论中国近代学校音乐教育的引入
发布时间：2018-11-01 12:35
【摘要】：本文以“中国近代学校音乐教育的引入”为研究对象。其具体研究思路是：通过对近代“西学东渐”历史背景的考察，来讨论我国近代学校音乐教育引入的社会基础及其过程；通过对早期教会学校音乐教育、近代学校制度建设以及西方音乐理论的输入、近代美育思想的阐述与分析，来探讨我国近代学校音乐教育引入的原因及途径。总之，本论文以音乐学科教育史为视角，按其时间发生先后顺序，采用描述与论证相结合的叙述方式，在深入考察中国近代学校音乐教育引入的社会基础及其过程、原因、途径的基础上，对“清末民初”学校音乐教育的性质、功能、历史地位等作出较为准确和全面的把握。 本文除绪论及结论以外，共分五章。绪论部分，主要涉及论文题目解析、选题原因及研究现状分析、论文研究意义及目的。 第一章主要讨论了两个问题：一是简述近代中国“西学东渐”历史进程，将其分为物质、制度、思想三个层次。二是阐述了伴随物质层次而兴起的实业教育，重点讨论体操、图画课程引进的原因，，通过对引入时间、开设学校等情况的分析，指出这两门课程的引进与开设主要是为了迎合当时提倡的“实业教育”的需要，其功用是对学生进行实际技能与智能的培养，以造就实用人才。此期图画课程不可用现代课程观念看待——其不具备艺术教育之审美功能。这从一定侧面反映了较图画课程之后出现的学校音乐教育，由于不具备相应的“实用”功能，故未能与图画课一同列入学校课程之中，进而体现了二者在性质、功用等方面所存在的差异。 第二章重点讨论早期教会学校音乐教育特点。涉及三个方面：音乐教学内容与目的、音乐教材、音乐师资及教学方法，指出我国近代以学堂乐歌为主线的新音乐教育并没有从教会音乐中产生(在论文第二章小结中论及四个方面原因)。不过作为在中国最早出现的新式学堂——教会学校，把西方国家的音乐教育方式引进到中国，在西洋音乐的乐学知识的传播以及中国音乐教育建设人才的培养等方面，对我国近代学校音乐教育的引入与发展发挥了一定的积极作用。 第三章是关于近代学校制度建设的探讨。本章集中从《癸卯学制》有关音乐课程设置的论述中看音乐教育问题。通过《癸卯学制》课程设置与日本学制的比较分析，指出《癸卯学制》以日本学制为蓝图，在课程设置方面较系统地引进了大量的西方课程，然独“音乐”课程未正式列入其中。通过对《癸卯学制》音乐课程设置分析与考察，包括从“雅音失传”与音乐课程的“暂从缓设”，“俗乐萎靡”与早期
[Abstract]:This paper focuses on the introduction of school music education in modern China. The specific research ideas are as follows: through the investigation of the historical background of "Western Learning to the East" in modern times, this paper discusses the social basis and process of the introduction of modern school music education in our country; Through the exposition and analysis of the early church school music education, the modern school system construction, the western music theory input, the modern esthetic education thought elaboration and the analysis, discusses our country modern school music education to introduce the reason and the way. In a word, from the perspective of the history of music education, according to the sequence of its occurrence, this paper adopts the narrative method of combining description and argumentation to investigate deeply the social basis, the process and the reasons of the introduction of music education in modern schools in China. On the basis of the approach, the author makes a more accurate and comprehensive understanding of the nature, function and historical status of the school music education in the late Qing Dynasty and the early Republic of China. In addition to the introduction and conclusions, this paper is divided into five chapters. The introduction part mainly involves the thesis topic analysis, the selected topic reason and the research present situation analysis, the thesis research significance and the goal. The first chapter mainly discusses two problems: one is a brief description of the historical process of "Western learning to the east" in modern China, which is divided into three levels: material, institutional and ideological. The second is to expound the industrial education rising along with the material level, focusing on the reasons for the introduction of gymnastics and drawing courses, and through the analysis of the introduction time, the opening of schools, etc. It is pointed out that the introduction and opening of these two courses is mainly to meet the needs of "industrial education" advocated at that time, and its function is to train students' practical skills and intelligence in order to bring up practical talents. This pictorial course cannot be regarded as a modern curriculum concept-it does not have the aesthetic function of art education. This reflects from certain aspects the school music education which appears after the picture curriculum, because does not have the corresponding "practical" function, therefore cannot be included in the school curriculum together with the picture lesson, then has manifested the two in the nature, The difference in function and so on. The second chapter focuses on the characteristics of music education in early church schools. It involves three aspects: the content and purpose of music teaching, music teaching materials, music teachers and teaching methods, It is pointed out that the new music education with the main line of school music as the main line in modern China did not come from church music (four reasons are discussed in the second chapter of this paper). However, as the first new type of school in China, the church school introduced the music education methods of the western countries to China, in the dissemination of western music knowledge and the cultivation of talents in the construction of Chinese music education, and so on. It has played a positive role in the introduction and development of school music education in modern China. The third chapter is about the modern school system construction discussion. This chapter focuses on the music education from the discussion of the music curriculum. Based on the comparative analysis between the curriculum of Gui Mao system and that of Japan, it is pointed out that the system of Gui Mao has systematically introduced a large number of western courses in the field of curriculum design, taking the Japanese school system as its blueprint. However, the "music" curriculum was not formally included in it. Through the analysis and investigation of the music curriculum in Guimao School system, including from "the loss of Ya Yin" and the "temporary suspension" of the music curriculum, "the popular music is weak" and the early period
