發(fā)布時(shí)間：2018-05-28 04:06

  本文選題：艾利奧特 + 北美地區(qū)��； 參考：《藝術(shù)百家》2010年05期

【摘要】：戴維·艾利奧特是20世紀(jì)末以來北美音樂教育領(lǐng)域中極富爭(zhēng)議的焦點(diǎn)人物。他對(duì)自己的老師雷默所倡導(dǎo)的美國審美哲學(xué)("音樂教育即審美教育")進(jìn)行批判,并建構(gòu)了實(shí)踐音樂教育哲學(xué)體系,引發(fā)了北美乃至世界音樂教育領(lǐng)域的學(xué)術(shù)爭(zhēng)鳴。本文從艾利奧特的成長(zhǎng)背景入手,探索其學(xué)術(shù)思想成長(zhǎng)的五個(gè)階段:1、20世紀(jì)80年代初期,青年時(shí)期的艾利奧特是雷默審美哲學(xué)思想的忠實(shí)追隨者。2、80年代中期至末期,開始質(zhì)疑審美哲學(xué)的理論基礎(chǔ),并進(jìn)行不完全批判。3、1990-1994年,開始對(duì)審美哲學(xué)進(jìn)行針鋒相對(duì)的批判,逐步構(gòu)想自己的實(shí)踐哲學(xué)藍(lán)圖。4、1995年,其代表作《音樂的種種問題:一種新的音樂教育哲學(xué)》出版,標(biāo)志著實(shí)踐音樂教育哲學(xué)的體系化建構(gòu),并重點(diǎn)介紹了該哲學(xué)的實(shí)踐觀、知識(shí)觀和文化觀。5、實(shí)踐哲學(xué)與審美哲學(xué)的對(duì)峙,引發(fā)了歐美音樂教育領(lǐng)域的學(xué)術(shù)爭(zhēng)鳴,面對(duì)眾說紛紜的哲學(xué)話語,艾利奧特不斷反思,發(fā)展與完善自己的實(shí)踐哲學(xué)體系。最后,就艾利奧特的實(shí)踐音樂教育哲學(xué)思想形成的歷程提出了自己的見解。
[Abstract]:David Elliot is a controversial figure in the field of music education in North America since the end of the 20th century. He criticized the American aesthetic philosophy ("Music Education is Aesthetic Education") advocated by his teacher Remo, and constructed the system of practical music education philosophy, which led to the academic controversy in the field of music education in North America and even the world. Starting from the background of Elliott's growth, this paper explores the five stages of the growth of his academic thought: 1 / 1 and the early 1980s. In his youth, Eliot was a faithful follower of Remo's aesthetic philosophy from the middle to the end of the 1980s. Began to question the theoretical basis of aesthetic philosophy, and carried out incomplete criticism, 1990-1994, began to criticize aesthetic philosophy tit-for-tat, gradually conceived their own practical philosophy blueprint .4, 1995, His masterpiece, the problems of Music: a New philosophy of Music Education, is published, which marks the systematic construction of the philosophy of practical music education, and focuses on the practical view of the philosophy. The confrontation between practical philosophy and aesthetic philosophy leads to academic contention in the field of music education in Europe and the United States. In the face of divergent philosophical discourse, Eliot constantly reflects on, develops and perfects his system of practical philosophy. Finally, the author puts forward his own opinion on the course of the formation of Elliott's philosophy of practical music education.
【作者單位】： 北京師范大學(xué)藝術(shù)與傳媒學(xué)院;福建師范大學(xué)音樂學(xué)院;
【分類號(hào)】：J60-4

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