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1.
孔子十分重视乐教,且往往礼乐并举,视礼乐为一完整的文化生命。主张藉礼乐之教化而挺立道德人格的自我,并且以礼乐教化为其为政理想的手段。乐以治心而成德;乐以通出而友人;乐以致俭而厚德;乐以政教而化俗。在其“仁学”体系中,孔子乐教具有“内圣外王”的指向。 相似文献
2.
Ian Munday 《Cambridge Journal of Education》2014,44(3):319-332
A common move in the study of creativity and performativity is to present the former as an antidote to the latter. Might we, therefore, see work on creativity in education as heralding an era of post-performativity? In this paper I argue that the portrayal of performativity in the literature on creativity presents an overly simplistic (vulgar?) understanding of what the former involves. In this literature, performativity is used to represent the tightening control over curriculum and pedagogy to meet externally imposed targets. Though this represents a ‘manifestation’ of performativity, it is not constitutive of it. During this paper, I contend that a vulgar or partial understanding of performativity is what leads writers to view creativity as its antidote. To demonstrate what is at stake here, I draw on Lyotard’s understanding of performativity. For Lyotard, performativity is a narrative in which effectiveness has usurped Enlightenment narratives of truth and justice and ultimately comes to shape our understanding of the world. During the paper, I try to show that the literature on creativity in education focuses on effectiveness, jettisons concerns with ‘truth’ and partakes in the nihilism of performativity. 相似文献
3.
AbstractSpirituality encourages the individual to make sense of oneself within a wider framework of meaning and see oneself as part of some larger whole. This article discusses Confucian spirituality by focusing on the spiritual ideals of dao (Way) and he (harmony). It is explained that the Way represents a shared vision of human excellence that is embodied in the guiding discourse inherited from one’s cultural predecessors. The Confucian Way covers all the manifestations of Zhou culture, including its knowledge base, values, beliefs and practices that have been passed down through the generations. The Way is achieved through harmony where human beings find inner peace as well as co-exist with one another and their surroundings. Harmony encompasses an appreciation of beauty, joy and ethical values that may be obtained from arts education. The essay further illustrates an application of Confucian spiritual ideals through music education in a school. A Confucian aim of learning, the article concludes, is one that fosters spiritual development and contests the performativity agenda and school culture. 相似文献
4.
Ross Gilbert 《Asia-Pacific Journal of Teacher Education》1995,23(1):23-33
The use of small groups in teaching classroom music is often accepted in the literature and by expert teachers as a natural part of a music‐education programme. However, research indicates that the classroom teacher commonly does not make use of small‐group activities and that, when small groups are used, the results are not always positive. This article describes a teacher‐education course aimed at developing student teachers’ abilities to manage small groups in the secondary‐school music classroom, and reports the perceptions of both student teachers and teacher‐observers when the students applied their learnings in the practicum setting. 相似文献
5.
《理论付诸实践》2012,51(3):188-195
Socio-historical contexts are integral to both general and music educational practices. However, when music teacher education candidates ask such questions as, “How can we engage in musics outside of the accepted canon and talk about these issues in my class without being accused by parents or administrators of being ‘political?’” they restrict possibilities for engaging with context meaningfully. Yet students, in their complex and often sophisticated musical lives outside of the formal institute of schooling, carry out these kinds of discussions and understandings with ease and nonchalance. Using the companion lenses of critical race theory and antiracism education, this article explores the reluctance of some music educators to engage those socio-historical contexts deemed political within multicultural and world music, asking: Without such contextualization, how is cross-cultural or intercultural understanding possible? 相似文献
6.
Children in special education settings often lack appropriate listening skills. Two programs identified with developing listening skills, a music program and a storytelling program, were implemented by teachers with students in special education settings over a 30 week intervention period. A battery of tests measuring different aspects of listening such as receptive vocabulary, phonological processing, and listening comprehension, was administered to the students prior to the intervention period, at the end of the intervention period and again several weeks later. The results from the tests indicated that participation by the students in these programs had a positive effect on the development of their listening skills. The effects of the music and story‐telling programs were not apparent until the postpost‐pretest period suggesting that a longer time‐period is required for a statistically significant music effect or story effect on the listening skills of students in special education settings to show. 相似文献
7.
礼乐合称并不表示二者在先秦政教中始终一体而并重。礼教与乐教的关系与地位的不断变化,实质反映了先秦意识形态政策的变迁状况,对儒家礼乐文化思想之形成以及汉代意识形态政策之取向都产生了深远影响。 相似文献
8.
9.
