中国传统乐教与百年中国美育  

Chinese Traditional Music Education and Aesthetic Education during the Twentieth Century

作　　者：伏爱华[1] 

机构地区：[1]安徽大学哲学系,安徽合肥230039

出　　处：《温州大学学报（社会科学版）》2015年第3期35-44,共10页Journal of Wenzhou University：Social Science Edition

基　　金：教育部人文社会科学重点研究基地重大项目(14JJD720005);安徽大学"百门精品素质教育课程"之"中国审美文化"课程建设项目(SZJYKC2013001)

摘　　要：在孔子那里,乐已不限于教化的作用,而是关乎人生境界的形成。自孔子起,真正美学意义上的乐教传统开始形成,并在后世得以继承和发展。老、庄虽没有形成所谓的乐教思想,但老子的"大音希声"和庄子的"天籁"思想在今天依然具有生命力。在中国美育的发展进程中,诸多美学家都将音乐教育作为他们美育思想的重要组成部分,强调音乐的修身养性功能,并达成完整人格,进而实现人生的最高境界。这无疑是受到了中国传统乐教的影响。中国传统乐教虽已衰微,却在百年中国美育乃至现代中国美育的进程中得到了重构。In the view of Confucius, the function of music is not only to civilize people, but also to form the state of life. From his time, the tradition of music education in the true sense of aesthetics began to form, and was inherited and advanced in posterity. Although there is no such kind of thought on music education in Taoism, Lao-tzu’s thought that “the extremely loud sound can not be heard” and Chuang-tzu’s thought on sounds of nature still have vitality today. During the development of Chinese aesthetic education, many aestheticians took music education as an important part of their aesthetic ideology, emphasizing musical function of self-cultivation, i.e. to cultivate a perfect personality so as to achieve the highest level of life. It is undoubtedly influenced by ideology of Chinese traditional music education, which has been reconstructed during the twentieth century’s even modern aesthetic education of China despite of its declination.

关 键 词：儒家乐教 道家论乐 百年中国美育 

分 类 号：G40-014[文化科学—教育学原理]