音乐审美教育的人学研究
|
摘要
教育的本质特点是培养人，教育的价值主体是人。
综观人类思想史和教育实践，任何关涉人类的生存与发展的研究，总是要不同程度地涉及到美育的人生价值，涉及美育的哲学基础。
为探索音乐审美教育的人学主题，本论文运用价值判断与分析的方法，以设定的音乐审美教育的人学承诺理念为理论出发点，对现实的音乐教育进行审察和分析，在现代社会发展的大背景观照下，将音乐审美教育视为生命质量提升的教育；在对音乐审美教育的人学思考层面上，分析音乐教育现实并关注其发展状况，明确音乐审美教育的内在价值；探索音乐审美教育作为一种人类社会的文化现象，它的哲学、历史和文化根源是什么?为什么能促进人自身各种因素的平衡和协调、影响和提升人的生命质量?这种影响和促进作用的实施机制是什么?实施的策略和方式如何?通过对这些问题的价值理性思维，将促进音乐审美教育在理论上、内容上、方法上走出误区，澄清音乐审美教育的人学承诺内核，恢复其独特的感性情感维度和人文内涵与人文价值；从人的生命意义和生命质量提升的角度，探索音乐审美教育，探求音乐审美教育对人的生命质量提升的独特作用和价值依据，以求音乐审美教育人学承诺内涵的合理回归。
本论文欲以如下结构框架及内容表述呈现其论证的内在逻辑和相互关系，以期待清晰表达论证主旨：
音乐审美教育的人学解读部分:
通过厘清音乐与音乐审美的人学本质、音乐教育与音乐审美教育、
人学与音乐审美教育人学承诺这三组既相互联系又各自具有独立的定
义的内涵和外延，分析、解读音乐审美教育人学内核;
通过对中国文化传统的重人观和西方文化的自由精神以及对中西
文化发展中关于人学价值的历史追迹和流变思考，解读音乐审美教育
的本体价值:
通过分析哲学人类学的“符号论”和生命形式与艺术形式的异质
同构论的研究成果，解读了人为什么是音乐艺术创造和享受的主体。
音乐审美教育的人学承诺理由部分:
通过对中国古代和古希腊的音乐审美教育的追溯，明确了这样一
个观点，即在漫长的中国古代先秦文化和古希腊的哲学精神中，早已
历史地为我们今天的关于音乐审美教育的人学问题的认识和实践提供
了充足的基础和理由。
音乐审美教育是人的基本生命活动之一，是确证人之为人的特殊
方式。音乐美感就是人的自我确证和相互确证的依据，就像一面镜子，
光辉灿烂地映照出人的内心世界和本质力量。作为人的自我确证和相
互确证，音乐审美教育具有了存在的第一理由。尤其是不受意志控制
的人类高峰体验，本身就是一种同一性感受，是人回归自然或与自然
合一的一种情绪状态。音乐审美教育活动正是人类高峰体验的内容载
体之一，她在给人带来高峰体验的同时，使人得到一种萌发，一种启
示，一种觉醒，使人趋向完美人格的典型状态。作为人的专利，高峰
体验价值在音乐审美教育中更显生命的本质。
审美活动是生命情感解放的根本途径，审美带有令人解放的性质;
创造性不仅是审美表现的形式中介，更是体现情感解放的本质标志;
而音乐审美教育正是以音乐审美的形式，从一个更直接的入口来触摸
生命和心灵的存在。在展示人类的一种独特的生存样态和把握世界的
方式的同时，使人摆脱现实生活中有限意义的实际需求，产生了超脱
功利的美的想象和情感体验，从现实的自然态度向特殊的审美态度转
化，创造着人的本质的全部丰富性的生成。
最后以人为什么需要音乐的提问为切入点，以对音乐审美教育活
动中的媒介因素—音乐的进一步分析为论据，探讨了音乐与人、音
乐形式与人的生命形式同构的关系，支持了音乐审美教育所能给予的
人学承诺的理论假设。并以此为理论根基，对目前中国音乐教育所面
临的无视人在音乐审美活动中的参与和创造、抹煞音乐艺术对人的生
命的创造价值、遮蔽了音乐审美教育通过人的审美实践活动所映衬的
人的主观意识所体现的人对自身的本质创造的价值内涵的危险之境进
行了深刻地剖析。指出时下的音乐教育活动以肢解的阐释对待音乐整
体，以技术化、工具化的训练来学习音乐技能，将人对音乐的感知体
验退化为音乐知识和规则的机械背诵，已发生了音乐与人相分离的质
变，己违背了音乐审美教育的初衷。人通过情感体验与音乐碰撞时产
生的那种创造意识和冲动己被人对音乐学习的急功近利的需要和非常
现实的供求关系代替，音乐文化的发展正在沦落为一个有利可图的生
意，人正在无可奈何地成为人类自己的创造物—音乐的奴隶。音乐
审美教育所具有的体现人自身审美要求和提升生命质量的本质内涵己
失去了理想的光芒。
作为本论文的阶段性研究成果，首次明确地从音乐与人、音乐形
式与人的生命形式同构的维度，在理论上阐述了“音乐审美教育过程
是体验生命状态和生命力量展开的过程，是唤醒人对美的感悟、以一
种全新的精神状态超脱物质世界的过程，这不仅是人的独有享受，更
是人之生命需要”的观点。
音乐审美教育人学命题寻根部分:
在论述了关于音乐审美教育的人学本体理论、人学承诺理由之后，
这部分内容最后为音乐审美教育的人学命题找到一个具有支持性的理
论根
The nature of education is the training of humans and the subject of education is humans.Throughout human history of ideology and the educational practice, any research related to the existence and development of human being is always, to some degree, concerned with human worth of aesthetic education and concerned with its philosophical foundation.In order to explore the humanistic issue of music aesthetic education, this dissertation uses the methodology of judging and analyzing values to examine and analyze the current music education. The theoretical base of the study will be the humanistic concept in music aesthetic education. Under the background of the development of modern society, in this dissertation, music aesthetic education is considered as the education of improving life quality. With respect to humanistic aspect of music aesthetic education, the dissertation analyzes the reality and development of music education, clarifies the inner value of music aesthetic education, and explores the following questions regarding music aesthetic education as a cultural phenomenon of the human society: What are its philosophical, historical and cultural sources? Why can it promote the balance of various factors within oneself? Why can it influence and improve the quality of life? What are the implementing mechanism, strategies, and methods of this influence? The rational thinking over these questions will help clear the myth regarding music aesthetic education in terms of theory, content and methodology, help explore music aesthetic education from the perspective of the meaning and quality of human life, and help explore the function and value of music aesthetic education in improving human life quality.This dissertation has the following parts:
IntroductionIn this part, I raise the question of humanistic in music aesthetic education, and explore its theoretical and practical values, and put forward the original ideas after a complete literature review on the relevant theories and current research.Humanistic Interpretation in Music Aesthetic EducationThis part tries to interpret the humanistic core of music aesthetic education through analyzing the connotation and denotation of three pairs of terms that are interrelated yet independent of each other. The three pairs of terms are music and humanistic nature of music aesthetics, music education and music aesthetic education, humanistic study and the humanistic promises of music aesthetic education.This part also tries to interpret the value of music aesthetic education through reflecting on the history and change of human orientation in traditional Chinese culture, the spirit of freedom in western culture, and the humanistic value in the development of both cultures. Finally, this part interpret why human being becomes the main body of music creation and appreciation through analyzing the "semiology" in philosophy and humanism and the common structure of life form and art form.Reasons for the humanistic promises in music aesthetic educationThrough retrospection on music aesthetic education in ancient China and Greece, this part clearly states the view that the ancient Chinese and Greek cultures provide us with good foundation and reasons for the current