《师资教育杂志》2012,38(5):447-460
New Zealand teacher education has been profoundly affected by major social and economic changes since 1974. From a separate sector controlled by the Department of Education, it has moved through deregulation to largely university provision with research imperatives for staff. Programme scope has broadened to embrace early childhood and the continuing education of teachers. Current concerns are the impact of performativity, funding challenges and external compliance. New directions have often been a response to issues of supply or political ideology rather than considered policy. The way forward is uncertain. 相似文献
10.
Christoph Wulf 《Zeitschrift für Erziehungswissenschaft》2008,11(1):67-83
Rituals in Primary School Age – Performativity, mimesis and interculturality. Rituals and ritualization play a central role in the upbringing, education and socialization of children at primary school age. They structure children’s lives and support their integration into the social order in a constructive manner. Rituals shape transitions between fields of socialization and institutions, and facilitate social learning, which is important both in lessons and more generally at school. Due to their performativity, pedagogic processes act just like rituals and ritualization in all fields of social action. How children stage (or perform) their behaviour and actions, whether alone or together with adults, can be seen as the performativity of actions. Important aspects of cultural learning at primary school age occur as mimetic processes. In this, pictures, schemes, the expectations of others, of social situations, occurrences and actions are incorporated into an individual’s “world” of mental pictures. This practical knowledge enables children to learn and act together, to live and to exist. In view of Globalization and Europeanization, upbringing and education have become an intercultural task, for which rituals, ritualization, pedagogic and social gestures, the performativity of social practices and mimetic forms of learning play an important role. Ethnography and qualitative methods are appropriate for investigating rituals and ritualization, the performativity of pedagogic practices, of mimetic processes and intercultural education processes. Amongst the most important methods, which are complementary and, where possible, should be combined, are participative observation, video-supported observation, video performance and photograph analysis, interviews and group discussions. With the help of this method-mix, attempts can be made to capture complex and methodologically transparent research results. 相似文献
11.
Amanda Keddie 《British Journal of Sociology of Education》2017,38(8):1245-1257
This article presents interview data from a study involving nine primary school leaders. Five are leaders of local authority schools while four are leaders of schools within a large academy chain. The article examines their perspectives about the current regimes of performativity in the English education context and, in particular, the accountability demands of Ofsted. Mindful of contemporary concerns about the tensions between performativity and professionalism in education, the analysis highlights the different ways in which each group responds to external accountability demands. The article illustrates how investments in traditional and entrepreneurial professionalism continue to impact on how the current demands of performativity are understood. It highlights the significance of conceptualising educator professionalism beyond dichotomies that idealise the former at the expense of the latter and the importance of an ongoing critical focus on the ways in which professionalism is currently being articulated in schools. 相似文献
12.
AbstractThis paper examines a model of decision-making within the context of current and emerging regimes of accountability being proposed and implemented for school systems in a number of jurisdictions. These approaches to accountability typically involve the use of various measurable student learning outcomes as well as other measures of performance to do with teachers and schools in general, often having high-stakes consequences. Given this context of performativity, the paper proposes a model that uses an objective knowledge growth framework, where teachers can engage in their own professional learning through defined structures for solving the problems of their professional practice. The model is both empowering for teachers while being sensitive to the constraints of cultures of performativity. 相似文献
13.
师占成 《阿坝师范高等专科学校学报》2006,23(3):105-107,120
音乐美育在本质上是培养一种和谐与协作,尤其是现代的音乐美育应从我国古代的音乐美育观中汲取有关智慧,把培养“情深文明。气盛化神”的人作为其最高境界：应该秉承全面“立人”的美育宗旨,培养学生丰富而细腻的生活体验,和谐而深刻的艺术情感．以及平等而协作的群体精神。现代青少年的音乐教育和他们自身的音乐学习,有着强调个人情感宣泄和谋取自身功利目的的显著特征。强调自身初步的音乐体验和情感宣泄,往往会导致背离“乐而不淫,哀而不伤”的生命境界之追求;强调自身单一的利益地位和功利维护,则往往会导致背离“八音克谐,无相夺伦”的艺术活动之原则。 相似文献
14.
Dawn Bennett Jennifer Rowley Peter Dunbar-Hall Matt Hitchcock Diana Blom 《Journal of Further & Higher Education》2016,40(1):107-124
Although the employability of graduates is of concern across further and higher education it is particularly problematic in the arts disciplines, from which few students transition to a traditional, full-time position. Arts graduates shape their work to meet personal and professional needs, and the successful negotiation of this type of career requires a strong sense of identity and an awareness of diverse opportunities. The challenge for educators is how we might develop these capacities whilst being mindful of students’ dreams, which are often focused on artistic excellence and recognition. This paper reports findings from a collaborative study undertaken at four Australian universities. With a focus on developing an electronic portfolio (eP), the study involved students in classical and contemporary music, music education, music technology, creative writing and professional writing. The combination of music and writing provided points of comparison to identify issues specific to music, and those that might apply more generally. This paper reports findings related to learner identity, drawing evidence from survey and interview data. The study, which was driven by the learning process rather than the technological tool, revealed that students’ use of eP transitions from archive to self-portrait. Moreover, the eP emerged as a vehicle through which identity is negotiated and constructed. Indeed, the process of developing of an eP prompted students to adopt future-oriented thinking as they began to redefine their learning in relation to their future lives and careers. These findings were common to all students, regardless of discipline or technological platform. 相似文献
15.
