论中国儿童钢琴音乐的功能

在发展新世纪音乐教育的进程中,儿童钢琴音乐的多种功能将会起到非常重要的作用。因此,研究儿童钢琴音乐的功能,并让这些功能在音乐教育体系里得到充分发挥,对发展中国现代音乐教育体系有着不可多得的现实意义。     

浅议中国近代音乐教育思想

中国近代音乐教育思想影响了我国音乐教育行为近一个世纪,其在中国音乐教育史上有非常重要的意义。运用文献法对中国近代音乐教育思想进行分析和研究,从近代音乐教育思想产生的背景和基础着手分析,总结出中国近代音乐教育思想中三个主要内容,即音乐教育的美育功能、德育功能和健康功能,从而有利于从整体上把握中国近代音乐教育思想。     

德国高校音乐课程设置理念变迁及启示——以德国希尔德斯海姆大学音乐课程分析为个案

21世纪多元文化音乐教育浪潮席卷全球,深处浪潮中的德国音乐教育界做出积极回应。德国高校音乐课程建设思路、教学资源的配置,希尔德斯海姆大学音乐教育理念的转向、音乐课程设置等,对我国高校音乐系学科与课程建设有着重要启迪。     

Music education for the improvement of coexistence in and beyond the classroom: a study based on the consultation of experts

This study examines theoretical principles and models of music education to promote interpersonal and social relations. It focuses on the primary and secondary stages of education in Spain. To this end, relevant national and international figures in education, music or critical thinking were consulted. Their responses to the consultation were treated qualitatively. The results highlight the need to promote participatory activity and to design alternative proposals for music learning that invite the student to gain positive musical experiences. This will help to recognise different musical identities, promote intercultural musical diversity and encourage positive coexistence in and beyond the music classroom.     

两种唱名法在高师音乐教育专业视唱练耳教学中运用的认识

固定唱名法和首调唱名法是世界采用最为广泛的两种唱名法。在高师音乐教育专业视唱练耳教学中只有充分认识这两种唱名法，并结合音乐教育专业的特点，有机地把两种唱名法结合在一起，因材施教，才能培养造就21世纪音乐教育事业合格人才。     

让孩子在音乐的阳光下成长——课外音乐学习调查与对策

随着社会的发展,音乐学习逐渐成为社会化的活动,但存在着小学生审美趣味成人化、学习环境不理想等特点,解决这些问题可通过创设音乐化的学习环境、营造音乐化的生活环境、建立资源共享的班级音乐资料库等途径,使音乐学习成为学生生动、具体、艺术化的生活体验。     

音乐与思想政治教育的关系研究

关于音乐功能的研究已经延伸到社会教育的方方面面．而从音乐与思想政治教育教育之间存在．的联系,以及音乐还具备较为完备的思想政治教育功能这两个层面对音乐功能的研究进行拓展,希望对于我国新时期音乐教育以及思想政治教育工作有所帮助。     

Musikalische Aktivitäten von Kindern und Jugendlichen

This article deals with playing a musical instrument as an important form of music related activities in the development and socialization of children and youth. The authors discuss aspects of arts education and reflect concepts of interest. They focus on the musical socialization and its contexts of today, so the question, which children and young persons are playing an instrument as well as a systematic analysis of places where adolescents are playing music. The self-organized and non-goal oriented learning processes in music activities are focused, reflecting theories of social inequalities. The results of the empirical findings show differences related to social class in playing an instrument and its choice, but not in places where music is done. Especially if adolescents play an instrument with corresponding interest, intensity, forms of activities and motifs of playing do not differ by social background.     

陈钢"红色经典"中国小提琴独奏作品解析

陈钢的“红色经典”中国小提琴独奏曲产生于上个世纪六、七十年代“文化大革命”的特殊年代,作品根据革命歌曲、少数民族音乐、地方民歌以及“样板戏”音乐主题改编,不仅具有特定的年代的特定内容,而且是现今国内音乐院校的小提琴教育中的重要教材,为中国小提琴音乐宝库中的经典。     

Envisioning Autonomy through Improvising and Composing: Castoriadis visiting creative music education practice

Do psychological perspectives constitute the only way through which the role of musical creativity in education can be addressed, researched and theorised? This essay attempts to offer an alternative view of musical creativity as a deeply social and political form of human praxis, by proposing a perspective rooted in the thought of the political philosopher and activist Cornelius Castoriadis (1922–1997). This is done in two steps. First, an attempt is made to place the pursuit of the concept of musical creativity within a larger educational and societal context of conflicting trajectories that run through (a) Modernity and (b) Education. Then, I revisit the issue of educational value of improvising and composing through creating conceptual links between the process of music‐making through improvisation and composition and the project of political autonomy as conceived by Castoriadis. By foregrounding instituting imaginary over instituted imaginary, improvising and composing become active processes of positing new legitimacies, and of creating a music‐making context that searches for its own foundations. It is in and through creative musical praxis that we can think about issues of hierarchies, musical values, social dimensions of different music‐making processes, our relationship to past values and to historical dimensions of music. By arguing that improvisation and composition might be seen as ways of positing the issue of political autonomy in musical terms, this paper emphasises the role of improvisation and composition as a mode of potentially transformative educational practice that may foster the development of critical consciousness, linking music education to a larger project of re‐discovering and at the same time re‐defining democracy.     