recognition and practice of humanistic issues in music aesthetic education. Music aesthetic education is one of the basic human activities, and is unique to human being. The beauty of music is the self-assurance and mutual assurance of human beings. It is like a mirror that reflects the inner world and strength of human. Human beings' self-assurance and mutual assurance is the number one reason for the existence of music aesthetic education. It is human's highest level of experience and is the feeling of returning to nature or mixing with nature. At the same time, the activities in music aesthetic education bring to people enlightenment and inspiration. It helps people form a perfect character. As something unique to human being, the highest level of experience in music aesthetic education can show better the nature of
综观人类思想史和教育实践，任何关涉人类的生存与发展的研究，总是要不同程度地涉及到美育的人生价值，涉及美育的哲学基础。
为探索音乐审美教育的人学主题，本论文运用价值判断与分析的方法，以设定的音乐审美教育的人学承诺理念为理论出发点，对现实的音乐教育进行审察和分析，在现代社会发展的大背景观照下，将音乐审美教育视为生命质量提升的教育；在对音乐审美教育的人学思考层面上，分析音乐教育现实并关注其发展状况，明确音乐审美教育的内在价值；探索音乐审美教育作为一种人类社会的文化现象，它的哲学、历史和文化根源是什么?为什么能促进人自身各种因素的平衡和协调、影响和提升人的生命质量?这种影响和促进作用的实施机制是什么?实施的策略和方式如何?通过对这些问题的价值理性思维，将促进音乐审美教育在理论上、内容上、方法上走出误区，澄清音乐审美教育的人学承诺内核，恢复其独特的感性情感维度和人文内涵与人文价值；从人的生命意义和生命质量提升的角度，探索音乐审美教育，探求音乐审美教育对人的生命质量提升的独特作用和价值依据，以求音乐审美教育人学承诺内涵的合理回归。
本论文欲以如下结构框架及内容表述呈现其论证的内在逻辑和相互关系，以期待清晰表达论证主旨：
音乐审美教育的人学解读部分:
通过厘清音乐与音乐审美的人学本质、音乐教育与音乐审美教育、
人学与音乐审美教育人学承诺这三组既相互联系又各自具有独立的定
义的内涵和外延，分析、解读音乐审美教育人学内核;
通过对中国文化传统的重人观和西方文化的自由精神以及对中西
文化发展中关于人学价值的历史追迹和流变思考，解读音乐审美教育
的本体价值:
通过分析哲学人类学的“符号论”和生命形式与艺术形式的异质
同构论的研究成果，解读了人为什么是音乐艺术创造和享受的主体。
音乐审美教育的人学承诺理由部分:
通过对中国古代和古希腊的音乐审美教育的追溯，明确了这样一
个观点，即在漫长的中国古代先秦文化和古希腊的哲学精神中，早已
历史地为我们今天的关于音乐审美教育的人学问题的认识和实践提供
了充足的基础和理由。
音乐审美教育是人的基本生命活动之一，是确证人之为人的特殊
方式。音乐美感就是人的自我确证和相互确证的依据，就像一面镜子，
光辉灿烂地映照出人的内心世界和本质力量。作为人的自我确证和相
互确证，音乐审美教育具有了存在的第一理由。尤其是不受意志控制
的人类高峰体验，本身就是一种同一性感受，是人回归自然或与自然
合一的一种情绪状态。音乐审美教育活动正是人类高峰体验的内容载
体之一，她在给人带来高峰体验的同时，使人得到一种萌发，一种启
示，一种觉醒，使人趋向完美人格的典型状态。作为人的专利，高峰
体验价值在音乐审美教育中更显生命的本质。
审美活动是生命情感解放的根本途径，审美带有令人解放的性质;
创造性不仅是审美表现的形式中介，更是体现情感解放的本质标志;
而音乐审美教育正是以音乐审美的形式，从一个更直接的入口来触摸
生命和心灵的存在。在展示人类的一种独特的生存样态和把握世界的
方式的同时，使人摆脱现实生活中有限意义的实际需求，产生了超脱
功利的美的想象和情感体验，从现实的自然态度向特殊的审美态度转
化，创造着人的本质的全部丰富性的生成。
最后以人为什么需要音乐的提问为切入点，以对音乐审美教育活
动中的媒介因素—音乐的进一步分析为论据，探讨了音乐与人、音
乐形式与人的生命形式同构的关系，支持了音乐审美教育所能给予的
人学承诺的理论假设。并以此为理论根基，对目前中国音乐教育所面
临的无视人在音乐审美活动中的参与和创造、抹煞音乐艺术对人的生
命的创造价值、遮蔽了音乐审美教育通过人的审美实践活动所映衬的
人的主观意识所体现的人对自身的本质创造的价值内涵的危险之境进
行了深刻地剖析。指出时下的音乐教育活动以肢解的阐释对待音乐整
体，以技术化、工具化的训练来学习音乐技能，将人对音乐的感知体
验退化为音乐知识和规则的机械背诵，已发生了音乐与人相分离的质
变，己违背了音乐审美教育的初衷。人通过情感体验与音乐碰撞时产
生的那种创造意识和冲动己被人对音乐学习的急功近利的需要和非常
现实的供求关系代替，音乐文化的发展正在沦落为一个有利可图的生
意，人正在无可奈何地成为人类自己的创造物—音乐的奴隶。音乐
审美教育所具有的体现人自身审美要求和提升生命质量的本质内涵己
失去了理想的光芒。
作为本论文的阶段性研究成果，首次明确地从音乐与人、音乐形
式与人的生命形式同构的维度，在理论上阐述了“音乐审美教育过程
是体验生命状态和生命力量展开的过程，是唤醒人对美的感悟、以一
种全新的精神状态超脱物质世界的过程，这不仅是人的独有享受，更
是人之生命需要”的观点。
音乐审美教育人学命题寻根部分:
在论述了关于音乐审美教育的人学本体理论、人学承诺理由之后，
这部分内容最后为音乐审美教育的人学命题找到一个具有支持性的理
论根
The nature of education is the training of humans and the subject of education is humans.Throughout human history of ideology and the educational practice, any research related to the existence and development of human being is always, to some degree, concerned with human worth of aesthetic education and concerned with its philosophical foundation.In order to explore the humanistic issue of music aesthetic education, this dissertation uses the methodology of judging and analyzing values to examine and analyze the current music education. The theoretical base of the study will be the humanistic concept in music aesthetic education. Under the background of the development of modern society, in this dissertation, music aesthetic education is considered as the education of improving life quality. With respect to humanistic aspect of music aesthetic education, the dissertation analyzes the reality and development of music education, clarifies the inner value of music aesthetic education, and explores the following questions regarding music aesthetic education as a cultural phenomenon of the human society: What are its philosophical, historical and cultural sources? Why can it promote the balance of various factors within oneself? Why can it influence and improve the quality of life? What are the implementing mechanism, strategies, and methods of this influence? The rational thinking over these questions will help clear the myth regarding music aesthetic education in terms of theory, content and methodology, help explore music aesthetic education from the perspective of the meaning and quality of human life, and help explore the function and value of music aesthetic education in improving human life quality.This dissertation has the following parts:
