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身体,一直是音乐教育理论和实践所关注的对象。随着意识哲学向身体哲学的转向,“身体”在音乐教育哲学中也注入许多新的内涵,体现为“审美音乐教育哲学”中的“意识”向“身体”的转向,以及“实践音乐教育哲学”中的身“体”力“行”等。音乐教育哲学的“身体”转向,是对音乐“实践性”以及“身心合一”身体经验生成性的重视与强调。音乐教育哲学视域的“身体”转向,在音乐教育实践领域具有积极的意义。但是,过分的解读只能带来身心的重新分裂。因此,从身心合一主体角度,重新审视人类文化包括我国传统音乐文化中的身体哲学智慧,将有益于音乐教育理论和实践的更好发展。
Body, has been the object of music education theory and practice. With the shift of consciousness philosophy to body philosophy, “body ” has also infused many new connotations into the philosophy of music education, which is reflected in “consciousness ” in “aesthetic music education philosophy ” to “body And the ”body “ power ”line “ in ”practice music education philosophy “ and so on. The ”body“ shift in the philosophy of music education is the emphasis and emphasis on the generative experience of music ”practicality “ and ”physical and mental unity “. The ”body" shift in philosophical education philosophy has a positive meaning in the field of music education practice. However, excessive interpretation can only bring about the re-division of mind and body. Therefore, reexamining the wisdom of body philosophy in human culture, including the traditional Chinese musical culture, will benefit the better development of the theory and practice of music education from the perspective of the integration of body and mind.