This is a non-multiple choice question, seemingly simple, but it contains profound philosophy. Its essence is how to know and understand oneself in today's diversified philosophy of music education, and scientifically understand the subjective and objective world with a clear mind, so as to seek a reasonable and correct understanding and perfection of oneself.
Appreciate the magnificence of "Stones from Other Mountains"
As the saying goes, "Other stones can attack jade." Since the reform and opening up, in the field of music education, we have been introducing, learning and drawing lessons from foreign influential music teaching methods and experiences with a broad mind and broad vision. Since the late 1970s, Orff, Kodaly, Dalcroze and other famous advanced teaching systems and methods have been introduced into China, which has played a positive role in promoting the music teaching reform in primary and secondary schools. As the basic theory of music education, the philosophy of music education has been widely spread and introduced in China's academic circles through publications, lectures, conferences, visiting scholars and other channels, forming a diversified philosophical pattern of music education.
At present, there are not many books, magazines and media about the philosophy of music education, but they involve different academic viewpoints. From different academic perspectives, different research methods are used to express different viewpoints and arguments. Whenever I read these books and listen to these lectures, I am always moved by the spirit of theoretical innovation. We should admit realistically that there are indeed many theoretical highlights. Among them, Remo's aesthetic music education philosophy and Eliot's practical music education philosophy are two opposite and complementary academic schools, which are particularly eye-catching. Although their basic views are completely opposite, they all make sense and deserve our repeated study and thinking.
Bennett Reimer is a famous American music educator. 1970, he expounded his aesthetic education philosophy through the book Philosophy of Music Education, which has a wide influence at home and abroad. 1985 was invited to give lectures in China. His masterpiece Philosophy of Music Education was translated into Chinese by Xiong Lei and mimeographed first, then further enriched, revised and officially published. Remo's masterpiece elaborated his absolute expressionist aesthetic philosophy in detail. He established the basic characteristics of aesthetics from the ontological attribute of music, and constructed the theoretical framework of aesthetic education philosophy on this basis. Its reasonable core is not only attaching importance to the intrinsic value of music, but also emphasizing the importance of emotional education in music education through the study of the aesthetic essence and experience of music, and establishing absolute expressionism philosophy as the theoretical pillar of the negation of speculative philosophy and formal philosophy. It is also commendable that philosophy itself is an abstract logical speculative discipline, but because Remo has rich practical experience in music and music teaching, it is easy to explain and quite readable. In addition, Remo not only insists on his basic academic viewpoint in his attitude towards scholarship, but also pays attention to constantly listening to different opinions, constantly revising and perfecting his own arguments, making the theoretical logic more rigorous. For example, he later proposed that the philosophy of music education should be divorced from the single "essence theory", thus perfecting his original single expression of the essence of music. Although this theory of pluralistic essence is debatable, its academic spirit of tolerance without complacency is worth learning from.
The representative figure who is quite different from Remo's academic viewpoint is his student david elliott, whose basic academic viewpoint is the practical philosophy of music education. In his masterpiece "Paying Attention to Music Practice —— A New Philosophy of Music Education", he explained that music is a diversified human practice activity, which is composed of different music and music practice activities. Its research and demonstration has a unique perspective, such as interpreting the essence of music from the perspective of anthropology, and establishing and developing multiple musical cultural concepts from the reflection of past philosophical thoughts. He also denied the existence value of the aesthetic philosophy of music education from three aspects: the idea that music is an object, aesthetic perception and aesthetic experience. He believed that the aesthetic philosophy of music education did not provide a logical and comprehensive philosophical basis for music teaching and learning, thus establishing the concept of "course is practice", highlighting that music production and listening are the forms of music acquisition, and launched a series of detailed practical descriptions for this purpose. The biggest highlight of david elliott's philosophy of practical education is to pay attention to and connect with the reality of music teaching, which has strong operability.
In addition, the cultural concept of music education is also a distinctive school. Its theoretical core is the diversified development facing the world, with cultural anthropology as the theoretical cornerstone, "music as culture" as the basic argument, emphasizing the rationality of cultural differences, and putting forward "the theory of cultural value relativity", thus constructing a multicultural philosophy of cultural music education.
It should be admitted that the arguments of the above major schools of philosophy of music education are reasonable, and their academic horizons are relatively broad, especially in the process of argumentation, and there are also some innovative achievements. These are all worthy of our serious consideration and study.
Adhere to the academic strategy of "making foreign things serve China"
The progress of China society provides a free platform for academic research, and the emergence of diversified music education ideas is a beautiful landscape presented on this platform. At the end of the era of "unification" and the influx of "foreign accents and foreign tunes", we must adhere to the strategy of "making foreign things serve China" to promote the development and perfection of the philosophical research of music education in China.
