瑞典音乐课内外合作教学模式与理念研究
摘要
瑞典公共音乐教育体系被认为是该国音乐产业发达的重要原因。该体系的主要特点之一是校内课程与课后艺术学校合作教学模式。该模式体现了音乐在教育中的核心位置以及全民化、渗透化的教育理念,使音乐课程更具有延展性和个性。
The Swedish public music education system is considered an important factor for the advanced development of the country's music industry. One of the main features of the system is the co-curricular teaching model between on-campus music classes and after-school art schools. This model demonstrates the centrality of music in Swedish education and the philosophy that music education is for everyone and is related to all parts of education. The co-curricular model has also enabled the music teaching to be both individual and extendable.
The Swedish public music education system is considered an important factor for the advanced development of the country's music industry. One of the main features of the system is the co-curricular teaching model between on-campus music classes and after-school art schools. This model demonstrates the centrality of music in Swedish education and the philosophy that music education is for everyone and is related to all parts of education. The co-curricular model has also enabled the music teaching to be both individual and extendable.
引文
[1][6]Bowen,Chris.“Music education-Swedish style.”Count us in.Accessed November26,2018.https://musicaustralia.org.au/2014/08/music-education-swedish-style/
[2][3][7]Georgii-Hemming,Eva,and Maria Westvall."Music education-a personal matter?Examining the current discourses of music education in Sweden."British Journal of Music Education 27,no.1(2010):21-33.
[4][9][11][12]Heimonen,Marja."Music and arts schools-Extra-curricular music education in Sweden."Action,Criticism,and Theory for Music Education 3,no.4(2004):1-35.
[5][13]McAlone,Nathan.“Why Sweden rules pop music,and how we could too.”Pigeons and Planes.Accessed November 26,2018.https://pigeonsandplanes.com/in-depth/2014/04/whysweden-rules-pop-music-and-how-we-could-too.
[8]Zandén,Olle,and Cecilia Ferm Thorgersen.“Teaching for learning or teaching for documentation?Music teachers’perspectives on a Swedish curriculum reform.”British journal of music education 32,no.1(2015):37-50.
[10][14]Moser,Whet.“Swedish Pop Mafia.”Pacific Standard.https://psmag.com/socialjustice/swedish-pop-mafia-music-worldinfluence-73966.
[2][3][7]Georgii-Hemming,Eva,and Maria Westvall."Music education-a personal matter?Examining the current discourses of music education in Sweden."British Journal of Music Education 27,no.1(2010):21-33.
[4][9][11][12]Heimonen,Marja."Music and arts schools-Extra-curricular music education in Sweden."Action,Criticism,and Theory for Music Education 3,no.4(2004):1-35.
[5][13]McAlone,Nathan.“Why Sweden rules pop music,and how we could too.”Pigeons and Planes.Accessed November 26,2018.https://pigeonsandplanes.com/in-depth/2014/04/whysweden-rules-pop-music-and-how-we-could-too.
[8]Zandén,Olle,and Cecilia Ferm Thorgersen.“Teaching for learning or teaching for documentation?Music teachers’perspectives on a Swedish curriculum reform.”British journal of music education 32,no.1(2015):37-50.
[10][14]Moser,Whet.“Swedish Pop Mafia.”Pacific Standard.https://psmag.com/socialjustice/swedish-pop-mafia-music-worldinfluence-73966.