学位授予单位首都师范大学  

中文关键词 视唱练耳;基本乐科;课程属性;转向;音乐审美;文化多样性;人文精神  

导师 郑莉  

论文级别 硕士  

学科专业名称 音乐教育

中文摘要 本文在国内基础音乐教育课程改革、高师音乐教育专业《课程指导方案》和后现代主义课程观三者组成的“语境”中，对高师视唱练耳的课程属性作了学理层面的探讨，指出了作为“基本乐科”课程属性的历史局限性，着重论述了课程属性的三维转向，以促进该课程的可持续发展，更好地回应基础音乐教育。本文认为，“基本乐科”作为高师《视唱练耳》的课程属性，具有浓厚的现代主义视角下的基础主义和本质主义思维倾向，是建立在那个时代的认识论哲学基础之上的。这种思维的倾向又赋予了该课程的工具理性和实用性目的，因此，高师视唱练耳课程常常把技术控制的层面(音准、节奏、视唱、听写)作为音乐学习的全部内容，较少顾及对音乐的审美意蕴、文化内涵和人文精神的关照，使得学生在一种脱离具体音乐语境的重复性的机械训练中失去学习兴趣以及音乐的想象力和创造力。而今天，世界各国的哲学、文化和教育观念都发生了深刻和巨大的变化，教育学领域的课程理解范式也随之出现了转换，以“基本乐科”为特征的视唱练耳课程属性已表现出明显的局限性。基于上述认识，本文从以下三个维度对其课程属性进行了重新架构，即由“基本乐科”的课程属性转向音乐的审美、文化多样性理解和人文精神的关照三个层面。在这三维论述中，文章分别从基础音乐教育的审美理念(第一章)、高师《课程指导方案》中的多元文化音乐教育观(第二章)和后现代主义课程观的视角(第三章)对课程属性的三维转向进行了考量；并兼顾课程自身所蕴含的丰富资源来论证它的多层意义，尤其以后现代主义课程的内在性特征和生态主义课程观为参照，阐述了该课程的三维属性在课程实践中的有机统一和互补特征。文章最后，对转向之后高师视唱练耳课程的实施提出了几点思考，旨在从视唱练耳课程的工具性和纯技术性训练思维中走出，去关注课程内容所赋予学生的更加广阔和丰富的审美内涵、文化多样性内涵和人文内涵；回归课程的生态学意义，关照课程主体的内心情感世界，并对激发学生的学习兴趣和更好地培养未来基础音乐教师提供富有启示意义的借鉴。

英文摘要 In the context of the national reform in elementary music teaching, the Guide to Teaching the Course for majors by Teachers Education of Music at University, and the post-modernism perspective of teaching, the Solfeggio and Ear Training course's characteristics were analyzed academically, and its historical limitations as a Basic Subject of Music Theory were also pointed out. The changes of its characteristics in three dimensions were discussed in great details, with an eye to promote the sustainable development of this course and to in the end better improve the elementary music teaching. It was stated that Basic Subject of Music theory, in which the Solfeggio and Ear Training course was regarded as a basic subject for majors by Teachers Education of Music at University, was founded on the basis of epistemology of its era and possessed strong inclination for modernism perspective of fundamentalism and essentialism. Since this inclination inevitably endowed the course with attributes of tool sense and practicality, Solfeggio and Ear Training course often focused on the technical side of music learning (sound, rhythm, Solfeggio, and dictation) and neglected the aesthetic, cultural and humanism sides of music, which resulted in students' loss in interest, imagination and creation for music because they deviated from the specific music context by repetitive and mechanical musical training. Meanwhile, with the nowadays rapid and profound changes internationally in the concepts of philosophy, culture and education, transform has also occurred in the course understanding mode of the educational circle, which has made the limitations of the characteristics of Solfeggio and Ear Training as a Basic Subject of Music Theory even more outstanding. Based on all these above, this thesis tried to reconstruct its characteristics from following three-dimensional aspects: switchover from a Basic Subject of Music Theory to musical aesthetics, diverse understanding from cultural perspective, and humanism care. In the first chapter, aesthetics of elementary music education was discussed. In the second chapter, music education concepts based on diversified cultural  

DOI CNKI:CDMD:2.2007.040557