IntroductionIn this part, I raise the question of humanistic in music aesthetic education, and explore its theoretical and practical values, and put forward the original ideas after a complete literature review on the relevant theories and current research.Humanistic Interpretation in Music Aesthetic EducationThis part tries to interpret the humanistic core of music aesthetic education through analyzing the connotation and denotation of three pairs of terms that are interrelated yet independent of each other. The three pairs of terms are music and humanistic nature of music aesthetics, music education and music aesthetic education, humanistic study and the humanistic promises of music aesthetic education.This part also tries to interpret the value of music aesthetic education through reflecting on the history and change of human orientation in traditional Chinese culture, the spirit of freedom in western culture, and the humanistic value in the development of both cultures. Finally, this part interpret why human being becomes the main body of music creation and appreciation through analyzing the "semiology" in philosophy and humanism and the common structure of life form and art form.Reasons for the humanistic promises in music aesthetic educationThrough retrospection on music aesthetic education in ancient China and Greece, this part clearly states the view that the ancient Chinese and Greek cultures provide us with good foundation and reasons for the current
recognition and practice of humanistic issues in music aesthetic education. Music aesthetic education is one of the basic human activities, and is unique to human being. The beauty of music is the self-assurance and mutual assurance of human beings. It is like a mirror that reflects the inner world and strength of human. Human beings' self-assurance and mutual assurance is the number one reason for the existence of music aesthetic education. It is human's highest level of experience and is the feeling of returning to nature or mixing with nature. At the same time, the activities in music aesthetic education bring to people enlightenment and inspiration. It helps people form a perfect character. As something unique to human being, the highest level of experience in music aesthetic education can show better the nature of
引文
1．张前，王次昭．音乐美学基础．人民音乐出版社，1992．
2．21世纪教育委员会．教育——财富蕴藏其中．教育科学出版社，1999．
3．贺志朴，姜敏．艺术教育学．人民出版社，2001．
4．杜时忠．科学教育与人文教育．华中师范大学出版社，1998．
5．曾田力．音乐——生命的沉醉．北京大学出版社，1996．
6．瞿葆奎．教育基本理论之研究．福建教育出版社，1998．
7．柳海民．教育原理．东北师范大学出版社，2000．
8．范明华．自由之门——美学启示录．湖北人民出版社，1999．
9．[美]帕森斯·布洛克．美学与艺术教育．四川人民出版社，1998．
10．修金堂．音乐美学引论Ⅰ音乐本体——属性论．黑龙江教育出版社，1996．
11．丁亚平．艺术文化学．文化艺术出版社，1997．
12．姚全兴．生命美育．上海教育出版社，2001．
13．杨适．中西人论的冲突——文化比较的一种新探求．中国人民大学出版社，1998．
14．[德]恩斯特·卡西尔．人论．上海译文出版社，1998．
15．涂艳国．走向自由——教育与人的发展问题研究．华中师范大学出版社，1999．
16．王义高．当代世界教育思潮与各国教改趋势．北京师范大学出版社，2000．
17．张华．课程与教学论．上海教育出版社，2001．
18．邬志辉．中国教育现代化新视野．东北师范大学出版社，2000．
19．高清海．哲学的奧秘．吉林人民出版社，2000．
20．[奧]茨达齐尔．教育人类学原理．上海教育出版社，2001．
21．王铁军．现代教育思潮．南京大学出版社，2000．
22．蒋冰海．美育学导论．上海人民出版社，2001．
23．杨韬．时代精神的精华——中外哲学名著导读．哈尔滨工业大学出版社，1998．
24．郭声健．艺术教育．教育科学出版社，2001．
25．廖家骅．音乐审美教育．人民音乐出版社，1993．
26．孙佳宾．适度的诠释——音乐美学散论．吉林教育出版社，1999．
27．华东师大教育系，杭州大学教育系．现代西方资产阶级教育思想流派论著选．人民教育出版社，2000．
28．联合国教课文组织国际教育发展委员会．学会生存——教育世界的今天和明天．教育科学出版社，1999．
29．夏甄陶．人是什么．商务印书馆，2000．
30．俞玉滋，张援．中国近现代美育论文选．上海教育出版社，1999．
31．何立．美学与美育辞典．学苑出版社，1999．
32．徐希茅，傅利民，邹建林，杨九华．音乐美育．上海教育出版社，2001．
33．[美]艾里克·普斯．经历艺术——生活的第二张面孔．知识出版社，2000．
34．沈建军．音乐与智力．华中理工大学出版社，1997．
35．黎乔立．审美生理学．广东人民出版社，2000．
36．蔡正非．美育心理学．中国社会科学出版社，1999．
37．沈建军．音乐与超常规思维．华中理工大学出版社，1997．
38．杨平．多维视野中的美育．安徽教育出版社，2000．
39．杜卫．美育论．教育科学出版社，2000．
40．尹爱青．外国儿童音乐教育体系．上海教育出版社，1999．
41．尹爱青．当代音乐教育体系与教学法．东北师范大学出版社，1999．
42．郑雪．人格心理学．暨南大学出版社，2001．
43．盛天启．艺与美的旋律——美学卷．中共中央党校出版社，1998．
44．曹理等．音乐学科教育学．首都师范大学出版社，2000．
45．张肖虎．音乐教育学论稿．人民教育出版社，1998．
46．吴跃跃．音乐教育协同理论与素质培养．湖南教育出版社，1999．
47．王昌奎，叶子．音乐审美教育理论与方法．气象出版社，1996．
48．中华人民共和国教育部．音乐课程标准．北京师范大学出版社，2001．
49．中华人民共和国教育部．艺术课程标准．北京师范大学出版社，2001．
50．邓小平文选第三卷．人民出版社，1993．
51．拒绝遗忘—钱理群文选．汕头大学出版社，1999．
52．腾守尧．审美心理描述．四川人民出版社，1998．
53．冯友兰．中国哲学史新编(中)．人民出版社，1998．
54．张立文．新人学导论．广东人民出版社，2000．
55．高清海，胡海波，贺来．人的「类生命」与「类哲学」——走向未来的当代哲学精神．吉林人民出版社，1998．
56．韩秋红，陈爱梅．黑格尔之后——现当代西方哲学．吉林音像出版社，2003．
57．朱存明．情感与启蒙．西苑出版社，2000．
58．何新．艺术分析与美学思辩．时事出版社，2001．
59．茅原．未完成音乐美学．上海人民出版社，1998．
60．齐易，张文川．音乐艺术教育．人民出版社，2002．
61．[美]约翰·耐斯比特，帕特里夏·阿伯丁．2000年大趋势．经济日报出版社，1990．
62．[美]苏珊·郎格．情感与形式．中国社会科学出版社，1986．
63．余碧平．现代性的意义与局限．上海三联书店．2000．
64．柏西·布克．音乐家心理学．人民音乐出版社，1988．
65．李泽厚．美的历程．广西师范大学出版社，2002．
66．[德]黑格尔．美学第二卷，第三卷上册．商务印书馆，1979．
67．邹爱民．音乐教育学．人民音乐出版社，1996．
68．[英]伯特兰·罗素．西方的智慧．商务印书馆，1999．
69．刘雨．艺术经验论．东北师范大学出版社，1998．
70．王霁．马克思主义与当代社会思潮．中国人民大学出版社，1995．
71．王耀华，伍湘涛．音乐鉴赏．高等教育出版社，2000．
72．人民音乐出版社编辑部．音乐社会学．人民音乐出版社 1997．
73．季羡林，张光璘．东西文化议论集上下册．经济日报出版社，1997．
74．朱光潜．西方美学史上下卷．人民文学出版社，1979．
75．柳海民．现代教育理论进展．东北师范大学出版社，2001．
76．李范．美育的现代使命．北京师范大学出版社，1998．
77．何顺果 人类文明的历程．高等教育出版社，2000．
78．[苏]克列姆辽夫．音乐美学问题概论．人民音乐出版社，1986．
79．[美]爱德温·戈登．论儿童音乐才能的发展基础．上海音乐出版社，1989．
80．卢合芝，李敏娜．音乐教学心理学编译．湖南教育出版社，1991．
81．冉云飞．沉疴．南方出版社，1999．
82．宗白华．艺境．北京大学出版社，1987．
83．[英]马丁·霍利斯．人的模式．辽宁人民出版社，1989．
84．管建华．中国音乐审美的文化视野．中国文联出版公司，1995．
85．汝信．西方美学史论丛续编．上海人民出版社，1983．
86．戴里克·柯克．音乐语言．人民音乐出版社，1987．
87．瞿葆奎．美育．人民教育出版社，1989．
88．钟子林．何乾三音乐美学文稿．中央音乐学院学报社出版，1999．
89．[美]休斯顿·史密斯．人的宗教．海南出版社，2001．
90．蔡仲德．音乐与文化的人本主义思考．广东人民出版社，1999．
91．丹纳．艺术哲学．人民文学出版社，1983．
92．詹姆士·L·穆塞尔，梅贝尔·格连．中小学音乐课教学法．四川人民出版社，1983．
93．张天宝．主体性教育．教育科学出版社，1999．
94．袁贵仁．人的哲学．工人出版社，1988．
95．易中天，陈建娜，董炎，郭勇健，徐强．人的确证——人类学艺术原理．上海文艺出版社，2001．
96．曹理．普通学校音乐教育学．上海教育出版社，1993．
97．易中天．艺术人类学．上海文艺出版社，2001．
98．李景源．关于人的学说的哲学探讨．人民出版社，1982．
99．[美]托马斯·内格尔．人的问题．上海译文出版社，2000．
100．韩庆祥，邹诗鹏．人学——问题的当代阐释．云南人民出版社，2002．
101．王宁一，杨和平．二十世纪中国音乐美学文献选(1900-1949)．现代出版社，1996．
102．刘建军．演进的诗化人学．东北师范大学出版社，1998．
103．[德]弗里德里希·席勒．审美教育书简．上海人民出版社，2003．
104．胡军．哲学是什么．北京大学出版社，2002．
105．孙正聿．哲学导论．中国人民大学出版社，2001．
106．张志伟，欧阳谦．西方哲学智慧．中国人民大学出版社，2002．
107．金亚文．音乐新课程与示范教学案例．东北师范大学出版社，2003．
108．郭声健．艺术教育论．上海教育出版社，1999．
109．黄济．教育哲学通论．山西教育出版社，1998．
110．袁贵仁．马克思的人学思想．北京师范大学出版社，1996．
111．华东师范大学《马克思恩格斯论教育》编译小组编译．马克思恩格斯论教育上卷．人民教育出版社，1986．
112．蒋一民．音乐美学．东方出版社，1997．
113．[美]赫伯特·马尔库塞．审美之维．广西师范大学出版社，2001．
114．金生鉉．理解与教育—走向哲学解释学的教育哲学导论．教育科学出版社，1999．
115．张前．音乐欣赏心理分析．人民音乐出版社，1987．
