【作者】 赵娟；

【导师】 朱咏北；

【作者基本信息】 湖南师范大学 ， 课程与教学论， 2013， 博士

【摘要】 溯源于西方的钢琴,已经是与当今中国音乐形影相随的文化载体。特别是改革开放以后的30多年间,中国社会音乐教育蓬勃发展的时代背景下,钢琴一直是社会音乐教育中学习人数最多的,普及性最广、对中国人生活影响最大的一门乐器,钢琴课程在我国音乐教学中涉及的绝非仅系一种乐器的教学,而更关系到整个国民音乐教育、民族音乐事业的根本。钢琴音乐文化在中国的传播离不开钢琴课程,钢琴课程承担着选择、传承与创新音乐文化的天然使命。因此我们将关注的目光投向钢琴教育的根基---钢琴课程。本论文从文化学的视角对社会音乐教育钢琴课程进行审视,针对当今社会音乐教育钢琴课程的文化缺失问题进行研究,以文化中的钢琴课程与钢琴课程中的文化两条线索展开论述,主要目的在于阐明社会音乐教育钢琴课程的文化本质,探求钢琴课程的文化内涵,对社会音乐教育钢琴课程进行文化重塑。论文的基本内容和组织框架如下：第一章,导言：关注社会音乐教育钢琴课程——以文化的视角。本章主要陈述研究的缘起与意义、研究现状、相关文献综述；阐述研究的国际课程研究背景、文化学与音乐人类学研究背景及音乐教育哲学理论基础；对相关概念进行界定、提出论文研究的问题,阐明研究思路、视角及方法。第二章,中国钢琴课程的本土化历程。本章主要对钢琴课程在中国一百多年的本土化发展历程进行梳理。钢琴课程在中国的发展分为萌芽与探索阶段(1840年-1949年),发展与停滞阶段(1949年-1978年)与振兴与崛起阶段(1979年至今)。前两个阶段中国社会音乐教育钢琴课程发展极为缓慢,从第三个阶段起才进入了蓬勃发展的重要时期。本章以这三个发展阶段为研究对象,对钢琴课程的教学机构、教学模式、教材与教学方法的特点进行总结与梳理,从中反映出不同的时代文化特征,可以让我们更准确地把握当今中国社会音乐教育钢琴课程的现状及展望未来的发展趋势。第三章,社会音乐教育钢琴课程的文化原理概述。一方面主要依据特定课程理念及相应的课程政策文件(如音乐课程标准等),另一方面则取决于对音乐文化以及钢琴课程的关系的认识。首先音乐文化与钢琴课程之间的关系是通过音乐与文化、钢琴与音乐文化以及钢琴课程与音乐文化等多维关系来阐述。接着以文化的、审美的、实践的音乐教育哲学为理论基础论述钢琴课程的“人文性”“审美性”“实践性”文化品性。然后阐述钢琴课程对音乐文化的生成与积淀功能、传承功能、选择功能、创造功能以及文化交往与和谐社会功能。最后论述钢琴课程的文化旨趣所在,即培养具有良好音乐素养与文化修养,具有音乐创造力的“文化人”。第四章,社会音乐教育钢琴课程的文化批判。本章首先重点批判了钢琴课程目标文化的“工艺学模式”,以及“情感、态度、价值观”维度的遮蔽。随后从课程内容文化层面批判了钢琴课程内容以演奏技能和曲目为中心的片面单一,以及钢琴课程中音乐文化精神的缺失问题。在钢琴教学文化层面则批判了当今社会音乐教育钢琴教学脱离儿童的生活世界以及音乐创造能力的严重萎缩与衰退的问题；在钢琴课程评价文化的层面批判了以钢琴考级为中心的应试教育钢琴课程对“人"的忽视以及导致音乐创造力衰竭的问题；最后提出构建以国家音乐课程标准为指导的社会音乐教育钢琴课程文化的观点。第五章,社会音乐教育钢琴课程理念的文化建构。本章提出建构社会音乐教育钢琴课程的“主体性”、“综合性”、“创造性"等三个课程理念。首先提出确立儿童在钢琴课程教学中的主体地位、尊重学生“主体性”的钢琴教学原则以及钢琴课程的内在价值——激趣及激趣的原则。随后阐释了雷默的“综合性”音乐课程观以及“综合性”钢琴课程文化内涵两个方面内容。最后提出发展钢琴即兴编创能力提升音乐“创造性"的观点以及世界著名音乐教学法的音乐创造教学的启示两方面内容。第六章,社会音乐教育钢琴课程目标、内容与教学的文化建构。本章首先提出钢琴课程的三维总体目标；具体阐述了“以音乐能力为中心”的钢琴课程目标内容；论述了钢琴课程目标与儿童音乐能力发展的关系,并提出了具体的建议。然后对钢琴课程内容从音乐感受与欣赏、钢琴弹奏技巧与识读乐谱、钢琴即兴编创内容、以及乐曲诠释与多样性音乐文化等四个方面进行全面的阐释和构建。最后从回归儿童“生活世界”的钢琴教学及教学组织原则、“综合性”钢琴教学的实施以及钢琴即兴编创教学策略等三个方面进行钢琴课程教学文化的构建。结语,中国社会音乐教育钢琴课程的“人文回归”。本部分阐明从文化的视角审视中国社会音乐教育钢琴课程,要解决钢琴课程中的文化缺失问题,就要正本清源,使钢琴课程从偏离其文化本质的道路上走向“人文回归”的正轨上来,从而培养具有良好音乐素养和文化修养的创造性人才,建构具有时代性、民族性、开放性的钢琴课程文化。这是21世纪钢琴课程改革和发展的使命和新的契机,未来的社会音乐教育钢琴课程必定是“人文”引领的钢琴课程。更多还原

