中国现代美育论中的音乐教育话语及其西方美学渊源  

The Discourse of Music Education in Modern Chinese Aesthetic Education Theory and Its Western Aesthetic Origins

作　　者：徐承 XU Cheng(Department of Music Education,Zhejiang Conservatory of Music,Hangzhou 310024,China)

机构地区：[1]浙江音乐学院音乐教育学院,浙江杭州310024

出　　处：《美育学刊》2024年第3期1-9,共9页Journal of Aesthetic Education

基　　金：浙江省哲学社会科学规划重点课题“中国乐教传统的世界性美育经验研究”(21NDJC018Z);国家社会科学基金重大项目“当代中国美育话语体系构建研究”(16ZDA110)的研究成果。

摘　　要：中国当代音乐教育哲学是从审美论开始其话语言说的。中国当代音乐教育哲学之所以选择审美论作为其首个理论话语核心,既有来自西方审美论音乐教育哲学的横向的学科影响,又有中国20世纪80年代“美学热”的推波助澜,更离不开王国维、梁启超、蔡元培、朱光潜、宗白华、丰子恺等现代美育诸家的思想滋养。中国现代美育论的思想谱系,尤其是其中的音乐美育支脉,在倡导音乐的审美独立性、宣扬音乐至高论、寄托社会审美乌托邦理想等方面,具有深刻的西方美学思想渊源。Contemporary Chinese philosophy of music education begins with aesthetic theory.The reason why contemporary Chinese philosophy of music education chooses aestheticism as the core of its first theoretical discourse is due to the horizontal disciplinary influence from western aestheticism philosophy of music education,the push of“popular enthusiasm for aesthetics”in China in the 1980s,and the thought nourishment of modern aesthetic education scholars,such as Wang Guowei,Liang Qichao,Cai Yuanpei,Zhu Guangqian,Zong Baihua,Feng Zikai,and so on.The ideological spectrum of modern aesthetic education in China,especially the branch of music aesthetic education,has profound relations with Western aesthetic thought in advocating the aesthetic independence of music,promoting the music supremacy theory,and expressing the ideal of social aesthetic utopia.

关 键 词：审美论 音乐教育哲学 现代美育论 音乐至高论 

分 类 号：G40-014[文化科学—教育学原理] J601[文化科学—教育学]