116．[波兰]卓菲娅·丽萨．音乐美学新稿．人民音乐出版社，1992．
117．黎乔立．审美生理学．广东人民出版社，2000．
118．李泽厚．中国思想史论(上)．安徽文艺出版社，1999．
119．瞿葆奎．教育与教育学．人民教育出版社，1993．
120．张文勋．儒道佛美学思想探索．中国社会科学出版社，1988．
121．中华人民共和国教育部．普通高中音乐课程标准．人民教育出版社，2003．
122．中华人民共和国教育部．普通高中艺术课程标准．人民教育出版社，2003
123．宗白华．美学散步．上海人民出版社，1981．
124．杨恩寰．审美心理学．东方出版社，1991．
125．魏金声．现代西方人学思潮的震荡．中国人民大学出版社，1997．
126．叶朗．胸中之竹——走向现代之中国美学．安徽教育出版社，1998．
127．何尚．接近天堂的美．广东经济出版社，1999．
128．[苏]康斯坦丁诺夫[保]安盖诺夫等．音乐美学原理．中国文联出版公 司，1987．
12
129．[奧]库尔特·布劳考普夫．永恒的旋律——音乐与社会．上海音乐出版社，1992．
130．[英]H·里德．艺术的真谛．辽宁人民出版社，1987．
131．朱青生．没有人是艺术家，也没有人不是艺术家．商务印书馆，2000．
132．谢嘉幸．走进音乐——音乐鉴赏训练与评估．四川人民出版社，1999．
133．[苏]赞科夫．教学与发展．人民教育出版社，1986．
134．[德]克奈夫．西方音乐社会学现状——近代音乐的听赏和当代社会的音乐问题．人民音乐出版社，2002．
135．邱正伦．艺术美学．西南师范大学出版社，2001．
136．卡西尔．语言与神话，三联书店，1988．
137．曹理，何工．音乐学习与教学心理．上海音乐出版社，2000．
138．文部省．小学学习指导要领解说·音乐编．平成11年．
139．中国高教学会美育研究会．美育通讯．高等教育出版社，2002．
140．让-包罗·萨特．想象心理学．光明日报出版社，1988．
141．傅道春．教育学．教育科学出版社，1999．
142．袁振国．当代教育学．教育科学出版社，1999．
143．张楚廷．教育论．湖南教育出版社，2000．
144．[德]克奈夫等．西方音乐社会学现状．人民音乐出版社，2002．
145．[英]科林沃德．艺术原理．中国社会科学出版社．1985．
146．[德]沃林格．抽象与移情．辽宁人民出版社，1987．
147．何乾三．西方哲学家＼文学家＼音乐家论音乐．人民音乐出版社，1988．
148．肖川．教育的理想与信念．岳麓书社，2002．
149．张人杰，王卫东．20世纪教育学名家名著．广东高等教育出版社，2002．
150．[德]福禄贝尔．人的教育．人民教育出版社，1991．
151．刘峰．人与教育．湖南教育出版社，广东教育出版社，1988．
152．国家教委教育发展研究中心，中国教科文组织全委会．未来教育面临的困惑与挑战．人民教育出版社，1991．
153．安徽师大美育教研室．审美教育．光明日报出版社，1987．
154．马福生．教育的思考．山西人民教育出版社，1987．
155．杨恩寰．审美教育学．辽宁师大出版社，1987．
156．赵伶俐．高校美育——美的人生设计与创造．西南师大出版社，1995．
157．张滕霄．教育哲学漫谈．人民教育出版社，1996．
158．李燕．文化释义．人民出版社，1996．
159．蔡春．教育人学论纲——教育的人学视野．人民教育出版社，2000．
160．管建华．中国音乐审美的文化视野．中国文联出版公司，1995．
161．萧梅，韩锺恩．音乐文化人类学．广西科学技术出版社，1993．
162．高尔泰．美是自由的象征．人民文学出版社，1986．
163．[美]贝内特·雷默．音乐教育的哲学．人民音乐出版社，2003．
1．刘伟林．21世纪：美育与人学．华南师范大学学报．1998，2．
2．王国健．美育的实现与教育观念的更新．华南师范大学学报．1998，2．
3．柯汉林．审美教育与人的文化性格的革命．华南师范大学学报．1998，2．
4．崔大江．审美教育与现代人的精神建构．华南师范大学学报 1998，2．
5．刘学兰．论美育的心理学价值．华南师范大学学报．1998，2．
6．谢嘉幸．面对二十一世纪的中国音乐学术共同体．全国音乐教育学研讨会论文．1999，5．
7．潘必新．论美育的使命．哲学研究．2000，6．
8．张桂菊．美育与情商．美育园地．1998，7．
9．周岩，郭翠香．论美育的道德培养优势．教育理论与实践．1998，6
10．柳松．美育的目标与文化选择．教育理论与实践．1999，10
11．徐碧辉．美育：一种生命和情感教育．哲学研究．1996，12．
12．周冠生．美育的今天明天与昨天——对美育概念及其在教育中地位之我见．上海师范大学学报．1998，3．
13．赵伶俐，余力新．当代美育研究的主要课题与问题．西南师范大学学报．1998，1．
14．于淑云．迈向21世纪的学校美育的价值取向——兼论美育与素质教育的关系．中国教育学刊1998，5．
15．叶澜．时代精神与新教育理想的构建教育参考．1994，4\5．
16．叶朗．把美育正式列入教育方针是时代的要求．教学与教材研究．1996，8
17．赵伶俐．论美育目标及目标分类体系．西南师范大学学报．1995，3．
18．李新生．艺术教育中的文化意义．艺术教育．2004，5．
19．赵祖达．美育与思想教育．光明日报．2000，3．
20．张燕云，靳黎明．造就全面发展的新人迎接知识经济时代到来．中国教育报．1998，8
21．周冠生．试论艺术教育与美学教育——关于审美素质系统与结构的思考．教育研究．1996，11．
22．张卫良．从美的主体差异性看美育的重要性．有色金属高教研究．1995，2．
23．杜卫．美育与创新教育．教育研究．1999，9．
24．赵伶俐．审美化教学论．西南师范大学学报．2000，9．
25．滕守尧．美育——教育现代化的关键．北京大学学报．1995，2．
26．唐兵．当代中国美育观念演变历程考察．西南师范大学学报．2000，9．
27．李家成．论教育活动中的美感获得．华东师范大学．教育探索．2000，8．
28．汪宏．近现代中国美育两次发展高潮比较与启示．西南师范大学学报 2000，9．
29．吴禹春．加强学校艺术教育，培养全面发展人才．中小学教师培训．2000，4．
30．马新宇．美育对完全人格塑造的作用．河南大学学报．1998，5．
31．范琰．艺术教育是完善人的价值的基本途径．南京社会科学．1998，8．
32．闫慧娟．谈美育与艺术教育．阜阳师范学院学报．1999，3．
33．戈晓毅．论美育和素质教育．东南大学学报．1999，1．
34．王旭晓．人才素质与美育．福州师专学报．2000，2．
35．宮承波．蔡元培美育思想的基本内容．山东大学学报．2000，1．
36．王汶成．九十年代以来中国美育的发展走向与对策．山东大学学报．2001，1．
37．袁济喜．审美教育与当代人文话题．东方．2000，4．
38．马征．美育与个体创造性的培养．青海民族学院学报．2000，2．
39．郭道成．架起美育与创新教育的桥梁．安徽教育论坛．2000，1．
40．林加挺，苏霍姆斯基论美育在全面发展教育中的地位，中外教育．2001，26．
41．孙丽涛，刘传厂．诹议美育在教育中的地位和作用．山东教育．2000，5．
42．傅爱国．美育：学校教育不可或缺的内容．安徽教育．2000，7-8．
43．洪祥生．蔡元培美育思想简论．安徽教育学院学报．2000，5．
44．修海林．美育的价值取向问题．音乐研究．1996，4．
45．刘士林．论审美教育哲学的历史结构．黄淮学刊．1996，4．
46．李静．北大的美育传统与音乐教育．北京大学学报．2001，5．
47．袁鼎生．美是主客体潜能的对应性自由实现．广西师范大学报．2000，4．
48．杨恩寰．艺术学与美学的学科分界．辽宁大学学报．2001，4．
49．彭立勋．20世纪中国审美心理学建设的回顾与展望．中国社学．1999，6．
50．谢嘉幸．关于当代中国音乐教育改革的几点思考．音乐周报 2001，10
51．李田．21世纪的美育理念．中国教育报．2002，1．
52．[美]菲力普·阿尔佩．音乐哲学的新趋势—〈美学与艺术评论杂志音乐哲学专辑导言．中央音乐学院学报．2002，1．
53．刘志军．轮发展性课程评价的基本理念．第三次全国课程学术研讨会论文
54．中华涉外网．十五世纪意大利文艺复兴古典主义．
55．杨力．前进中的中国学校艺术教育．中国音乐教育．1991，5．
56．杨立梅．以素质教育观探究国外音乐教育．高教理论战线．1999，10．
57．赵沨．教育是立国之本，美育是树人之本．音乐艺术博览．1988，10．
58．卓吾．我看素质教育．全国教育研讨会论文．2000，5．
59．时晓玲，范绪锋．素质教育：跨世纪的一场深刻变革．中国教育报．2000，11月
60．中华涉外网．近现代学校音乐教育中有关素质教育的一些史迹．伍雍谊
61．中华涉外网．为自己选择一个简单的艺术．
62．汪毓和，孙继南．中国音乐教育．中国大百科全书·音乐舞蹈．1989，4．
63．佩内洛普·史密斯·伍特沃德．亚伯拉罕·哈罗德·马斯洛关于音乐 教育与高峰体验．音乐教育．2002，3．
64
64．中央音乐学院网．音乐何需懂——重塑音乐审美观念．周海宏．
65．潘必新．论美育的使命．美育通讯．2002，2．
66．曾繁仁．论美育的现代使命．美育通讯．2002，2．
67．万光侠．探求马克思主义人学价值与时代视野的融合．哲学原理 1997，6．
68．陈志尚．人学—21的显学．世界教育信息．1996，1．
69．张军．近年来我国人学研究要述．哲学原理．1997，7．
70．叶舒宪．马克思主义人学研究初探．陕西师大学报．1998，3．
71．吴元迈．关于艺术领域的人学思考．文艺报．1982，4．
72．张奎良．马克思主义人学的新课题．哲学原理．1997，6．
73．孙宝林．哲学就是人学驳论．新华文摘．1998，8．
74．黎明．哲学的终结——从神学、哲学到人学(上)．方法．1998，2．
75．黎明．哲学的终结——从神学、哲学到人学(下)．方法．1998，3．
76．增永成．马克思主义人学生命观论略．哲学原理 1998，2．
77．孙宝林．马克思主义哲学与人学．内蒙古社会科学．1997，3．
78．依俊卿．人的成熟与人学的自觉．哲学原理．1997，6．
79．韩庆祥．人学何以可能．哲学原理．1997，3
80．韩庆祥．人学是时代的声音——当代人类发展的深层问题与人学回应．哲学原理．1998，5．
81．依俊卿．人发展状况批判与人学主体的确立．哲学原理．1998，5．
82．欧阳康．中西哲学比较与当前我国的人学研究．哲学原理．1998，5．
83．王锐生．当代人类发展与21世纪的价值选择．哲学原理．1998，5．
84．袁贵仁．人的素质与当代中国发展．哲学原理．1998，5．
85．张立波．人学问题研究新进展．教学与研究．1998，3．
86．孔伟．人学问题研究新进展．教学与研究．1997，4．
87．李火林．论艺术掌握世界的方式的特殊性及其人学意义．青海社会科学报．1996，1．
88．黄枫森．关于构建人学的几点设想．社会科学战线．1989，3．
89．高青海，孟宪忠．人学论纲．吉林社会科学 1988，12．
90．邓晓芒．人学实践论(美学纲要)．当代文艺思潮．1987，2．
91．韩庆祥．当代中国的人学研究．光明日报．2001，11．
92．赵玲，张治平．关于音乐教育的人学思考．星海音乐学院学报．2001，6．
93．王啸．作为人学的教育学．高等师范教育研究．2002，5．
94．唐兵．从人学角度论教育本质．思茅高等师专学报．2000，6．
95．李欣复．传统人学价值观再讨论．青海社会科学．1997，6．
96．于跃．传统文化中的人文精神．辽宁师范大学学报．1997，3．
97．罗尧．从人学视野审视儒家文化．博览群书．2001，5．
98．黄正泉．中国古代人学思想总结与终结．中国哲学．2000，7．
99．赵汀阳．理解20世纪的精神财富．国际经济评论．1997，6．
100．柏元海．论人生的基本规律．哲学原理．1997，6．
101．唐正东．人学的实践唯物主义视界．哲学原理．1997，3．
102．衣俊卿．人类发展状况与人学主题．哲学原理．1998，5．
103．周忠厚．马克思主义美学的实践观点．新华文摘．1983，6．
104．刘国权．人的全面发展与它的新实践．哲学原理．1998，7．
