【作者】 韦希；

【导师】 管建华；

【作者基本信息】 南京师范大学 ， 美育学， 2013， 博士

【摘要】 高等师范院校音乐教育是我国国民音乐教育体系中的重要内容。20世纪初,在“中学为体、西学为用”教育方针下建立的高师音乐教育,奠定了我国当代高等师范音乐教育的基础,进而辐射到普通高校音乐教育、基础音乐教育和学前音乐教育。在百年的历程中,它积极有效地推动了我国20世纪学校音乐教育向着规范化、标准化、体系化和制度化的方向发展。已有的研究成果表明,当代高师音乐教育与早期相比,越来越显现出重技术轻文化、重理性轻感性、重塑造轻养育、重西方轻东方等特点,也越来越表现出以专业性、唯理性、主流性、竞争性、宏大性等为特征的“男性气质”。本文把这种建立在西方现代性哲学基础上的音乐教育隐喻为男性音乐教育模式,把建立在西方后现代性哲学基础上的富有宽容、责任、情感、关怀、多元意蕴的音乐教育隐喻为女性主义音乐教育范式。20世纪70年代以来,后现代哲学思潮在教育领域的运用导致了西方教育思想的后现代转向。在这种理论氛围中的音乐教育领域,从新的理论视角——女性主义来研究中国高师音乐教育及其改革的时机已经到来。女性主义音乐教育理论在其母体——后现代主义哲学的话语支撑下,针对不同国家、民族和地域中的具体问题,结合具体文化和社会背景提出参考策略。女性主义主张在和谐音乐教育世界中运用“圣杯式”的思维概念。“圣杯”概念所强调的开放性、包容性、对话性和差异性等,可以弥补音乐教育中存在的等级观念和科层制度的男性“剑”式思维的缺陷。一方面它诟病现实中以男性为中心的音乐知识框架,揭示那看似合理其实是在父权制度笼罩下的不合理的音乐教育现象;另一方面它又以全新的理论构架意图建立起生态的崭新的女性主义音乐教育范式。将女性主义的“圣杯文化”引入高师音乐教育领域,可以带来全新的伙伴关系模式。这是一种以性别差异为基础的生态、合作的模式,它并不排斥男性音乐教育模式,而意图与其平等共存、和谐共生。女性音乐教育模式能化解音乐课堂中竞争、冲突、权力的男性统治话语,在消解“欧洲音乐男性中心论”在音乐教育中垄断倾向的同时,推进温暖、关爱、慰藉的女性文化话语。女性主义音乐教育范式提倡母语化,珍视我国传统的民族民间音乐文化;倡导生活化,为音乐教育的课堂提供温暖与关怀;提倡对话性,与世界不同文明“他者”音乐文化交流沟通;强调情感性,对音乐价值及文化进行全面理解。如果能在高师音乐教育中融入女性主义音乐教育范式,将结束西方现代性音乐教育作为音乐教育唯一模式的局面,同时也可拓展中国音乐教育研究的空间与视野,对中国高师音乐教育模式提供更加多元化的可能性。在建设“和谐社会”的当下,女性主义音乐教育理论可为高师音乐教育领域勾勒一个更为平等、和谐的未来图景。更多还原

【Abstract】 Music education in normal universities and teachers’colleges in China is an important part of the overall music education of this country. At the beginning of the20th century, foundation of China’s modern higher music education was laid following the guideline regarding "Chinese traditions as basis, western techniques as tools." This foundation continues to influence other aspects of music education concerning different levels ranging from higher education institutions, elementary schools and kindergartens. Over one hundreds years this principle has helped pushing forward China’s20th century music education to normalization, standardization, systemization, and institutionalization.The results of other scholars demonstrate that compared with what it was in its early stage, today’s music education in normal universities aimed at turning out music teachers gradually appears to be more technique-driven than culture-driven, more reason-orientated than emotion-orientated, more shaping than nurturing, more western than eastern. At the same time a kind of "masculinity" is indicated in this tendency which features professionalism, rationalism, domination, competitiveness, and expansion. Metaphorically, in this research the music education based on modern western philosophy is a kind of masculine one. whereas the model based on post-modern western philosophy, which features tolerance, responsibility, emotion, concern, and pluralism, is a feminine one.Since the1970s, a post-modernism turn took place in western education thought under the influence of the post-modernism in western philosophy. Supported by its mother-strong post-modernist philosophy, the feminist music education theory puts forward its own strategies regarding the specific countries, nations, regions, cultures, and social backgrounds. The notion of "Holy Grail" is used by the feminists in the harmonious music education. This feminist holy grail, as the origin of life, stresses openness, inclusiveness, dialogs and individualism, which are complementary to those hierarchical features caused by the sword-style masculine thought. On the one hand, this conception makes people aware of the drawbacks and unreasonable aspects of the masculinity-centered musical education system; on the other hand it offers a brand-new theoretical framework for the novel feminist music education paradigm.The introduction of the feminist "Holy Grail" culture to music education in China’s normal universities will bring a new partnership which is a kind of cooperation based on gender differences, and will co-exist peacefully with the masculine music education model. This feminist model will weaken or neutralize the masculine domination in music education in form of competition, conflict, power, and Europe-centeredness, and will infuse warmth, love, and kindness to music education. The feminist music education paradigm advocates "mother", i.e., the music traditions in one’s motherland, and life, i.e., music teaching close to life with warmth and kindness. It also emphasizes "dialog", communication with excellent musical genres and traditions in other parts of the world, and emotion, which is the core of the value of essence of music. The incorporation of the feminist music education paradigm means the end of the dominance of western modern music education in China, and it will lead Chinese music educators into a new world of pluralism. Against the background of building a harmonious society in China, feminism heralds a more equal and harmonious future for music education in China’s normal universities.更多还原