音樂經驗本質之教育學觀點-技術與實踐智關係之詮釋性研究

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題名	音樂經驗本質之教育學觀點-技術與實踐智關係之詮釋性研究 The educational aspect of the nature of musical experience: A hermeneutic analysis of techne and phronesis
作者	葉文傑 YEH, Wen-chieh
貢獻者	馮朝霖<br>楊艾琳葉文傑 YEH, Wen-chieh
關鍵詞	音樂經驗音樂教育哲學技術實踐智 musical experience philosophy of music education techne phronêsis
日期	2006
上傳時間	17-Sep-2009 15:14:03 (UTC+8)
摘要	本研究旨在探討音樂經驗的教育實踐意涵，採取理論分析的方法，探究音樂教育哲學典範的衝突根源，在技術與實踐智的關係詮釋中，闡述音樂經驗的教育實踐本質。回顧音樂經驗本質的理論脈絡，古希臘以強調和諧、淨化、教化的音樂倫理學與發展以娛樂目的的音樂美學為主，近代則以知覺解釋的心理學與本質描述的現象學為主。就音樂經驗的知識本質而言，從功效、審美到實踐的北美音樂教育哲學典範，基本上是從技術走向實踐、從一元走向多元、從穩定走向不穩定的價值典範。綜合研究結論，就音樂的教育實踐途徑而言，技術造成一種手段與目的的對象化關係，實踐智則建立手段與目的合一的自我知識，前者發展音樂認知的科學方法，後者開拓音樂意義的可能性。當然，本研究並不否定技術存在的價值，而是從一種存有美學來關照音樂經驗中的意義可能性，在審美無區分的自我陶養經驗中，音樂同時是一種教育實踐，實踐智典範與技術的本質最終在教育實踐意義裡相通，而倫理學與美學在音樂經驗中彼此共融。 The purpose of this study was to explore the significance of educational practice in the nature of musical experience. The theoretical analysis was applied to inquire the cause of the conflicts among the different philosophical paradigms of music education and the hermeneutic analysis of techne and phronêsis was used to explain the educational essence of musical experience. Based on the context of the essential theory of musical experience, there were two ways in the ancient Greece: the musical ethics and the aesthetics of music. The musical ethics emphasized the metaphysical speculation about harmony, purification, and cultivation; while the aesthetics of music developed the science of experience on the aim of pleasure. In the modern history, the psychology and the phenomenology were the main research approaches of musical experience. The former explained the music perception; the latter described the nature of musical experience. Regarding the essential standpoint of musical knowledge, the trend of the philosophical paradigm of music education (utilitarian, aesthetic and praxis) developed in North America was a value paradigm that was from technique to practice, singular aspect to multiple aspect, and steady situation to unsteady situation. In conclusion, from the standpoint of educational practice, the technical way reified the relationship of the means and the purposes, and the practical way (self-knowledge) was a way of two-in-one; the former developed the scientific methods of musical cognition, the latter developed the possibility of musical meaning. Certainly, the value of techne was not denied, but more concerned the meaning’ possibility of musical experience, that was to say, music as an educational practice of self-cultivation in the aesthetic non-differentiation, the paradigm of phronêsis and the nature of techne were eventually the same one in the significance of educational practice, and the ethics and the aesthetics were two-in-one in the musical experience.
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描述	博士國立政治大學教育研究所 92152501 95
資料來源	http://thesis.lib.nccu.edu.tw/record/#G0921525011
資料類型	thesis

dc.contributor.advisor	馮朝霖<br>楊艾琳	zh_TW
dc.contributor.author (Authors)	葉文傑	zh_TW
dc.contributor.author (Authors)	YEH, Wen-chieh	en_US
dc.creator (作者)	葉文傑	zh_TW
dc.creator (作者)	YEH, Wen-chieh	en_US
dc.date (日期)	2006	en_US
dc.date.accessioned	17-Sep-2009 15:14:03 (UTC+8)	-
dc.date.available	17-Sep-2009 15:14:03 (UTC+8)	-
dc.date.issued (上傳時間)	17-Sep-2009 15:14:03 (UTC+8)	-
dc.identifier (Other Identifiers)	G0921525011	en_US
dc.identifier.uri (URI)	https://nccur.lib.nccu.edu.tw/handle/140.119/33072	-
dc.description (描述)	博士	zh_TW
dc.description (描述)	國立政治大學	zh_TW
dc.description (描述)	教育研究所	zh_TW
dc.description (描述)	92152501	zh_TW
dc.description (描述)	95	zh_TW
dc.description.abstract (摘要)	本研究旨在探討音樂經驗的教育實踐意涵，採取理論分析的方法，探究音樂教育哲學典範的衝突根源，在技術與實踐智的關係詮釋中，闡述音樂經驗的教育實踐本質。回顧音樂經驗本質的理論脈絡，古希臘以強調和諧、淨化、教化的音樂倫理學與發展以娛樂目的的音樂美學為主，近代則以知覺解釋的心理學與本質描述的現象學為主。就音樂經驗的知識本質而言，從功效、審美到實踐的北美音樂教育哲學典範，基本上是從技術走向實踐、從一元走向多元、從穩定走向不穩定的價值典範。綜合研究結論，就音樂的教育實踐途徑而言，技術造成一種手段與目的的對象化關係，實踐智則建立手段與目的合一的自我知識，前者發展音樂認知的科學方法，後者開拓音樂意義的可能性。當然，本研究並不否定技術存在的價值，而是從一種存有美學來關照音樂經驗中的意義可能性，在審美無區分的自我陶養經驗中，音樂同時是一種教育實踐，實踐智典範與技術的本質最終在教育實踐意義裡相通，而倫理學與美學在音樂經驗中彼此共融。	zh_TW
