論中國近代學(xué)校音樂教育的引入
發(fā)布時(shí)間：2018-11-01 12:35
【摘要】：本文以“中國近代學(xué)校音樂教育的引入”為研究對象。其具體研究思路是：通過對近代“西學(xué)東漸”歷史背景的考察，來討論我國近代學(xué)校音樂教育引入的社會(huì)基礎(chǔ)及其過程；通過對早期教會(huì)學(xué)校音樂教育、近代學(xué)校制度建設(shè)以及西方音樂理論的輸入、近代美育思想的闡述與分析，來探討我國近代學(xué)校音樂教育引入的原因及途徑。總之，本論文以音樂學(xué)科教育史為視角，按其時(shí)間發(fā)生先后順序，采用描述與論證相結(jié)合的敘述方式，在深入考察中國近代學(xué)校音樂教育引入的社會(huì)基礎(chǔ)及其過程、原因、途徑的基礎(chǔ)上，對“清末民初”學(xué)校音樂教育的性質(zhì)、功能、歷史地位等作出較為準(zhǔn)確和全面的把握。 本文除緒論及結(jié)論以外，共分五章。緒論部分，主要涉及論文題目解析、選題原因及研究現(xiàn)狀分析、論文研究意義及目的。 第一章主要討論了兩個(gè)問題：一是簡述近代中國“西學(xué)東漸”歷史進(jìn)程，將其分為物質(zhì)、制度、思想三個(gè)層次。二是闡述了伴隨物質(zhì)層次而興起的實(shí)業(yè)教育，重點(diǎn)討論體操、圖畫課程引進(jìn)的原因，通過對引入時(shí)間、開設(shè)學(xué)校等情況的分析，指出這兩門課程的引進(jìn)與開設(shè)主要是為了迎合當(dāng)時(shí)提倡的“實(shí)業(yè)教育”的需要，其功用是對學(xué)生進(jìn)行實(shí)際技能與智能的培養(yǎng)，以造就實(shí)用人才。此期圖畫課程不可用現(xiàn)代課程觀念看待——其不具備藝術(shù)教育之審美功能。這從一定側(cè)面反映了較圖畫課程之后出現(xiàn)的學(xué)校音樂教育，由于不具備相應(yīng)的“實(shí)用”功能，故未能與圖畫課一同列入學(xué)校課程之中，進(jìn)而體現(xiàn)了二者在性質(zhì)、功用等方面所存在的差異。 第二章重點(diǎn)討論早期教會(huì)學(xué)校音樂教育特點(diǎn)。涉及三個(gè)方面：音樂教學(xué)內(nèi)容與目的、音樂教材、音樂師資及教學(xué)方法，指出我國近代以學(xué)堂樂歌為主線的新音樂教育并沒有從教會(huì)音樂中產(chǎn)生(在論文第二章小結(jié)中論及四個(gè)方面原因)。不過作為在中國最早出現(xiàn)的新式學(xué)堂——教會(huì)學(xué)校，把西方國家的音樂教育方式引進(jìn)到中國，在西洋音樂的樂學(xué)知識(shí)的傳播以及中國音樂教育建設(shè)人才的培養(yǎng)等方面，對我國近代學(xué)校音樂教育的引入與發(fā)展發(fā)揮了一定的積極作用。 第三章是關(guān)于近代學(xué)校制度建設(shè)的探討。本章集中從《癸卯學(xué)制》有關(guān)音樂課程設(shè)置的論述中看音樂教育問題。通過《癸卯學(xué)制》課程設(shè)置與日本學(xué)制的比較分析，指出《癸卯學(xué)制》以日本學(xué)制為藍(lán)圖，在課程設(shè)置方面較系統(tǒng)地引進(jìn)了大量的西方課程，然獨(dú)“音樂”課程未正式列入其中。通過對《癸卯學(xué)制》音樂課程設(shè)置分析與考察，包括從“雅音失傳”與音樂課程的“暫從緩設(shè)”，“俗樂萎靡”與早期
[Abstract]:This paper focuses on the introduction of school music education in modern China. The specific research ideas are as follows: through the investigation of the historical background of "Western Learning to the East" in modern times, this paper discusses the social basis and process of the introduction of modern school music education in our country; Through the exposition and analysis of the early church school music education, the modern school system construction, the western music theory input, the modern esthetic education thought elaboration and the analysis, discusses our country modern school music education to introduce the reason and the way. In a word, from the perspective of the history of music education, according to the sequence of its occurrence, this paper adopts the narrative method of combining description and argumentation to investigate deeply the social basis, the process and the reasons of the introduction of music education in modern schools in China. On the basis of the approach, the author makes a more accurate and comprehensive understanding of the nature, function and historical status of the school music education in the late Qing Dynasty and the early Republic of China. In addition to the introduction and conclusions, this paper is divided into five chapters. The introduction part mainly involves the thesis topic analysis, the selected topic reason and the research present situation analysis, the thesis research significance and the goal. The first chapter mainly discusses two problems: one is a brief description of the historical process of "Western learning to the east" in modern China, which is divided into three levels: material, institutional and ideological. The second is to expound the industrial education rising along with the material level, focusing on the reasons for the introduction of gymnastics and drawing courses, and through the analysis of the introduction time, the opening of schools, etc. It is pointed out that the introduction and opening of these two courses is mainly to meet the needs of "industrial education" advocated at that time, and its function is to train students' practical skills and intelligence in order to bring up practical talents. This pictorial course cannot be regarded as a modern curriculum concept-it does not have the aesthetic function of art education. This reflects from certain aspects the school music education which appears after the picture curriculum, because does not have the corresponding "practical" function, therefore cannot be included in the school curriculum together with the picture lesson, then has manifested the two in the nature, The difference in function and so on. The second chapter focuses on the characteristics of music education in early church schools. It involves three aspects: the content and purpose of music teaching, music teaching materials, music teachers and teaching methods, It is pointed out that the new music education with the main line of school music as the main line in modern China did not come from church music (four reasons are discussed in the second chapter of this paper). However, as the first new type of school in China, the church school introduced the music education methods of the western countries to China, in the dissemination of western music knowledge and the cultivation of talents in the construction of Chinese music education, and so on. It has played a positive role in the introduction and development of school music education in modern China. The third chapter is about the modern school system construction discussion. This chapter focuses on the music education from the discussion of the music curriculum. Based on the comparative analysis between the curriculum of Gui Mao system and that of Japan, it is pointed out that the system of Gui Mao has systematically introduced a large number of western courses in the field of curriculum design, taking the Japanese school system as its blueprint. However, the "music" curriculum was not formally included in it. Through the analysis and investigation of the music curriculum in Guimao School system, including from "the loss of Ya Yin" and the "temporary suspension" of the music curriculum, "the popular music is weak" and the early period
