Branch of Music Education Philosophy

1. Referentialism (Referentialism)

Referentialism is also called "Speculativeism" (translated by Xiong Lei), " "Referentialism" (He Gansan), "Interventionalism" (Pu Kaiyuan). This theory holds that the value of music lies in its reference to things other than the music itself. For example, in "Liezi·Tangwen", Boya and Ziqi communicate with each other in the minds of "high mountains" and "flowing water":

Bo Ya is good at playing the harp, Zhong Ziqi is good at listening, Bo Ya Fang plays the drum and harp, aiming at Mount Tai, Ziqi said: "The drum and harp is so good, it is as towering as Mount Tai." The ambition is for flowing water, Ziqi said: "As vast as flowing water, whatever Bo Ya thinks about, Ziqi will definitely get it." Zhong Ziqi died, and Boya no longer played the harp for the rest of his life.

Another example is title music such as "A Hundred Birds Pay Attention to the Phoenix". Coke (British musicologist) once listed the contents he identified as intervals and scales: the major third refers to "joy", the major seventh refers to "strong desire", and the ascending of the first five notes of the minor scale is "one". A painful narrative."

Referentism is heteronomous in nature.

2. Formalism (Absolutism)

Also called "absolutism" by Remer. "The meaning of music lies in the perception and understanding of the relationship between various types of music in the content of artistic works." From a pedagogical perspective, formal theory focuses on people's cognitive processes, focuses on products, and is self-disciplined. The representative figure is Hanslick

3. Expression Theory

The representative person is Susan Lange. It is believed that musical works can stimulate the feelings and emotions of listeners. Expression theory focuses on people's emotional processes.

Expression theory is divided into absolute expression theory and referent expression theory. The former (Langer) believes that the meaning of expression within music does not need to be connected with the phenomenon of the external world of music (autonomy); the latter (Dewey's Pragmatism) believes that the emotional meaning of music is generated in connection with the external world of music (heteronomy).

4． Contextualism

Music is best understood when it is placed within a social and cultural context and as part of its culture. Contextual theory is a product of the development of ethnology and anthropology.

5. Practice theory

The representative figure is David Elliott, who believes that the learning of music lies in practice and doing. Implemented into music education, it is personal participation centered on music performance. Practice theory emphasizes action and values ??process. From a pedagogical perspective, its advantage is that it focuses on giving full play to the main role of students, which is exactly the same as Dewey's "learning by doing".

6. Functionalism

Focus on the social effects of music education. Paul Hacker: "Music education as aesthetic education always tends to the isolationist 'art for art's sake', which greatly limits the functions that music can play and fails to enable music education to fulfill its broad, diverse, and basic functions. Show due performance in all aspects.”

Understanding various philosophical schools can broaden our ideas of music education, form a unique perspective of music teachers, and maintain consistency and stability in various educational and teaching behaviors of music teachers. sex and forward-looking.

(Compiled by yyf)