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In Search for Comprehensive Philosophy of Music Education in Ghana

机译:寻求加纳音乐教育的全面哲学

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DOI: 10.7176/JEP/11-9-21 Publication date: March 31 st 2020 One of the critical issues in the philosophy of music involves a study of basic questions regarding understanding music or musical meaning; what music is, how people perceive music in the context of their culture, how cultural perceptions influence music and what is the relationship between music and emotions. One discipline that is so complex to define is music. Many philosophers and ethnomusicologists did a lot of works in defining music yet the fact still remains that none of these giants was able to holistically define what music really is. Many people have different views and definitions about music. These differences emanate from diverse ethnic and cultural backgrounds. No person defines music better than the one from that particular cultural setting. “Music is an immersive sonic and social phenomenon that is at once both physical and emotional. Communication takes place through the processes of musical creation, performance and response (processes which are by no means discrete from each other), and music carries multiple meanings, communal and individual, intentional and unpredictable. People turn to music every day throughout their lives to create a sense of identity, to connect with others and to express, reflect and change their emotions. Music is a pervasive feature of life. Music engagement both underpins and accompanies many of our day-to-day activities from our earliest years as well as marking the significant moments of individual and collective life.” ( https://elissamilne.wordpress.com/2010/12/15/defining-music-in-the-national-arts-curriculum-to-conclude/ ). This paper focuses on the Philosophy of Music Education like any other discipline and I tried to express my opinion from the Ghanaian cultural perspective. There are people who define music as pleasant sound that appeals to the ear. However, what sounds pleasant in one cultural setting will possibly be a noise in other setting. Others define music as singing and dancing neglecting very vital constituents of the discipline. In this paper, the definition of music is based on the cultural perception of what music really is to the performers. The definition embedded how the focused setting value music and how their perception influences music.
机译:DOI:10.7176 / JEP / 11-9-21出版日期:3月31日ST 2020音乐哲学中的一个重要问题涉及关于了解音乐或音乐意义的基本问题;什么音乐是人们如何在文化的背景下感知音乐,文化观念如何影响音乐,音乐与情绪之间的关系是什么。定义是如此复杂的一个学科是音乐。许多哲学家和民族武士学家在定义音乐中做了很多作品,但事实仍然是这些巨人能够全能地定义真正的音乐。许多人有不同的观点和关于音乐的定义。这些差异来自不同的民族和文化背景。没有人定义比来自特定文化环境的音乐更好。 “音乐是一个沉重的声音和社会现象,曾经的身体和情感。通过音乐创作,性能和响应的过程进行通信(绝不是彼此离散的进程),音乐带有多种含义,社区和个人,故意和不可预测的。人们每天都在整个生命中转向音乐,以创造一个身份感,与他人联系并表达,反思和改变他们的情绪。音乐是生活的普遍特征。音乐参与既有基础,伴随着我们最早的一年的许多日常活动,也标志着个人和集体生活的重要时刻。“ (https://elissamilne.wordpress.com/2010/12/15/defining-music-in-the-national-arts-curriculum-to-conclude/)。本文侧重于音乐教育的哲学,如任何其他纪律,我试图向加纳文化角度表达我的意见。有些人将音乐定义为令人兴奋的声音,以吸引耳朵。然而,一个文化环境中的声音令人愉悦可能是其他环境的噪音。其他人将音乐定义为歌唱和跳舞忽视了纪律的非常重要的成分。在本文中,音乐的定义是基于对表演者真正的音乐的文化感知。该定义嵌入了重点设定值音乐以及他们的感知方式如何影响音乐。

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