105．韩庆祥．人学与精神文明的实效性．哲学原理．1997，6．
1、Music Activitice in Early Childhood John M. Feierabend 1990 MENC
2、The Psychology of Music Teaching Edwin Gordon1971 by Prentice—Hall, Inc.
3、Secondary School Music (Philosophy, Theory and Practice) 1970 by Prentice—Hall, Inc.
4、A Guide to Research in Music Education Roger P. Phelps 1993 by The Scarecrow Press, Inc.
5、Experimental Research in Music Clifford K. Madsen 1970 Prentice—Hall, Inc.
6、Orff—schulwer (Applications for the Classroom) Brigitte Warner 1991 by Prentice—Hall, Inc.
7 Psychological Foundations of Musical Behavior Radocy and J. David Boyle 1988 by Charlesc Thomas. Publisher
8 Applications of Research in Music Behavior Clifford K. Madsen and Carol A Prickett 1987 by The Uni. Of Alabama Press
9 Discipline in the Music Classroom R. Louis Rossman 1990 MENC
10 A Cross-Cultural Guide to Music Teaching and Learning Patricia Shehan Campell 1991 by Schirme Books
11 Nurtured by Love Suzuki 1980 by Prentice-Hall, Inc.
12 Introduction to the Music and Brain Don G. Compell 1992 by Prentice-Hall, Inc.
13 The National Standards for Arts Education 1994 by MENC
14 Technology for Music Educators Charles G. Boody 1990 MENC
15 Teaching Music Darwin E. Walker 1990 MENC
16 Is Early Childhood Music Study for Every Child Elaine Harriss 1997 Issue of keyboard Companion magazine
17 Making the Case for Music Education Article by 1999 Education world
18 Making the National Standards Work for You Standards and Assessment from 2000 MENC Home Page U.S.
19 Introdution: The premise of learning Through Music Larry Scripp Jurnal For Learning Through Music Spring 2000 P2
20 Integrity in Integrative Programs:A Challenge to Learning Through Music Sam Hope Same up P12
21 Cross-Culture Alternatives for Music in Education
George Santayana Same up P1622 Music and Multiculturelism: Dimensions,Difficulties, and Delights Warren Sender & Lyle Davidson Same up P1823 Introducing Multiple Representation of Music into the Elementary School Curriculum Lrry Scripp Same up P2824 Music, Math and Science: Toward an Integrated Curriculum Jeanne Bamberger Same up P3225 What Happens When Two Elementary School Meet a Symphony Orchestra Larry Scripp Same up P4226 Building Learning Through Music Communities: How Performing Musicians Can Work With Public Elementary Schools John Tyson Same up P4427 Assessment.Accountability and Learning Through Music Practices Larry Scripp Same up P5028 Learning Through Music Porfolios in Elememntary School Shawn Crouch & Andrea Norton Same up P5629 Mental Stretching in Action: Reaserch ang Program Dvelopment at the Conservatory Lab Charter School Larry Scripp Same up P6830 Music, Learning, and Behavior: A Case for Mental Stretching Martin Gaediner Same up P 72 31 Implications of Learning Through Music for Public Education Larry Scripp Same up P94 32 Music in Society: The Evolving Story of a Powerful Presence Eileen Tate Cline Same up P9834 The Developmental Psychology Of MusicDavidn J.Hargreaves Cambridge University Press, 200135 Test Information Booklet (Volume 6 :Communication and Performing Arts)Massachusetts Department of Education, 200136 Meeting the Highly Qualified Teeport on Teaachers Challenge (The Secreary's Annual Report on Teacher Quality) U.S. Department of Education Office Postsecondary Education 2002
37 Learning for the 21st Century (A Report and Mile Guide for 21st Century Skills) www.21st Centuryskills.org 2002
38 MileGuidefor 21s' Century Skills www.21st Centuryskills.org 2002
39 Envisioning Arts Assessment (Process Guide for Assessing Arts Education in School Districts and States) Nancy Pistone A Publication of the Arts Education Partnership 2002
40 Learning Though Music New England Conservatory 2002
41 Learning Though Music (Curriculum Sample) New England Conservatory 2002
42 A User's Guide to the Brain John J. Ratey, Vintage Books, New York, 1994
43 In a New Key: Reinventing Music Education Scripp Larry Harvard Graduate School of Education, Nov. 1, 2000
44 No Child Left Behind www.doe .mass.edu 2002
44 Arts Curriculum Framework: The Practice Of Creating www.doe .mass.edu 1996
45 What Type Of Musical Practice Makes A Student Perfect? Gary E. McPhersonMcPherson, G. E. (1999). Proceedings of the XII National Conference for the Australian Society for Music Education held at Sydney University, July 9-13, 1999. ISBN 0 9596304 9 X.
46 The effects of different practice techniques upon technical accuracy and musicality in student instrumental music performance Barry, N.H. (1990). Research Perspectives in Music Education, 1.
47 The effects of practice strategies, individual differences in cognitive style, and gender upon technical accuracy and musicality of student instrumental performance Barry, N.H.( 1992) Psychology of Music, 20.
48 The extent to which parental supervision and other selected factors are related to achievement of musical and technical-physical characteristics by beginning instrumental music students Brokaw,J.P. (1983). (Doctoral dissertation, University of Michigan, 1983). Dissertation Abstracts International, 43, 3252A.
49 The Art of Practising: A Guide to Making Music from the Heart Bruser, M. (1997). New York: Bell Tower
50 Novice musicians'approaches to practice and performance: Learning new music Hallam, S. (1994). Newsletter of the European Society for the Cognitive Sciences of Music, 6.