以《新课程标准》提出的基础音乐教育以音乐审美为核心的教学理念为背景,以培养合格的基础教育音乐师资的高师音乐教学为前提,针对审美教育在高师音乐教育声乐课程教学中的运用,提出了转变高师声乐教师教学观念、加强高师声乐教师审美意识和能力的培养、培养学生良好的审美评价能力、激发学生的主观能动性,让学生在实践中获得审美的体验、紧扣情感因素,激活学生心灵中的审美感受的高师声乐课程审美教育原则。 相似文献
16.
闵文 《江西教育学院学报》2007,28(6):124-126
改革开放二十多年来,音乐教育事业在国家以及相关部门的大力关注和支持下,取得了可喜的成就。但是,当我们在感受音乐教育事业取得一定成就的同时,也应该认真客观地思考高中音乐课程教学中存在的问题,特别是深受高考影响的农村高中音乐教育中出现的种种状况。文章对广大农村高中音乐校本教育严重滞后的忧人现实进行了深刻思考,并提出了自己的看法和对策。 相似文献
17.
在高师音乐教育中应开设"室内乐"课 总被引：1，自引：0，他引：1
吴顺章 《河北师范大学学报(教育科学版)》2002,4(4):60-63
“室内乐”在不同的时代和条件下有其不同的意义。在高师音乐教育中开设“室内乐”课不但可以提高学生对多声部音乐的表演能力，全面提高学生艺术修养，优化高师音乐教育的外部环境，增强艺术实践环节，而且可以使学生接受更多的通才教育，从而增强适应社会的能力。“室内乐”课的开设必将为高师音乐教育注入新的活力。 相似文献
18.
论古希腊音乐教育的历史地位和现实影响 总被引：2，自引：0，他引：2
古希腊音乐教育内容丰富,几乎包括了除体育以外的所有科目。古希腊人有一套特色的音乐教育理论,音乐教育被纳入哲学范畴里进行理解和定义。西方艺术音乐的历史渊源是古希腊音乐。古希腊音乐教育对人的素质形成和社会发展起到巨大的推动作用,它给现代教育体系和教育内容改革以启迪。 相似文献
19.
The system currently deployed to assess research outputs in higher education can influence what, how and for whom academics write; for some it may determine whether or not they write at all. This article offers a framework for negotiating this performative context – the writing meeting. This framework uses the established theoretical underpinning of motivational interviewing, which involves autonomy, self-determination, environmental factors and social support. A study showed that the framework helped academics negotiate performativity and re-connect their writing to their values. In this way, they could both privilege writing that was meaningful to them and meet personal and institutional targets. Writing meetings did this by developing writing-oriented peer relationships, defined in this article as peer-formativity. Using writing meetings, academics can submit for research assessment systems without surrendering to performativity. 相似文献
20.
Cultures of performativity in English primary schools refer to systems and relationships of: target‐setting; Ofsted inspections; school league tables constructed from pupil test scores; performance management; performance related pay; threshold assessment; and advanced skills teachers. Systems which demand that teachers ‘perform’ and in which individuals are made accountable. These policy measures, introduced to improve levels of achievement and increased international economic competitiveness, have, potentially, profound implications for the meaning and experience of primary teachers’ work; their identities; their commitment to teaching; and how they view their careers. At the same time as policies of performativity are being implemented there is now increasing advocacy for the adoption and advancement of ‘creativity’ policies within primary education. These major developments are being introduced in the context of a wide range of social/educational policies also aimed at the introduction of creativity initiatives into schools and teaching. This complex policy context has major implications for the implementation process and also primary teachers’ work and how they experience it. The ethnographic research reported in this article has been conducted over a school year in six English primary schools in order to analyse the effects of creativity and performativity policy initiatives at the implementation stage. The article concludes by arguing that in the schools of our research the drive to raise pupil test scores involves both performative and creative strategies and that this critical mediation goes beyond amelioration toward a more complex view of professional practice. Implementing creativity and performativity policies provided important contextual influencing factors on teacher commitment. These were: curriculum coverage and task completion; and providing psychic rewards of teaching. 相似文献