頁籤選單縮合
題 名 | 日本傳統音樂教育的沿革與現況之研究=A Study on the Development and Current Status of Traditional Music Education in Japan |
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作 者 | 林月里; | 書刊名 | 臺中師院學報 |
卷 期 | 13 1999.06[民88.06] |
頁 次 | 頁585-606 |
分類號 | 910.931 |
關鍵詞 | 日本; 傳統音樂; 教育; |
語 文 | 中文(Chinese) |
中文摘要 | 明治維新以前,日本的傳統音樂教育初期幾乎完全掌握在教師手中,他們不但是 傳道授業的教師而且在宗教界負有神職的身分,而後從遣唐使移植而來的文化中,音樂成為 上流社會貴族地位的表徵,教師的角色又成為有公職身分世襲的職位。然而,文化的融合不 會長期囿於一隅的,民間也逐漸吸納了由三韓、唐、宋多元的音樂風貌,同時發展出了另一 教育體系—「家元制度」。 明治維新後到二次世界大戰前,可稱之為日本近代傳統音樂的發展時期。隨著明治維新 政治的革新,教育成為制度化的一部份,音樂教師的養成已經接近有如現代一般的音樂教育 制度,不幸的是,免不了在崇洋的風氣中,傳統音樂被擯棄於教育的主流之外,幸而靠著「家 元制度」的維持而不墜。國富民強之餘各界終於對傳統文化有了反省,開始在正式教育體系 重拾傳統音樂,並在音樂教師的培育過程中加強傳統音樂的傳承與省思。 二次世界大戰後,日本從軍國主義掛帥的迷思中走出來,並開始嚐試處理西方音樂與傳 統音樂教育的融合與均衡發展,真正在大專院校的科系與課程安排上作了努力(附表列有 1997年日本各大專院校設有「邦樂」科系及研究所之資料)。同時在「家元制度」與傳統音 樂本身的內涵上,此時都有了因應時代潮流的文化,這些都是結合了政府、民間及所有音樂 教育從業人員努力的成果。 日本音樂教育的發展在本質上就一直存在於兩個不同的範疇,初期是傳統音樂,它有雅 樂與俗樂之分;爾後則是西方音樂與包括雅樂、俗樂的傳統音樂。在不同的範疇內,音樂教 師的養成也大相異趣。本研究在結論與建議時,就「音樂教師」的資格分別說明「官方」與 「家元制度」的區別,也期許這兩種制度能互補融合,成為更趨完整的制度。 |
英文摘要 | Before the Meiji Restoration, Japanese tradition music education was entirely controlled by teachers. Those teachers also played important roles in religious positions. The music had become a symbol of high social class after the influences of Tang Dynasty. After that, people started to learn different types of music from the Three Han, Tang and Sung Dynasties. At the same time, they developed an education system called "Chia Yuan System". The period of time between the Meiji restoration and War World II was the developing stage of Japanese modern age traditional music. Followed by the Meiji restoration, education has become a part of system. Teacher preparation system was similar to the modern one. Unfortunately, traditional music was not the mainstream in music education because the influences of western culture. Fortunately, "Chia Yuan System" maintained the spirits of traditional music well. After the country was prosperous, people st ted to make a reflection on traditional culture. Traditional music had become an important part of music education. After War World II, Japanese tried to seek a balance between western and traditional music, and arrange curriculum and departments in universities. At the same time, both "Chia Yuan System" and traditional music had changed to meet the needs for the people. All of this had incorporated the efforts of governments, people, and music educators. Essentially, the development of Japanese music had two categories. The beginning period is traditional music including ceremonial music, common music. The second sta is western music including ceremonial music, and traditional common music. The methods for music teacher preparation was different at different periods. Finally, the author explains the differences between the "Chia Yuan System" and official system on music teacher qualification. She suggests the two systems can be combined together as a perfect education system. |
本系統中英文摘要資訊取自各篇刊載內容。