51 How important is time in learning? An investigation of the predictors of achievement and drop out in instrumental tuition Hallam, S. (1996). Paper presented at Music, the Mind and Education, conference of the Society for Research in Psychology of Music and Music Education, Cambridge, 23-24th March, 1996
52 Learning to learn: A fine idea but does it Work? Howe, M. (1991). British Psychological Society, Education Section Review, 15(2)
53 Teaching / learning strategies in instrumental practice Paper presented at the Third RAIME (Research Alliance of Institutes for Music Education) Symposium, Florida State University, Tallahassee, Florida, 6-10th April Jorgensen, H. (1995). Published in J. A. Taylor (Ed.), Transatlantic roads in music education: World Views. Center for Music Research, Florida State University, 1997.
54 Musical performance: Learning theory and pedagogy Kohut,D. L. (1985). Englewood Cliffs, New Jersey: Prentice-Hall.
55 Motivational and self-regulated learning components of musical practice (pp. 121 -130). McPherson, G. E., & McCormick, J. (1998). In T. Murao (Ed.), Proceedings of the 17th Research Seminar of the International Society for Music Education. Hosted by the School of Music, University of Witwatersrand, Johannesburg, South Africa, July 11-17, 1998.
56 The young performing musician. (pp. 171-190). In I. Deliege, & J. A. Sloboda (Eds.), Sloboda, J. A., & Davidson, J. W. (1996). The origins and development of musical competence. Oxford University Press .
57 "Practice makes perfect": The effects of piece and ability level on performance preparation (pp. 323-328). Williamon, A., & Valentine, E. (1988). In Suk Won Yi (Ed.), Proceedings of the 5th International Conference on Music Perception and Cognition, August 26-30, 1998, Seoul National University, Korea.
58 The use of behavioural contracts in music instruction (pp. 43-50). In C. K. Madsen & C. A. Prickett (Eds.) Wolfe, D. E. (1984). Applications of research in music behavior, Tuscaloosa, Alabama: University of Alabama Press
59 The developing child (6th ed.)Bee, H. (1992) New York: Harper Collins.
60 Teacher expectations in infant school: associations with attainment and progress, curriculum coverage and classroom interaction Blatchford, P., Burke, J., Farquhar, C, Plewis, I., & Tizard, B. (1989). British Journal of Educational Psychology, 59.
61 American adolescents and music videos: Why do they watch? Brown, E.F., Campbell, K., & Fischer, L. (1986) Gazette, 37, Training the talented. Burland, K., & Davidson, J.W. (submitted)
62 The role of parents and teachers in the success and failure of instrumental learners J. W., Sloboda, J. A., & Howe, M. J. A. (1995/1996 Winter). Bulletin of the Council for Research in Music Education, 127, Special Issue: The 15th ISME International Research Seminar.
63 The role of parental influences in the development of musical ability Davidson, J. W., Howe, M. J. A, Moore, D. M., & Sloboda, J. A. (1996). British Journal of Developmental Psychology. 14.
64 Environmental factors in the development of musical performance skill over the life span In D. J. Hargreaves & A. C. North (Eds.), Davidson, J. W., Howe, M. J. A., & Sloboda, J. A. (1997). The social psychology of music (pp. 188-206). Oxford: Oxford University Press
65 The role of teachers in the development of musical ability Davidson, J. W., Howe, M. J. A., Moore, D. M., & Sloboda, J. A. (1998). Journal of Research in Music Education, 46 (1),
66 Seeds of a false consciousness Davies, J.B. (1994) The Psychologist, 7(7), DeCasper, A.
67 Human Development (2nd edition) Gardner, H. (1982), Boston: Little, Brown and Company.
68 Time specific and cohort specific influences on musical development Gembris, H. (1997).Polish Quarterly of Developmental Psychology, 3(1)
69 The nature, description, measurement, and evaluation of music aptitudes Gordon, E. E. (1986). Chicago: GIA.
70 A music learning theory for newborn and young children Gordon, E. E. (1990). Chicago: GIA. 71 Instrumental teaching Hallam, S. (1998). Oxford: Heinemann.
72 Musical development and learning: The international perspective Hargreaves, D. J., & North, A. J. (2001) (Eds) London: Cassel.
73 An examination of foetal learning before and after birth Hepper, P.G. (1991).Irish Journal of Psychology, 12,
74 Are there early childhood signs of musical ability? Howe, M. J. A., Davidson, J. W. Moore, D. M., & Sloboda, J. A. (1995). Psychology of Music, 23,
75 Mass media and children's development In Damon, W., Sigel, I. E. & Renninger, K. A. (Eds.), Handbook of child psychology (5 th Edition), Vol. 4: Child Psychology in Practice (pp. 999-1058). Huston, A. C.& Wright, J. C. (1998). New York: Wiley.
76 Prenatal auditory experience In I. Deliege & J. A. Sloboda (Eds.),Lecanuet, J.P. (1996). Musical beginnings: Origins and development of musical competence (pp. 3-34). Oxford: Oxford University Press.
77 Listeners communicative uses of popular music In J. Lull (Ed.), Lull, J. (1987). Popular Music and Communication (pp. 140-174), Newbury Park: Sage.
78 Mothers and infants communicative musicality Musicae Scientiae Malloch, S. N. (1999/2000). Special Issue: Rhythm, Musical Narrative, and Origins of Human Communication
79 The development of musical ability Noy, P. (1968). The Psychoanalytic Study of the child, 23.
80 The social psychology of music education In D. J. Hargreaves & A. C. North (Eds.), The social psychology of music (pp. 290-305).Olsson, B. (1997). Oxford: Oxford University Press
81 The essentials of keyboard pedagogy: I. Sight-reading and musical literacy. Pace, R. (1999).Chatham, New York: Lee Robert's Music.
82 Beginning of human musicality In R. Steinberg (Ed.), Music and the mind machine: The psychophysiology and psychopathology of the sense of music (pp. 27-34). Papousek, H., & Papousek, M. (1995). Berlin: Springer.
83 Intuitive parenting: A hidden source of musical stimulation in infancy In I. Deliege & J. A. Sloboda (Eds.), Musical beginnings. Origins and development of musical competence (pp. 88-112). Papousek, M. (1996). Oxford: Oxford University Press.
84 The genetics of cognitive abilities and disabilities In S. j. Ceci & W. M. Williams (Eds.), The nature-nurture debate (pp. 178-196). Plomin, R. & DeFries, J. C. (1999) Oxford: Blackwells.
85 Genotype-environment interaction and correlation in the analysis of human behavior Plomin, R., DeFries, J. C, & Loehlin, J. C. (1977). Psychological Bulletin, 84,
86 Talent, teaching and achievement Radford, J. (ed.) (1991) London: Jessica Kingsley.
87 An investigation into the acoustical induction of intrauterine learning D Satt,B.J. (1984). Octoral dissertation, California School of Professional Psychology, Los Angeles.
88 Sociocultural context of individual creativity: A transhistorical time-series analysis. Simonton, K.D. (1975). Journal of Personality and Social Psychology, 32(6),
89 Creative productivity, age, and stress: A biographical time-series analysis of 10 classical composers Simonton, K.D. (1977). Journal of Personality and Social Psychology, 35(11),
90 Home influences on talent development In B. S. Bloom (Ed.), Developing talent in young people (pp. 439-476).
91 Is everyone musical? Sloboda, J. A., Davidson, J. W., & Howe, M. J. A (1994). The Psychologist, 7(8),
92 The role of practice in the development of expert musical performance Sloboda, J. A., Davidson, J. W., Howe, M. J. A., & Moore, D. M. (1996). British Journal of Psychology, 87.
93 The young performing musician In I. Deliege & J. A. Sloboda (Eds.), Musical Beginnings. Origins and Development of Musical Competence (pp. 171-190) Sloboda, J., & Davidson, J. (1996). Oxford: Oxford University Press
94 Learning to be a concert pianist In B. S. Bloom (Ed.), Developing talent in young people (pp. 19-67) Sosniak, L. A. (1985). New York: Ballantine.
95 Nurtured by Love Suzuki, S. (1969). New York: Exposition.
96 Ability development from age zero Suzuki, S. (1981). Athens, Ohio: Ability Development Associates.
97 Musicality and the intrinsic motive pulse: Evidence from human psychobiology and infant communication Musicae Scientiae Trevarthen, C. (1999-2000). Special Issue: Rhythm, Musical Narrative, and Origins of Human Communication,
98 Parental involvement, selected student attributes, and learning outcomes in instrumental music Zdzinski, S. F. (1996) Journal of Research in Music Education, 44,
99 From Child to Musician: Skill development during the beginning stages of learning an instrument Gary E. Mc Pherson University of New South Wales, Sydney
100 From aims to actions: 2. Music Teacher September, 26-27. Baker, D. N. (1969). Addison, R. (1986) Jazz Improvisation. Chicago: Maher Publications.
101 The effects of practice strategies, individual differences in cognitive styles, and sex upon technical accuracy and musicality of student instrumental performance Barry, N. (1990) Ph.D., Florida State University.
102 Measurement and evaluation of musical experiences Boyle, J. D., & Radocy, R. E. (1987). New York: Schirmer Books.
103 The effect of special memory instruction and guided analysis on the memorization efficiency of college brass players Bryant, D. E. (1985) Doctor of Philosophy, University of Oklahoma.
