The claim that many musical works are representational is highly controversial. The formalist view that music is pure form and without any, or any significant, representational content is widety held. Two facts about ...The claim that many musical works are representational is highly controversial. The formalist view that music is pure form and without any, or any significant, representational content is widety held. Two facts about music are, however, well-established by empirical science： Music is heard as resembling human expressive behaviour and music arouses ordinary emotions. This paper argues that it follows from these facts that music also represents human expressive behaviour and ordinary emotions.展开更多
埃里奥特(David Elliott)的"实践的音乐教育观"(Praxial Music Education)乃是近年兴起的音乐教育新学说,其主要观点是视音乐教育为社会和文化的实践,针对审美教育参与感不足、单一化标准等问题,试图通过加入更多的知识背景...埃里奥特(David Elliott)的"实践的音乐教育观"(Praxial Music Education)乃是近年兴起的音乐教育新学说,其主要观点是视音乐教育为社会和文化的实践,针对审美教育参与感不足、单一化标准等问题,试图通过加入更多的知识背景元素、技能学习,重视操作表演过程等来深化音乐学习。本文尝试对《关注音乐实践:新音乐教育哲学》一书提出质疑,借助于对其中问题的辨正驳议,推原"实践"一语的含义,以期为音乐的教与学探索更完善的哲学基础。展开更多
文摘The claim that many musical works are representational is highly controversial. The formalist view that music is pure form and without any, or any significant, representational content is widety held. Two facts about music are, however, well-established by empirical science： Music is heard as resembling human expressive behaviour and music arouses ordinary emotions. This paper argues that it follows from these facts that music also represents human expressive behaviour and ordinary emotions.
文摘埃里奥特(David Elliott)的"实践的音乐教育观"(Praxial Music Education)乃是近年兴起的音乐教育新学说,其主要观点是视音乐教育为社会和文化的实践,针对审美教育参与感不足、单一化标准等问题,试图通过加入更多的知识背景元素、技能学习,重视操作表演过程等来深化音乐学习。本文尝试对《关注音乐实践:新音乐教育哲学》一书提出质疑,借助于对其中问题的辨正驳议,推原"实践"一语的含义,以期为音乐的教与学探索更完善的哲学基础。
