1. The historical value of music and dance education in Zhou Dynasty: The battle with Makino ended the autocratic rule of Shang Dynasty, and Zhou practiced feudal system and patriarchal system in economy and politics. For the sake of centralized state rule, Duke Zhou combed the etiquette system of the previous generation, imitated the natural way of etiquette and music, and unified the etiquette that restrained the code of conduct and embodied the hierarchical order with the music that implied moral harmony, so that people's internal cultivation and external norms were perfectly unified, thus consolidating the ruling order of the Zhou Dynasty. In this context, the next generation of music and dance education takes ritual and music as the core.
The historical value of music and dance education in Zhou Dynasty consists of the following two parts: 1. Music and dance education in the Zhou Dynasty inherited the learning of the previous generation and collected the essence of the learning of the three generations, making the music of the big company a unified method to govern the learning of the founding of the country. However, according to Guo Zi, a complete music and dance official system was established: there were administrative officials in charge of music and dance institutions, such as Fu, Da Situ and Da Zong. There are music officials in charge and discipline of music and dance, such as musicians, musicians, dancers, drummers, pianists, bell teachers, sheng teachers, etc. 2. Formulated high-standard music education measures in line with the natural way: such as distributing educational content according to age and season; In the teaching process, carry out teaching activities with music and dance ceremonies. 3. A comprehensive teaching model has been formed, which integrates ritual and music, and is also a trinity of poetry, music and dance: for example, the contents taught by professors include six small dances, six big dances, Nuo dances, witch dances and dances; There are four kinds of music, such as four overflow music, three music and music talk music. Musical instruments include Lu, Sheng, Xiao, Tugu and Sheng. 4. Established the educational purpose of advocating the doctrine of the mean, friendship and filial piety, educated and trained the nation to be a gentleman with self-restraint and virtue outside, and be polite, respectful and gentle, loyal and filial, learn to be a teacher and demonstrate behavior in real life. This series of educational achievements and scale is a model of ancient music and dance education, which proves the great significance of music and dance education to etiquette norms, cultivating national pillars, strengthening political rule and appeasing and educating the people.
Confucius, the founder of Confucianism and one of the top ten celebrities in the world, is a masterpiece of ancient China culture. Since the Han Dynasty, Confucianism has become the essence of China's traditional culture. At that time, a hundred schools of thought contended and Confucianism was unique. Poems, books, rites and music in The Analects of Confucius changed in the Spring and Autumn Period, and were also regarded by scholars as the traditional way to settle down in China. Confucius' thought of music and dance and its practical activities also had an immeasurable influence on music and dance education in later generations: 1. The inseparability of rites and music and the role of music in political rule, such as being inspired by poetry, being accomplished by ceremony, being based on music, changing customs and not being good at music. 2. The relationship between happiness and benevolence is ruthless? What's the fun of being heartless? Rites stand in the middle, people-oriented, ceremony-oriented, ceremony is more important than harmony, and benevolent people love others. 3. Confucius' highest evaluation standard for music and dance is perfection to beauty. Guiding people to be good is fun, and perfecting beauty is both benevolence and benevolence. 4. The power of music: people are deep and fast. 5. Have the idea of teaching without class.
Secondly, the contemporary enlightenment of music and dance education in Zhou Dynasty. The great contribution of education is reflected in the education of students' personality. Learning is divided into roots and ends, which are emotions, life, character and morality, and the ends are knowledge, skills and talents. Gentleman's business is based on inheritance and Taoism. Teaching based on this is the foundation and internal energy of students' development.
A gentleman's cautious start is a thousand miles away, so it is necessary to establish a correct educational view of personality education in education. The music and dance education in the Zhou Dynasty stipulated that there were thirteen spoonfuls of dance, such as adults and children, and twenty spoonfuls of dance in summer. Spoon dance is a kind of literary dance. Among the six major dances, there are Yunmen, Dazhang, Dashao and Daxia. They described the virtues of the Yellow Emperor as clouds, the virtues of the Yao Dynasty as omnipotent, and the virtues of Yan Yu as making China great. It can be seen that the content of wenwu is to praise the emperor's virtue and righteousness. Learning literature and dance makes us pay attention to Taoism, cultivate self-cultivation and enthusiasm, and be full of awe and gratitude for everything and our ancestors. Martial arts dance, like martial arts dance, mainly records the emperor's strength, courage and fighting for the people, and shows his martial arts. By studying martial arts, you can exercise your physique, cultivate perseverance, summon up courage and impart majesty. Music and dance education in Zhou Dynasty is to improve personality and conduct through learning music and dance, so as to cultivate a model of modesty, loyalty and filial piety and manage the world. Therefore, music and dance is not only an artistic category, but also an important means of personality education.
