论“混音课堂”的“真实性”——对兰德尔·奥尔苏普的回复。

David J. Elliott, M. Silverman
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引用次数: 2

摘要

《music Matters》(2015)中音乐教育的核心哲学认为,音乐教育者应该以民主、创造性和道德的方式进行教学,通过批判性反思的音乐创作和各种倾听,增强学生的能力,使他们能够实现全面的人类繁荣。此外,《Music Matters》认为,教师有公民责任培养学生的意识,让他们知道为什么以及如何参与音乐创作,以实现自我和社区的转变。因此,音乐教师抵制一切形式的压迫,保护学生不受自己个人的影响。此外,为了提高职前和在职音乐教师的创造性和教育能力,《音乐事务》提供了多维、多孔和开放的音乐概念,“教育”,人格,音乐理解,音乐产品,音乐情感体验,创造力和课程。因此,我们的讨论驳斥了Randall Allsup对实践主义的大量歪曲,认为实践主义是一种压迫性的、缺乏创造性的、过时的、师徒式的、以表演为中心的哲学,培养了顺从的学生,代表了“制度性”音乐教学的最严重滥用。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
On the "Truthiness" of "Remixing the Classroom": A Reply to Randall Allsup.
The praxial philosophy of music education in Music Matters (2015) argues that music educators should teach democratically, creatively, and ethically toward empowering students’ abilities to achieve full human flourishing through critically reflective music making and listening of all kinds. Moreover, Music Matters contends that teachers have a civic responsibility to develop students’ awareness of why and how they should engage in music making for selfand community transformation. Thus, praxial music teachers resist all forms of oppression and defend pupils against their own personal influence. Also, toward the growth of pre-service and in-service music teachers’ creative and educational abilities, Music Matters provides multidimensional, porous, and open concepts of musics, “educations,” personhood, musical understanding, musical products, musical-emotional experiences, creativity, and curriculum. Therefore, our discussion refutes Randall Allsup’s numerous misrepresentations of praxialism as an oppressive, uncreative, archaic, Master-apprentice, performance-centered philosophy that cultivates obedient students, and represents the worst abuses of “institutional” music teaching.
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