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音乐教育中的审美哲学分析

时间:2022-06-25 来源:未知 编辑:梦想论文 阅读:
Music education is an important cultural activity in human society. It can shape human aesthetic ability through various forms. It is a social and cultural behavior to cultivate human comprehensive quality, noble sentiment and enrich the heart. Philosophy is a kind of social ideology, which can guide specific science through a clear world outlook and methodology. The philosophy of music education is the theoretical cognition formed by human beings on the basis of continuous summary and demonstration. It is the fundamental theory of music education, which mainly reflects the basic laws of music education and has universal guiding value for various music education practice activities. The aesthetic philosophy theory of music education put forward by Bennett Raymer, an American music educator, according to the national conditions of the United States, is a representative school of American music education philosophy. After it was introduced into China from the United States in the 20th century, it had a very profound impact on the field of domestic music education and became a research hotspot in the field of domestic music education.
 
An overview of aesthetic philosophy in music education
 
1.1 philosophy of music education
 
In the 20th century, the theory and practice of music education in the world have made great progress, especially in the western developed countries in Europe and the United States, the theoretical research and practice of music education have reached a high level. Benetramer published the philosophy of Music Education (1970) in the 1970s because of the particularity of American music education, which indicates that the philosophical content in the book has become a complete ideological system of aesthetic philosophy, and the official thought of American music education has begun to take shape. After that, benetramo successively published the second edition of philosophy of Music Education (1989) and the third edition of philosophy of Music Education - advancing vision (2003) in the 1980s. In the second and third editions, benetramo expanded and supplemented the contents of the original edition. From the perspective of logical structure and arguments, the second edition is adding contents of other disciplines, After deepening the emotional attribute of aesthetic education features, it is more rigorous. The third edition is mainly based on Western Aesthetics and adds theories of cultural anthropology, neurology, postmodernism and other disciplines, which is more innovative. Bennett Raymer has always adhered to the philosophical essence of taking experience as the core in these three versions, and the aesthetic education based on this philosophy has been constantly reformed and innovated. The philosophical contents of the three versions have expressed his aesthetic philosophy completely and systematically.
 
1.2 research on the origin of Philosophy
 
Since the 1950s, the United States after World War II has had a sense of frustration and crisis in education due to the backwardness of space technology. It has pointed the spearhead of domestic reform at education and accused the failure of education as the fundamental reason for the impact on the political and economic status of the United States. It must carry out a major education reform. The emergence of aesthetic philosophy was related to the economic, cultural and political forms of education in the United States at that time. Bennett Lemmer's aesthetic philosophy theory of music education came into being by fully absorbing the dualistic thinking of the French philosopher Descartes. In the process of development, aesthetic philosophy is mainly influenced by Susanne Langer. Susanne Langer's theory is mainly derived from her teacher Cassirer. This important foundation has laid a foundation for Bennett Raymer's philosophy. Among them, Susanne Langer plays the most significant role. She believes that art belongs to a kind of representation symbol, and music can be used as an emotional symbol.
 
1.3 core content of aesthetic philosophy
 
In the philosophy of Music Education (1970), Bennett Raymer pointed out the core of aesthetic philosophy: music education is aesthetic education. The essence and value of music lies in its aesthetic essence and value. Therefore, the nature of music education is determined by aesthetics. Among the theories of absolute formalism, absolute referentialism and absolute Expressionism to interpret the essence of music, absolute expressionism is the most comprehensive and scientific. It fully integrates the rationality of the first two theories, but it is not the superposition of the first two. Absolute expressionism is the theory that most comprehensively reflects the aesthetic significance, maintains the aesthetic experience, aesthetic significance and aesthetic value of music. On this basis, Bennett Raymer formally put forward that the essence and value of music education are mainly determined by human emotional expression. The highest value of music education is consistent with the highest value of aesthetic education. It is entirely possible to help students gain aesthetic experience by cultivating and improving students' feeling ability.

1.4 aesthetic value of aesthetic philosophy
 
If music education wants to become an aesthetic education, it must pay attention to the aesthetic quality of music in the process of education, and take music lessons and performance lessons as the main teaching contents of music courses. However, music education in history mainly emphasizes other quality characteristics of music, which is a great deviation in Bennett Raymer's view. He believes that this emphasis is a kind of blasphemy to the quality of music art. Because of the emergence of aesthetic philosophy, the aesthetic value of American music has been rewritten, and the aesthetic value of music has been unanimously affirmed and highlighted in music education. Bennett Raymer truly realized that music exists for human beings, emphasizing that music is a purely objective thing. Music art works capture the necessary conditions of aesthetics in the form of expression, so that human beings can experience and feel the beauty of music through appreciation, It fully demonstrates the self value of music. He believes that students can fully understand the beauty of music by understanding and learning the internal constituent elements of music works. If body language is added at the same time, it will be easier to be accepted.
 