Change customs, be good at music. What is emphasized here is the development significance of music and dance itself and the social significance of music and dance practice in the practice of changing customs. On the one hand, the educational process of the Zhou Dynasty was very practical and ritualized. The knowledge of music and dance has been strengthened and re-educated in practice, thus consolidating the educational significance of music and dance and making it truly a part of life and personality. On the other hand, the practice of music and dance is not only higher than boring word learning, but also has more profound significance than ordinary practical activities in educating people and restoring tradition. Only by becoming a part of life can we form a wide and profound social impact. This is why the Zhou Dynasty and the system of rites and music enabled Zhou to form a social view of courtesy, wisdom, kindness and modesty-the reason why music and dance education cannot be separated from practice. Community performances held in modern and contemporary primary and secondary schools, cultural activities in mass squares, art entering the community, cultural and art groups performing in the countryside, protecting intangible cultural heritage, and restoring traditional ritual programs have deepened the practical significance of art and made literature and art truly deeply rooted in the hearts of the people. China is building a well-off society in an all-round way, and harmony is the goal of social construction. Harmony here also includes humility, kindness, loyalty and forgiveness, and kindness. The Zhou Dynasty not only showed us a harmonious social view, but also provided practical methods.
The mutual penetration of standardization and naturalization. The whole nature has its hierarchy and order, just like the sky, the earth, the sun, the moon and the four seasons. Nature itself is normative. Duke Zhou's ritual of making music imitates the way of nature. For example, the official positions of the Zhou Dynasty are divided into spring officials, summer officials, Qiu Guan officials, winter officials, celestial officials and local officials. Another example is the music education in the Zhou Dynasty, which stipulated that cadres should learn martial arts dance in spring and summer, feather dance in autumn and winter, poetry in spring and plucking in summer. And learning has to go through the process of admission, award and meritorious service, just like farming has to go through the nature of spring planting and autumn harvest. It can be seen that these rules are symbols of natural order. There is an interpenetrating relationship between norms and nature. Marxist philosophy emphasizes the transformation and utilization of nature, and we should respect the objective laws of nature. If we can respect and use nature, we will get twice the result with half the effort. From the artistic conception of China's landscape paintings, China has established a correct view of nature since ancient times. Nature is the home of everything, and its hidden order and norms have the highest wisdom in the universe, because it has maintained the existence of everything here for hundreds of millions of years with its own order. No matter how time and space change, he is still the master of the world, and human beings have been transforming nature but found it back. Therefore, human beings should respect the laws of nature and extract ways to settle down from the natural order. So should contemporary education. We should respect children's nature, make teaching plans according to students' psychological and physiological characteristics in different periods, provide students with opportunities to get in touch with nature as much as possible, establish a true view of nature, and draw nourishment from education, especially spiritual education.
Cultivate generalists and feed back professionals. The trinity mode of poetry, music and dance in the Zhou Dynasty and the cultivation of the six arts of etiquette, music, shooting, imperial art, calligraphy and mathematics also have great enlightenment to contemporary education. From the perspective of performance, poetry, music and dance complement each other in form, which is reflected in the expression of content and the contrast of forms. The three elements of music are melody, rhythm and chorus, and the three elements of dance are emotion, rhythm and composition. The internal elements of the two have certain commonalities, so the dancer's musical literacy is essential. If we can combine music literacy with dance creation, the expressive force of dance will be broadened and developed. For example, Delsarte and Dalcroze, famous advocates of graceful rhythm training of human body movement expression system, are both music educators; Balanchine, the greatest choreographer in the 20th century, also has a deep musical accomplishment. Not only music and dance are interlinked, but also dance has a complementary relationship with all kinds of knowledge: for example, Kenningham is familiar with computer technology and the China Book of Changes; Wu Xiaobang, the father of modern dance in China, did not specialize in dance in his early years; Lin Huaimin's early achievements and literature; Cao Chengyuan majored in business administration; Rong nian has made great achievements in urban architecture.
It can be found that a truly all-round dancer is not a generalist, but it is not limited to professionals. In modern society, the competition of dance talents is the comprehensive cultivation of knowledge reserve and humanistic quality. Only by accumulating more and dabbling more can we break the bottleneck of creation and realize innovation. Therefore, generalists are the necessary foundation for professionals.
To sum up, Zhou education is of great significance to contemporary education in terms of children's education, spiritual education, practical significance, educational methods and personnel training direction.
What the ancients gave us was a pearl-like classic in the historical sand, agate-like wisdom in the classic sand and diamond-like eternal blood connection in the wisdom sand. Every period of history has its meaning. In this vast land, cherishing the precious resources of traditional culture, deeply combing and excavating the essence of traditional culture, making the past serve the present, is the key for us to enhance our national self-confidence and belief and strive for the right to speak in the great wave of globalization.
Note: ① Liu Qingyi. Dynamic space. Shanghai Music Publishing House, p42.