中国现代音乐教育主题演进研究

发布时间：2018-01-04 19:03

本文关键词：中国现代音乐教育主题演进研究　出处：《山东大学》2017年博士论文　论文类型：学位论文

【摘要】：中国现代音乐教育的产生,与其对中国传统儒家"乐教"精神的重新认识有关,而从更直接的客观原因上说,则是与近代以来深重的民族灾难及其所带来的求变、求富强、求革新的意识相连。正是出于革新政治、改造社会的现实需要,古老儒家注重音乐外在社会功用的观念才重新进入人们的视野,"乐教"精神才在新的时代环境中重新凸显并获得新的文化内涵。与此同时,晚清政府所推行的教育改革,尤其是《癸卯学制》的颁布和实施,也为中国现代音乐教育的发生提供了强有力的政策性支持。由于中国现代音乐教育产生于灾难深重的近代社会,因而民族的独立与发展成为中国现代音乐教育所面临的第一个时代要求。在此前提下,中国现代音乐教育又形成了几个阶段性的主题观念:首先是"新民",即通过音乐教育来改造国民性,将音乐教育纳入启蒙的范围,这具体地体现为音乐教育对"尚武"精神的宣扬,进而表现为通过音乐教育来提升人的道德品质,其中以"学堂乐歌"为主要的教育载体。在"五四"前后及二十世纪二三十年代,随着时代精神的转换,以直接的政治功利性为主导的"新民"主题逐渐被更为深沉且更具文化改造内涵的"立人"主题所替代,对人的情感的完善、审美的陶冶成为音乐教育观念的主导,音乐审美教育成为音乐教育的主流,音乐教育这一新的主题观念鲜明地体现在当时的音乐教育制度及其实践中,以培养"健全人格"为核心的教育观念渗透到以《壬子·癸丑学制》为代表的音乐教育政策之中,同时以"上海专科师范学校"为代表的普通音乐教育与以上海"国立音专"为代表的专业音乐教育也在美育的旗帜下进行着自身的"立人"构建。在抗战时期,原有的"启蒙"、"新民"、"立人"等时代话语都纷纷隐退到时代边缘,让位于"救亡"这个新的时代主题,通过音乐教育鼓舞民众,使其投入到对敌斗争中,实现救亡图存的民族任务,成为音乐教育观念的主流,以音乐大众化为基本形式的社会音乐教育成为音乐教育的主体,合唱成为实现音乐教育"救亡"功能的一种有效手段。但与此同时,在主流的社会音乐教育之外,仍然存在着坚守音乐教育独立性的音乐审美教育模式,它们以自己特有的方式在强化音乐教育的审美特性的前提下诠释着音乐教育的"救亡"主题。新中国成立以后,从晚清以来确立起的民族独立、民族发展的时代任务大部分得以实现,因而音乐教育的"民族"主题逐渐退守到次要地位,代之而起的时代要求则是新获取政权的执政党需要从各个方面来加强和巩固革命成果,同时也需要从各个层面上建设新生的社会主义国家,因此,"国家"观念成为这一时期音乐教育的主题,围绕这一主题,音乐教育展开了自身的阶级性、民族性建设。在推动国家建设的总体要求下,这一时期的社会音乐教育继续发展,合唱依然是其主导的音乐教育形式,但与抗战时期的音乐教育不同,这一时期的社会音乐教育加入了很多阶级性的要素,在维护红色政权的前提下强化音乐的阶级属性,并且对各种非革命性的音乐形式进行批判,成为社会音乐教育观念的主导。除此之外,这一时期的学校音乐教育同样把美育作为音乐教育的一项核心内容加以倡导,但与以往所不同的是,这一时期的音乐审美教育是建立在阶级性的基础之上的,具有明确的阶级意识和阶级属性的"社会主义新人"的培养是音乐审美教育的主要目标。在经历了极左思潮的冲击之后,随着美育被重新确立为教育方针,音乐教育中"人"的要素也在长期的沉寂之后再度凸显出来,"人的全面发展"在新时期得到全面的展开,并且显示出了新的时代特色,人的个性特征、个性化需求、个体化的兴趣在音乐教育中逐步取得主体性地位。在这一基本主题观念的指导之下,新时期音乐教育的课程标准、教育体系、教学方法逐渐完善起来,成为中国现代音乐教育发展过程中少有的体系化时代。而在进入新世纪以后,随着北美音乐教育观念的引入,以"人的全面发展"为核心的音乐审美教育受到质疑,部分学者对"音乐教育的核心是审美教育"这一观点展开批判,但其批判的落脚点并非是中国当下的音乐教育实际,而是对北美音乐教育观念论争的简单移植,因而批判的有效性和针对性需要谨慎地加以反思。可以说,中国现代音乐教育是沿着民族一国家一个体这一线索开启自身的主题演进历程的,而在这过程中展现出的规律性要素则既能拓宽音乐教育的发展空间,又能为当代音乐教育的构建提供强有力的理论参照。
[Abstract]:Chinese modern music education, and the Chinese Confucian tradition of "music education" spirit of re understanding, and from the objective reasons more directly that is and the modern history of national disaster and the change, for prosperity, is seeking reform consciousness. It is out of political reform, need to be improved the social reality of ancient Confucianism emphasizes the social function of the concept of music outside to enter people's vision, "music education" spirit in the new era to highlight and obtain new cultural connotation. At the same time, the implementation of the education reform in the late Qing Dynasty, especially the promulgation and implementation of "guimao educational system", also the policy provides strong support for the occurrence of Chinese modern music education. The modern society Chinese modern music education in disaster-ridden, thus the independence and development of nation has become the China modern music education The first time facing. Under this premise, China modern music education and the formation of several stages: the first is the concept of the theme of "new people", through the music education reform national character, the music education into the scope of enlightenment, this is manifested in order to promote music education on the "Warrior" spirit. Then the performance through music education to improve the moral quality of people, among which the "school songs" as the main carrier of education. In the "54" before and after twentieth Century and 20s and 30s, with the conversion of the spirit of the times, to direct the political utilitarian oriented "theme has been more profound and more cultural transformation the connotation of" human nature "theme replaced the feelings of the people to improve the aesthetic edification, become the dominant concept of music education, music aesthetic education has become the mainstream of music education, music education in this new concept of distinctive theme Reflected in the music education system and its practice at that time, in order to cultivate the "perfect personality" as the core concept of education permeated with < - > Renzi Guichou system of education as the representative of the music education policy, at the same time to "Shanghai normal college school" as a representative of the ordinary music education and professional music education in Shanghai "national music academy" as the representative of the