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20世纪下半叶,音乐教育哲学主要出现了两种范式,即审美范式与实践范式。从历史的视角来看,这两种范式的出现与主张均与当时的社会背景、理论背景分不开。审美音乐教育其审美范式根源于18、19世纪的美学,强调音乐教育的审美体验性质,其固有的二元认识论思维带有现代性特有的缺陷,使其在20世纪后期遭到质疑与批判。而音乐教育哲学的实践范式则不再将音乐视为纯粹客体,而是把音乐作为人类的实践活动,强调实践、行为与语境的价值意义,从而体现了音乐教育哲学从审美范式到实践范式的超越。
In the second half of the 20th century, two major paradigms emerged in the philosophy of music education: the aesthetic paradigm and the practical paradigm. From a historical perspective, both the appearance and the proposition of these two paradigms are inseparable from the social background and the theoretical background at that time. The aesthetic paradigm of aesthetic music education is rooted in the aesthetics of the 18th and 19th centuries, emphasizing the aesthetic experience nature of music education. Its inherent dualistic epistemological thinking is characterized by the defects of modernity, which has been questioned and criticized in the late 20th century. However, the paradigm of music education philosophy no longer regards music as a pure object, but regards music as the practice of mankind, emphasizing the value meaning of practice, behavior and context, which reflects that the philosophy of music education changes from aesthetic paradigm to practical paradigm Beyond.