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J609.2
本文編號(hào)：2303938
[Abstract]:This paper focuses on the introduction of school music education in modern China. The specific research ideas are as follows: through the investigation of the historical background of "Western Learning to the East" in modern times, this paper discusses the social basis and process of the introduction of modern school music education in our country; Through the exposition and analysis of the early church school music education, the modern school system construction, the western music theory input, the modern esthetic education thought elaboration and the analysis, discusses our country modern school music education to introduce the reason and the way. In a word, from the perspective of the history of music education, according to the sequence of its occurrence, this paper adopts the narrative method of combining description and argumentation to investigate deeply the social basis, the process and the reasons of the introduction of music education in modern schools in China. On the basis of the approach, the author makes a more accurate and comprehensive understanding of the nature, function and historical status of the school music education in the late Qing Dynasty and the early Republic of China. In addition to the introduction and conclusions, this paper is divided into five chapters. The introduction part mainly involves the thesis topic analysis, the selected topic reason and the research present situation analysis, the thesis research significance and the goal. The first chapter mainly discusses two problems: one is a brief description of the historical process of "Western learning to the east" in modern China, which is divided into three levels: material, institutional and ideological. The second is to expound the industrial education rising along with the material level, focusing on the reasons for the introduction of gymnastics and drawing courses, and through the analysis of the introduction time, the opening of schools, etc. It is pointed out that the introduction and opening of these two courses is mainly to meet the needs of "industrial education" advocated at that time, and its function is to train students' practical skills and intelligence in order to bring up practical talents. This pictorial course cannot be regarded as a modern curriculum concept-it does not have the aesthetic function of art education. This reflects from certain aspects the school music education which appears after the picture curriculum, because does not have the corresponding "practical" function, therefore cannot be included in the school curriculum together with the picture lesson, then has manifested the two in the nature, The difference in function and so on. The second chapter focuses on the characteristics of music education in early church schools. It involves three aspects: the content and purpose of music teaching, music teaching materials, music teachers and teaching methods, It is pointed out that the new music education with the main line of school music as the main line in modern China did not come from church music (four reasons are discussed in the second chapter of this paper). However, as the first new type of school in China, the church school introduced the music education methods of the western countries to China, in the dissemination of western music knowledge and the cultivation of talents in the construction of Chinese music education, and so on. It has played a positive role in the introduction and development of school music education in modern China. The third chapter is about the modern school system construction discussion. This chapter focuses on the music education from the discussion of the music curriculum. Based on the comparative analysis between the curriculum of Gui Mao system and that of Japan, it is pointed out that the system of Gui Mao has systematically introduced a large number of western courses in the field of curriculum design, taking the Japanese school system as its blueprint. However, the "music" curriculum was not formally included in it. Through the analysis and investigation of the music curriculum in Guimao School system, including from "the loss of Ya Yin" and the "temporary suspension" of the music curriculum, "the popular music is weak" and the early period
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J609.2
【引證文獻(xiàn)】
相關(guān)期刊論文 前2條
1 蘇全有;王繼峰;;啟蒙與救亡:清末音樂教育的兩大功能[J];濟(jì)源職業(yè)技術(shù)學(xué)院學(xué)報(bào);2012年01期
2 宮宏宇;;基督教傳教士與晚清中國的盲人音樂教育——以安格妮絲·郭士立、穆瑞為例[J];中央音樂學(xué)院學(xué)報(bào);2012年01期
相關(guān)碩士學(xué)位論文 前8條
1 李俊;學(xué)堂樂歌富國強(qiáng)兵思想研究[D];南京藝術(shù)學(xué)院;2011年
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3 劉斌;視唱練耳學(xué)科的傳入及其在上海音樂學(xué)院（1966年前）的發(fā)展[D];上海音樂學(xué)院;2008年
4 謝芳;論20世紀(jì)早期我國的普通學(xué)校音樂教育觀[D];華中師范大學(xué);2009年
5 劉娟娟;“癸卯學(xué)制”普通中學(xué)堂圖畫課程研究[D];杭州師范大學(xué);2009年
6 曹淑敏;學(xué)堂樂歌的歌詞藝術(shù)探究[D];曲阜師范大學(xué);2012年
7 鐘樺;從長沙《大公報(bào)》看1932年湖南中小學(xué)音樂課程標(biāo)準(zhǔn)改革[D];湖南師范大學(xué);2013年
8 羅樂;清末民初我國師范學(xué)校音樂教育觀的研究[D];華中師范大學(xué);2013年
，本文編號(hào)：2303938
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