音乐教育钢琴课程的“人文回归”。本部分阐明从文化的视角审视中国社会音乐教育钢琴课程,要解决钢琴课程中的文化缺失问题,就要正本清源,使钢琴课程从偏离其文化本质的道路上走向“人文回归”的正轨上来,从而培养具有良好音乐素养和文化修养的创造性人才,建构具有时代性、民族性、开放性的钢琴课程文化。这是21世纪钢琴课程改革和发展的使命和新的契机,未来的社会音乐教育钢琴课程必定是“人文”引领的钢琴课程。
[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".

【学位授予单位】：湖南师范大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J624.1-4

【参考文献】