104 Teaching music in the Twentieth century Choksy, L. Abramson, R. M., Gillespie, A. E., & Woods, D. (1986) Englewood Cliffs, New Jersey: Prentice-Hall.
105 Improvising jazz Coker, J. (1964). Englewood Cliffs, New Jersey: Prentice-Hall.
106 Patterns for jazz Coker, J. (1970).Englewood Cliffs, New Jersey: Prentice-Hall.
107 An investigation of achievement in music in the public schools of Sloux Falls, South Dakota Colwell, R. J. (1961) Doctoral dissertation, University of Illinois at Champaign-Urbana.
108 Tools and environments for musical creativity Davidson, L. (1990). Music Educators Journal, 76(9)
109 Music from 5 to 16: Curriculum matters 4 Department of Education and Science. (1990) London: Her Majesty's Stationery Office.
110 A comparison of verbal instruction and nonverbal teacher-student modeling in instrumental ensembles Dickey, M. R. (1991) Journal of Research in Music Education, 39(2)
111 A correlation study of keyboard sightreading facility with previous training, note-reading, psychomotor, and memorization skill Eaton, J. (1978). Doctoral dissertation, Indiana University.
112 The relationships among instrumental sight-reading ability and seven selected predictor variables Elliot, C. A. (1982). Journal of Research in Music Education, 30(1)
113 Relationships among ensemble participation, private instruction, and aural skill development Elliot, C. A., & May, W. V. (1980) Journal of Research in Music Education, 28(3)
114 The Crane symposium: Toward an understanding of the teaching and learning of music performance Fowler, C. (Ed.). (1988) Potsda, New York: Potsdam College of the State University of New York.
115 Harmonization at the piano Frackenpohl, A. (1985). (5th ed.). Dubuque, Iowa: Wm. C. Brown.
116 The individualized instructor: Sing, drum and play Froseth, J. O. (1984). Chicago: G.I.A. Publications.
117 A longitudinal study of the relationship of melodic ear-to-hand coordination and selected indices of musical achievement at the University of Michigan School of Music Froseth, J. O. (1985) Research presented to the Dean and Executive Committee of the School of Music: University of Michigan, Ann Arbor.
118 Test of melodic ear-to-hand coordination Froseth, J. O. (1987). Chicago: G.I.A. Publications.
119 Studies in creative musicianship: Ear training for musical improvisation Froseth, J., Blaser, A. (1980)Levels 1 & 2, Chicago: G.I.A. Publications
120 An investigation of divergent production abilities as constructs of musical creativity Gorder,W.D. (1976). Ed.D., University of Illinois at Urbana-Champaign.
121 Divergent production abilities as constructs of musical creativity Gorder, W. D. (1980). Journal of Research in Music Education
122 Learning sequences in music Gordon, E. E. (1989). Chicago: GIA Publications
123 Jump right in: The instrumental series Grunow, R. F. (1988). Chicago: GI.A. Publications
124 Rehearsal skill and musical competence: Does practice make perfect? (91-112). In J. A. Sloboda (Ed.). Generative processes in music Gruson, L M. (1988). Oxford: Clarendon Press.
125 The nature of human intelligence Guilford, J. P. (1967). New York: McGraw-Hill.
126 Handbook for examiners. (1990). Issued by the Music Examiners Advisory Board of New South Wales: Australian Music Examinations Board.
127 The developmental psychology of music Hargreaves, D. J. (1986).Cambridge: Cambridge University Press.
128 Making music for the joy of it: Enhancing creativity, skills, and musical confidence Judy, S. (1990). Los Angeles: Jeremy P. Tarcher, Inc.
129 Musical performance: Learning theory and pedagogy Kohut, D. L. (1985). Englewood Cliffs, New Jersey: Prentice-Hall.
130 Structuring the music curriculum for creative learning Kratus, J. (1990). Music Educators Journal, 76(9)
131 Music, memory, and thought Ann Kratus, J. (1990) Arbor, MI: University Microfilms International
132 Sight-reading and ear playing abilities related to the training and backgrounds of instrumental music students Luce, J. R. (1958). Doctoral dissertation, University of Nebraska, Lincoln, Nebraska.
133 Sight-reading and ear playing abilities as related to instrumental music students Luce, J. R. (1965). Journal of Research in Music Education,XIII(2)
134 A multitrait-multimethod investigation of the relationship between music memory and spatial memory Maggio, M. S. (1989). Ph.D., Texas A & M University.
135 Kinaesthetic factors in the recall of musical experience Mainwaring, J. (\933).British Journal of Psychology, XXIII(3)
136 The meaning of musicianship: A problem in the teaching of music Mainwaring, J. (1941)..British Journal of Educational Psychology, XI(3)
137 An investigation of the effects of matching timbre and training on melodic ear-to-hand coordination of college music majors Markovich, V. A. (1985). Doctoral dissertation, University of Michigan.
138 Factors and abilities influencing the development of visual, aural and creative performance skills in music and their educational implications McPherson, G E. (1993). Ph.D., University of Sydney, Australia. UMI Order No. 9317278.
139 Evaluating improvisational ability of high school instrumentalists McPherson, G. E. (1993/4). Council for Research in Music Education
140 Contributions of selected music skills to music sight-reading achievement and rehearsed reading achievement Miller, R. E. (1988). Ed.D., University of Illinois at Urbana-Champaign.
141 Technique and creativity - part 5 Morris, K. (1991). Music Teacher, 70(1)
142 Memorization of piano music Nuki, M. (1984). Psychologia, 27
143 Aural awareness: Principles and practice Pratt, G (1990). Milton Keynes: Open University Press.
144 Playing by ear: An investigation of the phenomenon and of its potential for instrumental learning as part of music education Priest, P. (1988). M.Phil., Institute of Education, University of London
145 Playing by ear: Its nature and application to instrumental learning Priest, P. (1989). British Journal of Music Education, 6(2)
146 Principles and problems of music education Regelski, T. A. (1975).Englewood Cliffs, NJ: Prentice-Hall
147 Memorizing piano music: What the research offers teachers Reichling, M. (1989). Update, 8(1)
148 The effectiveness of mental practice in improving the performance of college trombonists Ross, S. L. (1985). Journal of Research in Music Education, 33(4)
149 The influence of analytical prestudy in memorizing piano music Rubin-Rabson, G. (1937). Archives of Psychology, 31
150 Studies in the psychology of memorizing piano music I: A comparison of the unilateral and the coordinated approaches Rubin-Rabson, G. (1939). Journal of Educational Psychology
151 Studies in the psy chology of memorizing piano music II: A comparison of massed and distributed practice Rubin-Rabson, G. (1940a). Journal of Educational Psychology, 31
152 Studies in the psychology of memorizing piano music III: A comparison of the whole and the part approach Rubin-Rabson, G. (1940b). Journal of Educational Psychology, 31
153 Studies in the psychology of memorizing piano music IV: The effect of incentive. Rubin-Rabson, G (1941a). Journal of Educational Psychology, 32
154 Studies in the psychology of memorizing piano music V: A comparison of prestudy periods of varied lengths Rubin-Rabson, G. (1941b). Journal of Educational Psychology, 32
155 Studies in the psychology of memorizing piano music VI: A comparison of two forms of mental rehearsal and keyboard overlearning Rubin-Rabson, G. (1941c). Journal of Educational Psychology, 32
156 Studies in the psychology of memorizing piano music VII: A comparison of three degrees of overlearning Rubin-Rabson, G (1941d). Journal of Educational Psychology, 32
157 Studies in the psychology of memorizing piano music VIII: The inhibitory influence of the same and of different degrees of learning Rubin-Rabson, G (1947). Journal of Musicology, 5
158 A sound approach to teaching instrumentalists: Application of content and learning sequences Schleuter, S. L. (1984). Kent, OH: The Kent State University Press.
159 An experimental approach to the memorization of piano music with implications for music reading Shockley, R. P. (1980). Doctoral dissertation, University of Colorado
160 Generative processes in music: The psychology of performance, improvisation, and composition Sloboda, J. A. (1988). Oxford: Clarendon Press.
161 The effect of a sight reading pacer machine upon the sight reading ability of college wind instrumentalists Streckfuss, R. J. (1984). Doctoral dissertation, Catholic University of America, Washington.
162 A sequence of musical development: A study of children's compositions Swanwick, K., & Tillman, J. (1986). British Journal of Music Education, 3(3)
163 Creative music in education Thackray, R. M. (1968).London: Novello.
164 Some thoughts on aural training Thackray, R. M. (1975). Australian Journal of Music Education, 17
165 Aural awakening Thackray, R. M. (1978). Perth, Western Australia: University of Western Australia Press.
166 Music as model and metaphor in the cultivation and measurement of creative behavior in children Vaughan,M. M. (1971). Doctoral dissertation, University of Georgia, Athens, Georgia.
