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姚思源音乐教育思想的理论与实践研究 中英文摘要            【字体:
姚思源音乐教育思想的理论与实践研究 中英文摘要
作者:王珺    文章来源:洪啸音乐教育工作站    点击数:    更新时间:2008-2-19

感谢华东师大艺术系硕士研究生徐进提供并整理该文资料---洪啸音乐教育工作站

首都师范大学 硕士论文 指导教师:孟维平

中文关键词 姚思源;音乐审美教育思想;美育立法;高师音乐教育;大教育观;国际音乐教育交流


中文摘要 姚思源作为当代卓越的音乐教育家、音乐理论家、作曲家在当今中国音乐教育界享有极高的学术威望,具有高尚的人格魅力。纵观其走过的60年音乐历程,都与音乐教育息息相关。围绕音乐教育,姚思源的研究和探索涉及极其广阔的领域,并做出了突出的贡献。全面研究姚思源的音乐教育思想,对建立有中国特色的音乐教育体系和繁荣社会主义音乐文化,具有重要的理论价值和现实意义。 “音乐教育应以审美教育为核心”是姚思源音乐教育思想的核心体现。它是针对我国改革开放初期国民音乐教育中长期以来以政治为中心、以辅德益智为主要目的,使美育失去了其独立价值和本质属性的现象而提出的。为了给审美教育的实施创设一个良好政治和文化的外部环境,他几十年如一日地多方呼吁美育应列入国家的法律中,随着时代的发展,他的呼声越发地响亮,并不断的得到了回应。 姚思源的音乐教育实践先后涉及中学、教师进修学院、北京师范学院音乐系以及首都师范大学音乐系等,他在教育实践中总能站在提高广大中华民族的审美素质的高度上思考问题。他在高师音乐教育的办学模式、课程设置以及办学思想上都形成了一系列的主张,如:在突出“师范性”的前提下,看重“学术性”;提倡高师音乐教育要教学、艺术实践、科研三位一体;提倡“加强基础课,扩大选修课,减少必修课”等,他的这些见解均基于多年来的一线教学工作经验,对推动高师音乐教育改革具有积极的参考价值。他不仅自己全身心地投入到提高国民音乐文化素质的事业中,而且还提倡广大音乐家都能够关心支持这项事业,他把对音乐教育的关注扩大到最广阔的范围,这些都充分体现在他的“大教育”观的思想中。作为一位放眼世界的音乐教育家,姚思源多次出国考察、讲学、参加国际学术会议,向世界宣传了我国的音乐教育状况,同时也将国外先进的教育理念带回国内,加强了我国与国际的联系。 本研究通过对姚思源音乐教育思想的理论与实践较为系统的梳理与总结,力图真实的呈现和客观的评说他在中国当代音乐教育史中的贡献。

  
英文摘要 Yao Siyuan, the contemporary distinguished musical educator, musical theorist, and composer, possesses respectable personality and enjoys fairly high academic authority in the field of China's musical education. All his 60 years' musical experience is closely related to musical education, on which Mr. Yao has conducted wide range of research and exploration and made distinct contributions. Therefore, the thorough study of his ideas concerning musical education is of both theoretical and realistic significance for the invigorating socialist musical culture and building of musical education system with Chinese characteristics. The core of Yao's ideas concerning musical education is that "Musical education shall center on aesthetic education". Such ideas are put forward to counter against the loss of the essence and independent value of aesthetic education, which loss is the result of centering on politics, targeting at supplementing moralities and promoting wisdom in China's musical education at the initial stage of reform and opening up. He has consistently for the past decades appealed to various departments to list aesthetic education among the national law system so as to create a favorable political and cultural environment for aesthetic education. As time goes by, such appeals are increasingly sonorous and receiving frequent responses. Yao's musical education practice covers middle school, teachers' in-service training institute, musical departments of Beijing Normal Institute and Capital Normal University. All through such practice he always considers issues from the perspective of enhancing China's national aesthetic judgment qualities. He has formed a series of concepts concerning the teaching mode, course arrangement, teaching ideas for musical education in senior teachers' colleges, such as equal attention to teaching skills and academic education; integrating teaching, artistic practice and scientific research in musical education; strengthening basic courses, expanding selective courses and reducing required courses. All these ideas are based on the frontline teaching practice for many decades, which are of high reference values to push forward the reform of musical education in senior teachers' colleges. He not only devotes his heart and soul to improving the public's musical and cultural qualities but also calls on all the musicians to support such work. He has expanded his attention to the widest range, which are  

 

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