Music pedagogy is very young as a discipline, but it has a long history in the history of human civilization.
in China, the music culture of the Chinese nation has a long history. With the formation and development of music culture, the inheritance activities of music culture have emerged, that is, the embryonic form of music education activities. According to historical records, before Shang Dynasty, there were places for music education such as Chengjun and Zhezong. In the Zhou Dynasty, large-scale music education activities were held. According to Zhou Li, there are 1463 music education institutions, which are composed of three parts: administration, teaching and performance. Its ritual and music teaching has quite strict procedures. "Ten years, learning music, reciting poems and dancing" spoon "; Adult children (fifteen years old) dance "Elephant" and learn to shoot; When you are 2 years old, you can learn the ceremony, and you can wear clothes and dance "Summer". " It can be said that it is the earliest music school in the world. After that, the idea of "music education" gradually constructed can be regarded as the forerunner of music education theory.
in the west, the ancient Greeks attached importance to music education, and music was what children had to learn at that time. The philosopher Plato (427-347 BC) said in the Republic (Volume V): "The purpose of music education is to instill harmony in the soul, so as to develop good moral character." He also said: "Rhythm and harmony can create elegance of body and mind, as well as recognition and sensitivity to beauty in specific forms. Plato and his disciple Aristotel (384-322 BC) and others all emphasized the moral and ethical function of music, believing that music can influence people's character, and this influence can be realized through different music and ways. During the long Middle Ages in Europe, music education always played an important role in school education. Music has become one of the "four arts" (arithmetic, astronomy, geometry and music), which is a higher-level part of the seven main disciplines "seven free arts" (referred to as "seven arts") in the school.
During this period, Christianity controlled education. Humanism appeared in the Renaissance, and music education was also paid attention to. Especially, Protestant schools and parochial schools accompanied by the religious reform appeared, where students had to learn music, and teachers were not qualified as educators without musical talent. With the division of sects, different types of education have gradually formed in European countries. Johann Amos Comenius (1592-167), a Czech educator, devoted himself to the national general music education, demanding that the teaching should be intuitive and realistic, and take into account the psychology of young people. His masterpiece "On Great Teaching" (1632) is a masterpiece that systematically discusses the issue of all-round education. Reyer (A·Reyher, 161-1673) studied Comenius' teaching thought and wrote "Teaching Method" in 1642. According to this law, all children should at least learn to sing plainsong if they can't sing plainsong. During the Enlightenment, Jean Jacques Rousseau (1712-1778), a French philosopher and educational thinker, devoted himself to the reform of music education.
He believes that the main purpose of education is to conform to and strengthen human nature, and advocates that education should adapt to the physical and mental development level of the educated. Similarly, he believes that music education should require children to learn only tunes and songs that are consistent with their spiritual temperament and psychological state. Music educators must go deep into children's souls. German educator J·B·Basedow (1724-179) adopted this idea, and his teaching system included all fields of music education from basic courses to aesthetics. In the late 18th century, Johann Heinrich Pestalozzi (1746—1827), a Swiss educator in the period of new humanism, advocated that education must become the wealth of all people, so that all people can get the necessary education. He put forward the idea of making education psychological for the first time. An important principle in his educational theory holds that the best education is achieved through the participation of the senses. He urges educators to bring music into school education and advocate vocal music teaching. The Swiss educator negri (H·G·Nageli, 1773—1836) and the German educator Fridrich Wilhelm August Frobel (1782—1852) applied Pestalozzi's educational theory to music education. Focusing on the education of educating people, negri divided music education into stages (basic training, actual singing practice and artistic singing).
In p>181, negri's "Singing Teaching Theory" was published, which was the product of the combination of Pestalozzi's educational ideal and the basic theory of music, and played a significant role in the establishment of children's music education. Froebel is the founder of early childhood education. Influenced by Pestalozzi, he attaches importance to games and teaches children to sing. He believes that all children should not be allowed to become artists, but should be allowed to develop naturally and understand and appreciate real art. In 1861, he published his collection of essays, Kindergarten Pedagogy. In the first half of the 19th century, the research on singing teaching and its teaching method developed further. According to the statistics of the large-scale music dictionary Music Education (edited by Federhofer-Koenigs, published by Kassel in 1961), between 181 and 1845, 3 kinds of singing education (learning) methods emerged in Germany, such as music score singing method and sound discrimination singing method [6](p.293). At that time, the teaching attached great importance to foundation, stage and integrity. German music educator nuttall (B·C·L·Natorp, 1774—1846) based his music education view on Pestalozzi's thought, and he pursued an educational, ecclesiastical, cultural and social purpose. Influenced by Hegel's thought, Haarni Shi (1787-1864) rationally grasped the purpose and method of singing teaching, demanding "singing from the heart, keeping a cheerful mood and deep emotional waves". At the end of 19th century, German "general" schools began to improve or innovate music courses.
As the parent system of music pedagogy, musicology and pedagogy became an independent science, both of which began in the 19th century. In 1863, the Yearbook of Musicology compiled by German musician F Chrysander (1826—191) was regarded as the beginning of modern western musicology. On the other hand, Johann Friedrich Herbart (1776-1841), a German educator, explored the scientific basis of education on the basis of Rousseau's educational thought system and Pestalozzi's educational experience, and initially established the pedagogy system. The General Pedagogy published in 186 is recognized as the first pedagogy work in modern times. The formation and development of musicology and pedagogy laid a theoretical foundation for the emergence and development of its marginal discipline music pedagogy. The natural historical process of the development of music pedagogy and modern pedagogy is very similar, and it has gone through the stages of "teaching"-"teaching"-"education"-"pedagogy" and so on, before the initial pattern of "pedagogy" was formed. There are different opinions about the formation time of modern music pedagogy, and it is generally believed that it was gradually developed in the 2th century. At the beginning of the 2th century, the research on music education showed the characteristics of multipolarization. Several famous foreign music education systems and their teaching methods (such as Dalcroze's music education system, Orff's music education system and Kodaly's music education system) have been formed and widely spread, which has had a great impact on the development of the theory and practice of music education in various countries in the world and laid a solid foundation for the research of music education and the formation of music pedagogy.
From 1921 to 1927, the teaching center research institute of German art education held seven German school music weeks in Berlin and other places, which successfully established the connection between music educators and educators, psychologists and musicians, strengthened academic work, and strengthened the research work in pedagogy, psychology, aesthetics and works research. In 1934, The Latest Music Pedagogy (published by japanese pop Education Publishing Association) was published. This book aims at music pedagogy with scientific background, and makes an experimental, theoretical and historical exposition, and launches from the aspects of textbook theory, methodology and educated theory, giving people more enlightenment. Seashore (1866—1949), a Swedish-American musician and psychologist, discussed C·E·Seashore measures of musical talents method in detail at the National Conference of American Music Supervisors in 1912, which was published in 1919 and revised in 1939. Although these methods have always been controversial, he pioneered the research of music education with experimental psychology. Other musical ability tests, such as Kwalwasser-Dykema, Drake, Wing and Bently tests, have also been adopted. In 1931, the Psychology of School Music Teaching, co-authored by American music educators James L·Mursell and Mabelle Glenn, came out. This is a monograph that guides the practice of music education and teaching with the scientific viewpoint of music education psychology. Its research content is extensive and its viewpoints are novel, which has had an important impact on music education in the United States and other countries. ?