米国における音楽教育の哲学的基盤に関する一考察 : 1950年以降から現在までの動向の概観を通して

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  • ベイコク ニオケル オンガク キョウイク ノ テツガクテキ キバン ニ カンスル イチコウサツ : 1950ネン イコウ カラ ゲンザイ マデ ノ ドウコウ ノ ガイカン オ トオシテ
  • A study of a philosophical base of music education in U.S.A. : through the general view of trends from after 1950 to the present

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The purpose of this study is to consider about a philosophical base of American music education through the general view of trends from after 1950 to the present. After the last half of the 1990s, philosophical issue about aesthetic and praxial approach to music education has been discussing in USA. For a long time a philosophy of music education has been completely dominated by an aesthetic approach -- the chief exponent is Bennet Reimer. But in recent years, the aesthetic view has faced severe criticisms by like David J. Elliott, who presents a novel conceptual frame work for understanding music that centers on the notion of music as a practice. His praxial philosophy has influenced among music creators internationally in late years. From the launch of aesthetic education in the 1950s as a response to long-standing functional values to the emergence of praxial philosophy in the 1990s as a reaction the aesthetic movement, the philosophical views guiding the profession have been shaped by the social, political and cultural values of the times (McCarthy & Goble, 2002). It is thought this argument has been still continuing, however, music education preferably should be inspired by the best ideas that originate form both near future.

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