A brief account of the relationship between music education and aesthetic philosophy
 
2.1 music education means aesthetic education
 
Absolutism believes that the meaning and value of music works should be found from the aesthetic quality of music works. Therefore, aesthetic education can be regarded as emotional education. The emotional problems expressed in music are the indispensable key to the theory of music aesthetics. American music educator Bennett Raymer, from the standpoint of absolutism, believes that the emotions expressed in music are not the general emotions generated in human life, The emotion expressed by music mainly refers to the emotion with high generality and universal value. Therefore, aesthetic philosophy pays more attention to the self emotional value of music, takes human emotional experience and performance and other perceptual cognition as an important carrier for music education, and pays high attention to the rendering of human soul by beauty. Therefore, Bennett Raymer believes that the beauty of music lies in the orderly expression of perceptual structure, which is also the rationality of music existence. Once the beauty of music is presented in the aesthetic relationship, It will make the hearing of music become the basis of aesthetic reception.
 
2.2 aesthetic education is the end result of aesthetic philosophy
 
In order to make music education more scientific, we should not only experience the beauty of music from appreciation, but also excavate the beauty of music from materials, so as to train students to feel the beauty of music. Music belongs to the art of hearing and emotional experience. The main purpose of music education is to train students' ability to listen to music. Music appreciation is a direct process of aesthetic education and exploring music aesthetics. Therefore, aesthetics must start from appreciating music works and exploring music aesthetics to understand the aesthetic characteristics expressed in works. In the process of aesthetic education, the content of music appreciation should pay attention to material selection and collocation, and strive to train students to improve their aesthetic ability from different angles. Educators should highly summarize and refine the pure aesthetic education factors in music, so as to cultivate students' musical memory, musical imagination, musical cognitive ability, etc., strengthen the effect of music aesthetic education, and expand students' aesthetic field, Help students fully feel the categories and main characteristics of beauty, and make aesthetic education the ultimate destination of aesthetic philosophy.
 
Research conclusion on aesthetic philosophy in music education
 
3.1 essence of aesthetic philosophy
 
Bennett Raymer has always believed that the character embodied in cultivating human beings to observe the essence of things is more representative and can fully share the special experience expressed by the aesthetic elements of things. At the same time, he proposed that the main task of aesthetic experience is to follow the basic aesthetic principles. Educators must be familiar with the deepest value of music and present music to students in the most comprehensive and formal way, Help students accumulate music emotion and improve their aesthetic experience, help students analyze music works by participating in good appreciation activities, harvest the aesthetic value brought by music through sensory experience, make aesthetic education possible through transformation and transcendence, and make music education have unique value. Because of the emergence of aesthetic philosophy, the artistic value of music has been established, and the aesthetic value of music has been fully affirmed and highlighted to a great extent in the field of education.
 
3.2 philosophy of aesthetic philosophy
 
In terms of whether it needs the support of philosophy, Bennett Raymer said that the guiding concept of the essence and educational value of music education curriculum needs a philosophy that fits the reality. From this, it can be seen that if a discipline wants to develop healthily for a long time, it must use a convincing methodology as the support. Therefore, music education cannot be separated from aesthetic philosophy, The aesthetic quality of music lies in its ability to help human beings have more in-depth emotional experience. In order to promote the rhythmic progress of aesthetic education, educators must pay special attention to the cultivation of students' musical aesthetic feeling ability. The starting point and essence of music education should be based on aesthetic philosophy, give students a lot of opportunities to listen, and pay attention to the quality of interaction between students and aesthetic objects, Enhance aesthetic perception through artistic behavior, and improve aesthetic level through conceptual appreciation and evaluation.

3.3 course types of aesthetic philosophy
 
Bennett Raymer attaches great importance to the specific role of educators in aesthetic education. Especially in the process of music education, educators' language can fully show the artistic essence and value of music. Therefore, aesthetic philosophy believes that in the classroom of music education, the most important course content is music appreciation, and students only need the guidance of educators, Make use of rich multimedia means to listen and appreciate music, so as to obtain a beautiful sensory aesthetic experience.
 
In the subsequent practical philosophy, music belongs to a kind of human spiritual activity generated through production and listening, which must be rooted in a specific cultural practice atmosphere. According to the viewpoint advocated by practical philosophy, the music education class highlights the strong curriculum practicality while carrying out aesthetic education. Students can experience every link in the music education class. At the same time, other philosophical trends and cultural theories urge aesthetic philosophy to constantly reflect on the specific relationship between music and society and culture, and constantly produce corresponding changes in the course types of aesthetic philosophy.
 
3.4 compatibility of aesthetic philosophy
 
In the third edition of philosophy of Music Education - advancing vision (2003), Bennett Raymer pointed out that practice can be used as a medicine to treat formalist diseases, and practical music education is a scientific revision of formalist music education. His position here is a coordinated attitude. He believes that people cannot be disconnected from history, so contradictions can be avoided through compatible forms, so as to avoid inevitable confrontation and weaken contradictions, Being able to scientifically explore the possibility of reconciliation will effectively reduce contradictions and opposites. After that, the aesthetic philosophy in music education answered and adopted the issues concerned by practical philosophy with its own attitude. Because of its own compatibility, aesthetic philosophy accepted and recognized its specific role in the field of music, which was highly consistent with the relationship between music and cultural context emphasized by practical philosophy, Practice the "creed based on music experience" through changes in the social and cultural context.
 