It is true that it is only the first step to introduce foreign philosophical theories and schools of music education through various channels and spread them through various media and means to make them present an all-encompassing face in the academic garden. But tolerance is only a means, not an end. More importantly, how to study and analyze deeply, so as to selectively absorb the essence suitable for the development of chinese heritage. It should be admitted realistically that the above-mentioned schools of philosophy of music education all have their own theoretical systems, and naturally have their own argument basis and verification logic when expounding and expressing their respective academic views, so as to obtain corresponding academic value. Therefore, the philosophy of aesthetic education, practical education and cultural education can provide us with useful enlightenment and thinking. However, due to the differences in social system, cultural tradition and even national psychology, copying these foreign philosophies is obviously not in line with China's national conditions. For example, Remo's philosophy of music education has really enriched our knowledge and understanding of music aesthetic education and provided many meaningful new perspectives and new ideas. It can be said that the basic academic viewpoints of Remo's aesthetic education philosophy tend to be consistent, and there are many common languages. However, we can't fully accept his views and methods, and we still have reservations about some of his academic views, especially his absolute expressionist aesthetic is based on the basic view of art for art's sake, which is far from our aesthetic and music education goals, and obviously we can't agree.
Eliot emphasized the practicality of the philosophy of music education in his book Paying Attention to Music Practice —— A New Philosophy of Music Education, and put forward many concrete operation schemes, which are undoubtedly beneficial to music teaching. Its basic theoretical model comes down in one continuous line with Dewey's pragmatic educational philosophy of "learning by doing", but as far as the theoretical construction of its ontology is concerned, the connotation of practical philosophy is not deep enough, but it focuses on criticizing music aesthetics and its aesthetic philosophy in order to achieve the academic intention of criticizing Remo's aesthetic educational philosophy. The second and third parts occupy most of the book's length, specifically expounding the specific design and operation of music teaching, and the philosophical factors are weak, so this book is more inclined to belong to the nature of music teaching theory works. In the field of philosophy, speculative philosophy and practical philosophy are two basic systems, which are closely related. Throughout the ages, all philosophical thoughts have been highly summarized and sublimated from practice, but they have to go back to practice to test their own value and rationality of existence. As far as educational philosophy is concerned, practice is the commonality of all branches, and seeking the essence of educational philosophy of this discipline (even if it is pluralistic) must also aim at the professional attributes of its discipline, otherwise there will be many practical educational philosophies with more commonality than individuality. It is precisely for this reason that we feel that commonness is greater than individuality in the construction of cultural philosophy of music education, and culture covers up the problems of music. The cultural philosophy of music education can be far-sighted, consider the philosophical problems of music education from the height of the whole human culturology, and bring the thinking of music education into the new multicultural background for research. But where is music and music education? Thought-provoking. Just as some music teachers are asking: under the guidance of the concept of cultural music education, how should music classes be taught? Of course, this narrow way of thinking, which takes philosophy as a teaching method, is biased, but it raises a question worthy of our deep thinking from the perspective of practice.
The above random comments are not academic comments, but the main purpose of these comments is to inspire us not to blindly follow, not to be superstitious, not to regard foreign philosophy of music education as absolute truth, and to measure, evaluate and require us to treat diversified philosophy of music education with our philosophical achievements of music education as a yardstick. We should base ourselves on the national conditions of China and rely on the cultural context of the Chinese nation. After accurately understanding the essence of "Stones from Other Mountains", we should use it flexibly to construct our philosophy of music education.
Adhere to the philosophical position of "aesthetic education"
With the active development of the pluralistic ideological trend of music education philosophy, the argument that China's philosophy of music aesthetic education is "challenged" appears. It is understandable to strengthen the sense of urgency in theoretical research, but the mentality of "challenge" is somewhat unnecessarily tense. In the academic field, the coexistence of different schools and different viewpoints is the universal and basic law of human social ideology, and the emergence of diversified academic thoughts can better explain the prosperity of the times and social progress. However, the evaluation and judgment of academic thought should still be "a hundred schools of thought contend", and it is not appropriate to simply define right and wrong. For example, the dispute between Confucianism and Taoism in the history of our country has not reached a recognized conclusion, but the complementary spirit of Confucianism and Taoism constitutes one of the connotations of China's traditional culture. Therefore, in an inclusive social environment, various academic schools can freely develop and compete, and they can also carry out academic criticism and discussion. However, the academic attitude should not be "caught off guard and conceited", and historical practice should be used to test the truth. On this basis, I think Eliot's assertion that the influence of aesthetic philosophy of music education tends to decline with the setting of the sun is biased. Although there is a limited premise of time and characters, this simple and arbitrary negation seems to have gone beyond the scope of academic research.