aesthetic education in under the banner of "people" own construction. In the period of Anti Japanese War, the original "Enlightenment", "new people", "people" and the speech of the times have retreated to the edge of time, that is located in the "salvation" of the new era theme, encouraging people through music education. And to put it in the struggle against the enemy, for the salvation of the national task, become the mainstream concept of music education, social music education is the basic form of music to mass become the subject of music education, music education has become a chorus of "salvation" function One of the most effective means. But at the same time, in addition to the mainstream of social music education, music aesthetic education mode still exists to the independence of music education, they are in their own way in strengthening the education of music aesthetic characteristics under the premise of the interpretation of music education in the "salvation" theme. After the new China was established, from the late Qing Dynasty the establishment of the national independence, national development, most of the mission can be realized, thus the "national music education" theme gradually retreated to a secondary position, the requirements of the times is replaced by new power of the ruling party needs to strengthen and consolidate the revolutionary achievements from various aspects, but also need from all levels of construction of new socialist country therefore, the concept of "country" music education has become the theme of this period, around the theme of music education, launched a class of the national construction. In promoting the general requirements of the national construction, social music education during this period continue to develop, the chorus is still the dominant forms of music education and music education, but different in the period of Anti Japanese War, the social music education in this period with many factors of class, strengthen the class attribute of music in the premise of maintaining the red political power under all kinds of non critical and revolutionary music form, has become the leading social music education. In addition, the school music education in this period also take aesthetic education as a core content of music education to advocate, but the difference with the past, the music aesthetic education in this period is based on the class nature, with a clear class consciousness and class attribute of the "new socialism" the cultivation of music aesthetic education is the main target. After the very left thoughts After impact, the aesthetic education was re established for the education policy, the music education in the "people" elements in a long period of silence once again highlighted, "all-round development" has been in full swing in the new period, and shows the characteristics of the new era, people's individuality characteristic, the personalized needs of the individual the interest gradually achieve a dominant position in music education. Under this basic theme concept, the music education in the new period of the curriculum standard, education system, teaching methods improved gradually, has become a rare China system of modern music education development in the process of the era. After entering the new century, with the introduction of North America the concept of music education, music aesthetic education with "all-round development" as the core of the question, some scholars of the "core of music education is the idea of aesthetic education development criticism, but the criticism settled The point is not Chinese the current music education practice, but the simple transplantation on North American music education debate, effectiveness and pertinence of the need to carefully reflect and critique. It can be said that the China modern music education is a national one along the clue of opening its own theme, evolution, and regularity the elements displayed in this process can not only expand the space for development of music education, but also can provide a strong theoretical reference for the construction of contemporary music education.

【学位授予单位】：山东大学
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J60-4

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