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J609.2
本文编号：2303937
[Abstract]:This paper focuses on the introduction of school music education in modern China. The specific research ideas are as follows: through the investigation of the historical background of "Western Learning to the East" in modern times, this paper discusses the social basis and process of the introduction of modern school music education in our country; Through the exposition and analysis of the early church school music education, the modern school system construction, the western music theory input, the modern esthetic education thought elaboration and the analysis, discusses our country modern school music education to introduce the reason and the way. In a word, from the perspective of the history of music education, according to the sequence of its occurrence, this paper adopts the narrative method of combining description and argumentation to investigate deeply the social basis, the process and the reasons of the introduction of music education in modern schools in China. On the basis of the approach, the author makes a more accurate and comprehensive understanding of the nature, function and historical status of the school music education in the late Qing Dynasty and the early Republic of China. In addition to the introduction and conclusions, this paper is divided into five chapters. The introduction part mainly involves the thesis topic analysis, the selected topic reason and the research present situation analysis, the thesis research significance and the goal. The first chapter mainly discusses two problems: one is a brief description of the historical process of "Western learning to the east" in modern China, which is divided into three levels: material, institutional and ideological. The second is to expound the industrial education rising along with the material level, focusing on the reasons for the introduction of gymnastics and drawing courses, and through the analysis of the introduction time, the opening of schools, etc. It is pointed out that the introduction and opening of these two courses is mainly to meet the needs of "industrial education" advocated at that time, and its function is to train students' practical skills and intelligence in order to bring up practical talents. This pictorial course cannot be regarded as a modern curriculum concept-it does not have the aesthetic function of art education. This reflects from certain aspects the school music education which appears after the picture curriculum, because does not have the corresponding "practical" function, therefore cannot be included in the school curriculum together with the picture lesson, then has manifested the two in the nature, The difference in function and so on. The second chapter focuses on the characteristics of music education in early church schools. It involves three aspects: the content and purpose of music teaching, music teaching materials, music teachers and teaching methods, It is pointed out that the new music education with the main line of school music as the main line in modern China did not come from church music (four reasons are discussed in the second chapter of this paper). However, as the first new type of school in China, the church school introduced the music education methods of the western countries to China, in the dissemination of western music knowledge and the cultivation of talents in the construction of Chinese music education, and so on. It has played a positive role in the introduction and development of school music education in modern China. The third chapter is about the modern school system construction discussion. This chapter focuses on the music education from the discussion of the music curriculum. Based on the comparative analysis between the curriculum of Gui Mao system and that of Japan, it is pointed out that the system of Gui Mao has systematically introduced a large number of western courses in the field of curriculum design, taking the Japanese school system as its blueprint. However, the "music" curriculum was not formally included in it. Through the analysis and investigation of the music curriculum in Guimao School system, including from "the loss of Ya Yin" and the "temporary suspension" of the music curriculum, "the popular music is weak" and the early period
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J609.2
【引证文献】
相关期刊论文 前2条
1 苏全有;王继峰;;启蒙与救亡:清末音乐教育的两大功能[J];济源职业技术学院学报;2012年01期
2 宫宏宇;;基督教传教士与晚清中国的盲人音乐教育——以安格妮丝·郭士立、穆瑞为例[J];中央音乐学院学报;2012年01期
相关硕士学位论文 前8条
1 李俊;学堂乐歌富国强兵思想研究[D];南京艺术学院;2011年
2 袁芳艳;含泪的微笑：中国知识分子音乐生活个案研究[D];华中师范大学;2011年
3 刘斌;视唱练耳学科的传入及其在上海音乐学院（1966年前）的发展[D];上海音乐学院;2008年
4 谢芳;论20世纪早期我国的普通学校音乐教育观[D];华中师范大学;2009年
5 刘娟娟;“癸卯学制”普通中学堂图画课程研究[D];杭州师范大学;2009年
6 曹淑敏;学堂乐歌的歌词艺术探究[D];曲阜师范大学;2012年
7 钟桦;从长沙《大公报》看1932年湖南中小学音乐课程标准改革[D];湖南师范大学;2013年
8 罗乐;清末民初我国师范学校音乐教育观的研究[D];华中师范大学;2013年
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