"The subject of music aesthetic education, whether at home or abroad, is both an ancient subject and a new one. As early as 2000 years ago in ancient China and ancient Greece, our sages were already discussing related topics, and today, with the highly developed humanities and natural sciences, people are still exploring this topic. Of course, in terms of level and depth, it can no longer be compared with the past. " It can be seen that the practice and theory of music aesthetic education are deeply rooted, and its philosophical thought is not the invention of that individual, but the product of the long-term intersection and integration of human multi-aesthetic cultural consciousness and music education practice. This historical origin can be understood and expressed differently in different periods and countries, but it is like a long cultural river, which is unstoppable, because it is the common gene of human spirit-human pursuit of beauty. With the help of high-tech thinking mode, some modern philosophical theories break down the elements of the philosophy of music education into many "micromolecules", trying to analyze their multiple structures and naming them in connection with interdisciplinary subjects. However, this formal analysis method can only dismember the external body of physical structure, but can't strip off the aesthetic attributes of music. It is puzzling that on the one hand, they deny the aesthetic experience and function of music, on the other hand, they emphasize the charm of music is of great significance. Where does this charm come from? Is it possible to produce attractive music by giving up the creation and expression of musical beauty and advocating the industrialized production of "musical production"?
As a music educator in China, we should cherish the theoretical achievements and hard-won academic status of aesthetic education. Although China has a tradition of music aesthetic education for thousands of years, since entering the modern society, music, physical education and aesthetic education have been called "small three doors" because of the interference of exam-oriented education and intellectual education, and they have no position in schools and society at all. Before the reform and opening up, aesthetic education (aesthetic education) has not been included in the national education policy for a long time. One of the important reasons is that our academic theoretical research lags behind, and we can't provide the society with both theoretical depth and convincing music aesthetic education theory. Over the past 30 years, with the efforts of two or three generations, we not only have a number of monographs and academic papers on the theory of aesthetic education in music, but also the aesthetic attribute of music education has become the consensus of the whole society, and the expressions "music education is one of the important means to implement aesthetic education" and "music education is an important way to implement aesthetic education" have been written into the music teaching syllabus of primary and secondary schools. In particular, many important national documents (such as the Outline of Education Reform and Development in China and the Decision on Deepening Education Reform and Promoting Quality Education in an All-round Way). ) and the government work reports of the party and the country all list aesthetic education as an important part of the policy of all-round development of education. It can be seen that the implementation of aesthetic education is our basic national policy, and the concept of music aesthetic education is the basic concept of our music education. It not only embodies the essence of music and music education, but also is the fundamental guarantee to realize the function of music education and achieve the expected educational goals.
It must be pointed out that our philosophical theory of music aesthetic education is not a solidified dogma, but is deepening and developing with the pace of music education reform, and of course it also includes sublation and reference in learning foreign music education thoughts. What needs to be explained here is the controversial issue of "taking music aesthetics as the core". Since the late last century, due to the continuous strengthening of the understanding of the aesthetic characteristics and functions of music, many scholars have put forward views on the "core theory" (such as Yao Siyuan's Music Aesthetic Education Should Be the Core of Music Education in Chinese Schools, Xiao Yan's Aesthetic Education should be the Core of Music Education, and Xu Huadong's Music Education in Primary and Secondary Schools should be the Core of Aesthetic Education). These basic arguments are based on the aesthetic essence of music and highlight music education. However, when this argument is interpreted as "taking music aesthetics as the core", when the national compulsory document "Music Curriculum Standards for Full-time Compulsory Education (Experimental Draft)" came out as the primary "basic concept" at the beginning of 2 1 century, it aroused widespread concern in academic circles, and its focus was expressed in two levels: questioning and criticizing. Query is mainly aimed at some logical contradictions in the new curriculum standard. It is believed that in the new curriculum standard, on the one hand, we should adhere to the aesthetic attribute of music discipline and highlight its "core" position; On the other hand, it emphasizes that music class is an important field of humanities, which increases the concept and content of multiculturalism and embodies the concept of music education with multiculturalism as the core. Although these two views and arrangements are valuable, there are two core contradictions in a document carrier objectively, and the argument of "taking aesthetics as the core" naturally appears one-sided and difficult to establish. How to make the expression more rigorous and scientific through digestion, running-in and integration will undoubtedly require brainstorming and constant revision in the future.
In the criticism of "music education with aesthetics as the core", China's thought of music aesthetic education is mainly brought into the universalism system of western traditional philosophy, and then criticized philosophically with postmodernism and other ideological trends as arguments. This is a big topic that needs more in-depth discussion, and it is not the main purpose of this article. Here are only two viewpoints: First, we should adhere to the attitude of "inclusiveness" and "inclusiveness" in order to adapt to our own survival and development in the multicultural world; Second, adhere to the style of seeking truth from facts, so that the arguments and objects of criticism are identical and comparable, so that our research and discussion can be carried out in the same cultural context on an academic platform, and our music education concept can be developed and innovated in the inheritance of China culture. This is the basic premise for us to adhere to the philosophical position of music aesthetic education.
conclusion
Through the above analysis, we can confidently answer that music aesthetic education is not out of date. It should become an important means of music education and teaching in China. Of course, in today's inclusive coexistence of multiple philosophies in music education, we need to be far-sighted and learn from others, so as to deepen our self-understanding and improve the ontology theory, so as to better guide the practice of music teaching reform.
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