Reflection on aesthetic philosophy in music education
 
4.1 reasons for the smooth development of aesthetic philosophy in practice
 
The world after World War II is in the process of social reconstruction and transformation, and music education is also facing the situation of reform. There is an urgent need for a unified and executable music education philosophy to guide education practice. Scholars have made continuous efforts to build this music education philosophy, and the theoretical basis of aesthetics and philosophy came into being. The most important development of music education at this stage is the emergence of a complex philosophical theory linking music with social development and cultural history. This theory has extended and expanded the language, economic structure and practical behavior formed by individual subjects and social subjects for the study of the relationship between music subjects. At the same time, Bennett Raymer has been fully aware of this rapid and profound change. At the same time, According to his own persistence and firmness, he fundamentally reconstructed the aesthetic music education philosophy through this development and change.
 
According to the philosophy of music education, music mainly exists for human emotion, the main service object is human emotion, and the main function of music is to improve the quality of human life. On this basis, Bennett Raymer's aesthetic philosophy fully maintains the consistency of music education, and is easy for educators to implement and operate in terms of educational objectives, educational activities and educational results. His thoughts fully draw on aesthetic concepts The enlightenment rational spirit, dualism, regards music works as the object of aesthetic experience, and requires students to obtain emotional gains without any utilitarian meaning through listening to music works in the process of receiving aesthetic education. This conclusion has an important impact on American music education. The large-scale rise of the aesthetic education movement has promoted the development of music aesthetic education, It has become the guiding ideology for American music educators. Therefore, aesthetic music education philosophy has been fully accepted in the United States, and has been carried out smoothly in practice.
 
4.2 practical problems in aesthetic philosophy
 
Through the contemporary philosophical revolutionary trend of thought and the theory of cultural development, the aesthetic philosophy in music education constantly carries out the relationship between music, social development and cultural education. Bennett Raymer believes that music works must transcend the ideological cognition of human history and social culture. There is a certain illusion and ideality. For music works, history is a sufficient premise for cognition and understanding, It is the understanding product of every music creator who wholeheartedly integrates into the works. Only the music creator can interpret a certain meaning in the music works through self understanding. Therefore, music works can play a role in history, and will play a role in the present and future. Therefore, the understanding and evaluation of music works cannot be divorced from social development, history and culture, Bennett Raymer's conclusion and experience are unreasonable to some extent. In addition, the aesthetic education in music education must be carried out in a certain cultural context, which will inevitably produce a strong criticism on the core idea of "relying on music experience as the basis" pursued by aesthetic philosophy to judge music works. The aesthetic education in music education cannot surpass history and times, and must adhere to the integration of multi cultures and the equal conditions of music values. Although Bennett Raymer was deeply aware of these problems after the 1990s, the core idea of his aesthetic philosophy still hasn't changed, and the defects in his aesthetic philosophy theory still haven't been successfully modified and filled. It still needs to complement and coordinate with practical philosophy to achieve scientific music education.

5 Conclusion
 
Throughout his academic career, Bennett Raymer has been committed to developing and creating the aesthetic philosophy of music education. This tireless academic spirit is respected by future generations. However, the music education mainly advocated by Bennett Raymer is the aesthetic philosophy of aesthetic education, which belongs to an important product of the times. The method guidance of this aesthetic philosophy mainly stands on the traditional cognitive theory, music philosophy culture and traditional aesthetics On the basis of dualism, there are some historical limitations. Although the theories of cultural anthropology, neurology, postmodernism and other disciplines have been added to Bennett Raymer's successively published philosophy of Music Education (1989) and the third edition of philosophy of Music Education - advancing vision (2003), and the framework content has been readjusted, the inherent problems and theoretical defects of aesthetic philosophy in music education have not been changed.
 
Therefore, in combination with the actual situation of music education in China, educators should not simply pay attention to aesthetic education, let alone pay one-sided attention to practical education in the process of music education. Educators should continue to integrate aesthetic philosophy with practical education in the study of aesthetic philosophy in music education, and learn from western aesthetic philosophy, Educators must fully take into account the actual situation of the cultural context of domestic music education, the differences between Chinese and Western cultures and the differences between Chinese and Western ways of thinking through the combination of Chinese and Western methods, and carry out music education and aesthetic education through the mutual integration of aesthetic philosophy and practical theory.
 
At present, domestic scholars' philosophical research on music education is divorced from the aesthetic practice of music education to a certain extent. It is framed by theory and limited to the process of exploring for theory and practicing for research, and has a sense of separation with colleges, classrooms and students. Therefore, in the process of studying the aesthetic philosophy in music education, educators must go deep into colleges, classrooms and students, We should fully respect and follow every unique observation and research perspective and theoretical point of view, walk out of a path of aesthetic practice of music education with Chinese characteristics, always keep a clear self-awareness in the process of studying the aesthetic philosophy of music education, and avoid excessive blind follow-up. Only in this way can we draw more abundant ideological essence from the aesthetic philosophy theory of music education.

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