【Abstract】 The social music education of piano curriculum is reviewed from the perspective of culture in this thesis; the lack of culture for a long time in this curriculum is researched. The piano curriculum in culture and the culture in piano curriculum are disserted, the main purpose is to clarify the cultural nature of this curriculum, and explore the cultural connotation, the culture reconstruction of piano curriculum. The basic contents and framework of this thesis as follows:Chapter I:Introduction, the social musical education of piano curriculum is concerned from the perspective of culture. The research reason, the research significance, the research status, and the relevant literature review are mainly described in this chapter; the research background in international curriculum studies, cultural studies and ethnomusicology research background and philosophy of music education theory are elaborated; the relevant concepts are defined, the problems of the research are proposed, the research ideas, perspectives and methodologies are clarified.Chapter II:The localization process of Chinese Piano Curriculum. The hundred years’localization development process of the piano curriculum in China is sorted out in this chapter. Chinese piano curriculum content, teaching materials and teaching methodology reflect the imprint of social history and culture, and also reflect the changing process of the western piano culture’s localization in China.Chapter Ⅲ:The Cultural principle of the piano curriculum is outlined. The relationship between the piano curriculum and music’s culture, the cultural character of piano curriculum, piano curriculum’s cultural function and cultural purport of the piano curriculum are described to explain the cultural theory of the piano curriculum so as to clarify the cultural connotations of the piano curriculum.Chapter Ⅳ:Cultural critique on the social music education of piano curriculum. Many cultural missing in the current social musical education of piano curriculum are elaborated in this chapter. Cultural critique and reflection are done from the dimension of the curriculum objectives, curriculum content, teaching and curriculum evaluation.Chapter V:Cultural concept Construction for the social musical education of piano curriculum. Firstly, the piano curriculum’s "subjectivity" cultural concept is discussed, and then the piano curriculum’s "comprehensive" cultural philosophy is elaborated, the "comprehensive" music curriculum and "comprehensive" piano curriculum’ cultural connotations are explained. Finally the piano curriculum’s "creative" concept is disserted in this chapter.Chapter VI:The social musical education of piano curriculum’s objectives, content and teaching Culture construction. The culture construction of this curriculum’s objective is put forward at first in this chapter. A three-dimensional overall objective and "musical ability centered" content target are proposed. Piano Curriculum content are elaborated and constructed comprehensively from the music experience and appreciation, piano playing skills and reading sheet music, piano improvisation innovations, and music interpretation and diversity of musical culture. Piano curriculum teaching are elaborated and constructed specifically from the regression of children’"life world" piano teaching concept and teaching organization principles,"synthesis" piano teaching implement and piano improvisation and choreography teaching strategies.Conclusion:The social musical education of piano curriculum’s "humanistic return". As we take a look from a cultural perspective on the social musical education of piano, the absence of culture in piano curriculum can only be solved from the root, so that the piano curriculum can come back to the track of the "humanistic return" to foster good music literacy and culturally creative talents, and construct the piano curriculum with the times, ethnic, cultural openness. This is reforming and developing mission and new opportunities for the piano curriculum in the21st century, the social musical education of piano curriculum must be led by "humane" in the future.更多还原