The Generic Fallacy1

The ‘music appreciation as contemplation’ paradigm of traditional aesthetics and music education assumes that music exists to be contemplated for itself. The resulting distantiation of music and music education from life creates a legitimation crisis for music education. Failing to make a noteworthy musical difference for society, a politics of advocacy attempts to justify music education. Praxial theories of music, instead, see music as pragmatically social in origin, meaning, and value. A praxial approach to music education stresses that appreciation is seen in use; thus, it seeks to ‘make a difference’ that students and society find musically noteworthy.     

传承民族音乐文化发挥高师教育的基地作用

传承和弘扬民族音乐文化．高等师范的音乐教育肩负着重要的历史使命。在新世纪的文化教育中,高等师范要建立完整的民族音乐教育体系,整合资源、创新机制、突出办学特色,建成民族人才培养基地、教育优化基地、校内外互动研习基地以及理论研究基地。     

音乐作品德性修养价值的理论探索

音乐作品是艺术门类中的一个重要的组成部分,蕴涵着丰富的德育价值。本文将音乐作品纳入德育工作范畴,通过对音乐作品内容的社会宣传价值、音乐欣赏过程的审美陶冶价值、音乐本质中所蕴含的自我教育价值的探讨,对音乐作品的德性修养价值在理论上进行较为系统的分析。     

解析学前教育专业音乐欣赏课的重要作用

学前教育专业的学生音乐方面专业知识储备不足,对音乐知识体系没有整体概念。在有限的课时中,极大提升学生的音乐素养,培养良好学习兴趣非常重要。开设音乐欣赏课程,可以从清晰的感性认识上帮助音乐理论知识学习,欣赏不同流派、不同风格音乐大师的作品,培养和提升音乐欣赏水平。在音乐欣赏中,拓宽学生的视野,将多学科知识引入教学中,相互渗透相互补充。     

音乐教育与音乐美学的思考

通过音乐作品的结构形式来展示音乐的美,形成了以音乐欣赏和音乐美学为核心内容的音乐教育观,包括人的文化心理结构、智力结构、伦理结构的建构和审美能力的培养。在音乐教育中,音乐必须把美的东西作为自己的探究对象,把人教育成＂美和善＂的化身。长期从事教育实践的音乐工作者,在学生音乐教育启蒙时期,要培养他们的兴趣,激发他们的学习意愿。其中,想象力和创造力的培养相当重要。丰富学生音乐的想象力和创造力的同时也可以促进他们对音乐技巧的掌握,培养出综合素质较高的学生。     

音乐课程中的欣赏教学

音乐教育从本质上来说是一项塑造"人"的工程。感受与鉴赏(即音乐欣赏)是进行音乐教育的一种重要手段,音乐欣赏可以使受教者有机会接触到更多的音乐作品,培养人的健康向上的音乐审美情感,提高人的音乐审美能力,促进人的全面和谐发展。音乐教育必须遵循"以听为中心"的原则,发展学生的音乐听觉,培养其对音乐良好的感受能力,把全部教学活动牢固地建立在听的基础上。感受与鉴赏是整个音乐学习的基础,是培养学生音乐审美能力的有效途径。     

音乐批评中的文化转向与当代意义

音乐批评依据着某些基本的客观标准来对音乐现象进行实事求是、客观公正的评说,基于不同的文化基础．形成了众多的音乐批评流派,在20世纪西方结构主义等批评思潮的影响下,音乐研究开始走向“音乐文化研究”,“语境”成了音乐批评的重要因素.当代音乐批评应站在审美与和谐的角度去欣赏、感悟音乐．体现音乐评论的客观性.     

Globalization,values education,and school music education in China

This paper examines music education’s legitimation of values as a means of preparing students for entry into the new ‘knowledge society’ of the People’s Republic of China in a global age. It explores the ways in which values education relates to the teaching of both musical and non‐musical meanings in the dual context of nationalism and globalization, and discusses some problems that values education faces in school music classrooms. It examines the ways in which globalization has pressured values education into resolving the apparent contradiction between national identity and national unity in the ever‐changing play of Chinese history and politics. It concludes with a discussion of how music education might juggle three pairs of apparently contradictory relationships in the curriculum: between contemporary cultural and social values on the one hand, and traditional Chinese and Communist ideologies on the other; between collectivism and individualism; and between national and global cultures.     

音乐人类学的“音乐”观与多元文化音乐教育刍议

音乐人类学认为,音乐从本质上讲是人类文化的表现形式之一,音乐教育也是特定音乐文化的反映。多元文化音乐教育平等地看待不同民族音乐文化的价值。借助音乐人类学的理论和方法,多元文化音乐教育能够更好地实现文化传承的功能。     

Mind the gap: privileging epistemic access to knowledge in the transition from Leaving Certificate music to higher education

In recent years, music at Leaving Certificate level has come under increasing focus in media and higher education discourse as an easy option. In particular, scant attention has been paid to the musical knowledge and skills needed in the transition to higher music education within the Irish context. This paper addresses the perceived gap in knowledge through an examination of documents and student and lecturer experiences in higher music education. Findings reveal that students who have access to private music tuition because of their greater cultural, social and economic capital have a distinct advantage in higher education over those who have relied on the state for music education. Moreover, there would appear to be a shift in emphasis from practical to theoretical knowledge in the transition to higher education. More critically, the paper argues for a reappraisal of curriculum and knowledge at both levels in light of the implicit privileging of epistemic access to ‘powerful’ knowledge in private music education.