dc.description.abstract (摘要)	The purpose of this study was to explore the significance of educational practice in the nature of musical experience. The theoretical analysis was applied to inquire the cause of the conflicts among the different philosophical paradigms of music education and the hermeneutic analysis of techne and phronêsis was used to explain the educational essence of musical experience. Based on the context of the essential theory of musical experience, there were two ways in the ancient Greece: the musical ethics and the aesthetics of music. The musical ethics emphasized the metaphysical speculation about harmony, purification, and cultivation; while the aesthetics of music developed the science of experience on the aim of pleasure. In the modern history, the psychology and the phenomenology were the main research approaches of musical experience. The former explained the music perception; the latter described the nature of musical experience. Regarding the essential standpoint of musical knowledge, the trend of the philosophical paradigm of music education (utilitarian, aesthetic and praxis) developed in North America was a value paradigm that was from technique to practice, singular aspect to multiple aspect, and steady situation to unsteady situation. In conclusion, from the standpoint of educational practice, the technical way reified the relationship of the means and the purposes, and the practical way (self-knowledge) was a way of two-in-one; the former developed the scientific methods of musical cognition, the latter developed the possibility of musical meaning. Certainly, the value of techne was not denied, but more concerned the meaning’ possibility of musical experience, that was to say, music as an educational practice of self-cultivation in the aesthetic non-differentiation, the paradigm of phronêsis and the nature of techne were eventually the same one in the significance of educational practice, and the ethics and the aesthetics were two-in-one in the musical experience.	en_US
dc.description.tableofcontents	第一章緒論……………………………………………………………… 1 第一節研究背景與問題…………………………………………… 1 第二節研究動機與目的……………………………………………… 7 第三節研究方法與架構……………………………………………… 17 第二章音樂經驗本質之主要理論………………………………………… 19 第一節音樂是什麼………………………………………………… 19 第二節古希臘哲學中的音樂思想…………………………………… 26 第三節音樂經驗的本質……………………………………………… 42 第三章音樂教育哲學典範………………………………………………… 62 第一節典範…………………………………………………………… 62 第二節前典範：功效哲學…………………………………………… 67 第三節審美典範……………………………………………………… 75 第四節典範的反思與移轉…………………………………………… 94 第五節實踐典範的多元途徑………………………………………… 105 第四章音樂教育哲學典範的知識本質…………………………………… 112 第一節音樂教育哲學的倫理學－詮釋學途徑……………………… 113 第二節知識本質的三種模式………………………………………… 118 第三節音樂教育哲學典範的知識本質……………………………… 134 第五章音樂經驗本質的教育實踐意涵…………………………………… 140 第一節技術典範的價值思維………………………………………… 141 第二節自我知識的音樂經驗本質…………………………………… 148 第三節音樂經驗本質的教育實踐意涵……………………………… 164 第六章結論……………………………………………………………… 170 參考文獻……………………………………………………………………… 182 附錄一北美音樂教育哲學學術重要紀事………………………………… 202 附錄二《音樂教育哲學評論》目錄……………………………………… 207 附錄三四位音樂教育哲學學者之著作目錄……………………………… 213	zh_TW
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dc.language.iso	en_US	-
dc.source.uri (資料來源)	http://thesis.lib.nccu.edu.tw/record/#G0921525011	en_US
dc.subject (關鍵詞)	音樂經驗	zh_TW
dc.subject (關鍵詞)	音樂教育哲學	zh_TW
dc.subject (關鍵詞)	技術	zh_TW
dc.subject (關鍵詞)	實踐智	zh_TW
dc.subject (關鍵詞)	musical experience	en_US
dc.subject (關鍵詞)	philosophy of music education	en_US
dc.subject (關鍵詞)	techne	en_US
dc.subject (關鍵詞)	phronêsis	en_US
dc.title (題名)	音樂經驗本質之教育學觀點-技術與實踐智關係之詮釋性研究	zh_TW
dc.title (題名)	The educational aspect of the nature of musical experience: A hermeneutic analysis of techne and phronesis	en_US
dc.type (資料類型)	thesis	en
dc.relation.reference (參考文獻)	參考文獻	zh_TW
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