167 The Watkins-Farnum performance scale: A standardised achievement test for all band instruments Watkins, J. G, Farnum, S. E. (1954). Winona, Minn.: Hal Leonard Music, Inc.
168 A factor of intellect approach, to creative thinking in music Webster, P. R. (1977). Doctoral of Philosophy, Eastman School of Music, The University of Rochester.
169 Relationship between creative behavior in music and selected variables as measured in high school students Webster, P. R. (1979). Journal of Research in Music Education, 27
170 Refinement of a measure of musical imagination in young children and a comparison to aspects of musical aptitude Webster, P. R. (1983). Paper presented at the Armington Symposium, Case Western Reserve University, Cleveland, OH.
171 Refinement of a Measure of Creative Thinking in Music In C. L. Madsen & C. A Prickett (Eds.). Applications of research in music behavior Webster, PR. (1987). Tuscaloosa, Alabama: University of Alabama Press.
172 Creative thinking in music: The assessment question (40-74) In Richmond, J. W. (Ed.). The proceedings of the suncoast music education forum on creativity. Webster, P. R. (1989). Tampa: University of South Florida.
173 The effect of instruction in music composition strategies on middle school band students' ability to improvise melodies Wig, J. A. (1980). Doctor of Education, Pennsylvania State University.
174 The effect of sleep and time on music memory Wilson, J. P. (1983). Doctoral dissertation, California State College, Stanislaus.
175 The Arts and The Creation of Mind James G. Henderson (2002). New Haven, Yale University Press.
2．21世纪教育委员会．教育——财富蕴藏其中．教育科学出版社，1999．
3．贺志朴，姜敏．艺术教育学．人民出版社，2001．
4．杜时忠．科学教育与人文教育．华中师范大学出版社，1998．
5．曾田力．音乐——生命的沉醉．北京大学出版社，1996．
6．瞿葆奎．教育基本理论之研究．福建教育出版社，1998．
7．柳海民．教育原理．东北师范大学出版社，2000．
8．范明华．自由之门——美学启示录．湖北人民出版社，1999．
9．[美]帕森斯·布洛克．美学与艺术教育．四川人民出版社，1998．
10．修金堂．音乐美学引论Ⅰ音乐本体——属性论．黑龙江教育出版社，1996．
11．丁亚平．艺术文化学．文化艺术出版社，1997．
12．姚全兴．生命美育．上海教育出版社，2001．
13．杨适．中西人论的冲突——文化比较的一种新探求．中国人民大学出版社，1998．
14．[德]恩斯特·卡西尔．人论．上海译文出版社，1998．
15．涂艳国．走向自由——教育与人的发展问题研究．华中师范大学出版社，1999．
16．王义高．当代世界教育思潮与各国教改趋势．北京师范大学出版社，2000．
17．张华．课程与教学论．上海教育出版社，2001．
18．邬志辉．中国教育现代化新视野．东北师范大学出版社，2000．
19．高清海．哲学的奧秘．吉林人民出版社，2000．
20．[奧]茨达齐尔．教育人类学原理．上海教育出版社，2001．
21．王铁军．现代教育思潮．南京大学出版社，2000．
22．蒋冰海．美育学导论．上海人民出版社，2001．
23．杨韬．时代精神的精华——中外哲学名著导读．哈尔滨工业大学出版社，1998．
24．郭声健．艺术教育．教育科学出版社，2001．
25．廖家骅．音乐审美教育．人民音乐出版社，1993．
26．孙佳宾．适度的诠释——音乐美学散论．吉林教育出版社，1999．
27．华东师大教育系，杭州大学教育系．现代西方资产阶级教育思想流派论著选．人民教育出版社，2000．
28．联合国教课文组织国际教育发展委员会．学会生存——教育世界的今天和明天．教育科学出版社，1999．
29．夏甄陶．人是什么．商务印书馆，2000．
30．俞玉滋，张援．中国近现代美育论文选．上海教育出版社，1999．
31．何立．美学与美育辞典．学苑出版社，1999．
32．徐希茅，傅利民，邹建林，杨九华．音乐美育．上海教育出版社，2001．
33．[美]艾里克·普斯．经历艺术——生活的第二张面孔．知识出版社，2000．
34．沈建军．音乐与智力．华中理工大学出版社，1997．
35．黎乔立．审美生理学．广东人民出版社，2000．
36．蔡正非．美育心理学．中国社会科学出版社，1999．
37．沈建军．音乐与超常规思维．华中理工大学出版社，1997．
38．杨平．多维视野中的美育．安徽教育出版社，2000．
39．杜卫．美育论．教育科学出版社，2000．
40．尹爱青．外国儿童音乐教育体系．上海教育出版社，1999．
41．尹爱青．当代音乐教育体系与教学法．东北师范大学出版社，1999．
42．郑雪．人格心理学．暨南大学出版社，2001．
43．盛天启．艺与美的旋律——美学卷．中共中央党校出版社，1998．
44．曹理等．音乐学科教育学．首都师范大学出版社，2000．
45．张肖虎．音乐教育学论稿．人民教育出版社，1998．
46．吴跃跃．音乐教育协同理论与素质培养．湖南教育出版社，1999．
47．王昌奎，叶子．音乐审美教育理论与方法．气象出版社，1996．
48．中华人民共和国教育部．音乐课程标准．北京师范大学出版社，2001．
49．中华人民共和国教育部．艺术课程标准．北京师范大学出版社，2001．
50．邓小平文选第三卷．人民出版社，1993．
51．拒绝遗忘—钱理群文选．汕头大学出版社，1999．
52．腾守尧．审美心理描述．四川人民出版社，1998．
53．冯友兰．中国哲学史新编(中)．人民出版社，1998．
54．张立文．新人学导论．广东人民出版社，2000．
55．高清海，胡海波，贺来．人的「类生命」与「类哲学」——走向未来的当代哲学精神．吉林人民出版社，1998．
56．韩秋红，陈爱梅．黑格尔之后——现当代西方哲学．吉林音像出版社，2003．
57．朱存明．情感与启蒙．西苑出版社，2000．
58．何新．艺术分析与美学思辩．时事出版社，2001．
59．茅原．未完成音乐美学．上海人民出版社，1998．
60．齐易，张文川．音乐艺术教育．人民出版社，2002．
61．[美]约翰·耐斯比特，帕特里夏·阿伯丁．2000年大趋势．经济日报出版社，1990．
62．[美]苏珊·郎格．情感与形式．中国社会科学出版社，1986．
63．余碧平．现代性的意义与局限．上海三联书店．2000．
64．柏西·布克．音乐家心理学．人民音乐出版社，1988．
65．李泽厚．美的历程．广西师范大学出版社，2002．
66．[德]黑格尔．美学第二卷，第三卷上册．商务印书馆，1979．
67．邹爱民．音乐教育学．人民音乐出版社，1996．
68．[英]伯特兰·罗素．西方的智慧．商务印书馆，1999．
69．刘雨．艺术经验论．东北师范大学出版社，1998．
70．王霁．马克思主义与当代社会思潮．中国人民大学出版社，1995．
71．王耀华，伍湘涛．音乐鉴赏．高等教育出版社，2000．
72．人民音乐出版社编辑部．音乐社会学．人民音乐出版社 1997．
73．季羡林，张光璘．东西文化议论集上下册．经济日报出版社，1997．
74．朱光潜．西方美学史上下卷．人民文学出版社，1979．
75．柳海民．现代教育理论进展．东北师范大学出版社，2001．
76．李范．美育的现代使命．北京师范大学出版社，1998．
77．何顺果 人类文明的历程．高等教育出版社，2000．
78．[苏]克列姆辽夫．音乐美学问题概论．人民音乐出版社，1986．
79．[美]爱德温·戈登．论儿童音乐才能的发展基础．上海音乐出版社，1989．
80．卢合芝，李敏娜．音乐教学心理学编译．湖南教育出版社，1991．
81．冉云飞．沉疴．南方出版社，1999．
82．宗白华．艺境．北京大学出版社，1987．
83．[英]马丁·霍利斯．人的模式．辽宁人民出版社，1989．
84．管建华．中国音乐审美的文化视野．中国文联出版公司，1995．
85．汝信．西方美学史论丛续编．上海人民出版社，1983．
86．戴里克·柯克．音乐语言．人民音乐出版社，1987．
87．瞿葆奎．美育．人民教育出版社，1989．
88．钟子林．何乾三音乐美学文稿．中央音乐学院学报社出版，1999．
89．[美]休斯顿·史密斯．人的宗教．海南出版社，2001．
90．蔡仲德．音乐与文化的人本主义思考．广东人民出版社，1999．
91．丹纳．艺术哲学．人民文学出版社，1983．
92．詹姆士·L·穆塞尔，梅贝尔·格连．中小学音乐课教学法．四川人民出版社，1983．
93．张天宝．主体性教育．教育科学出版社，1999．
94．袁贵仁．人的哲学．工人出版社，1988．
95．易中天，陈建娜，董炎，郭勇健，徐强．人的确证——人类学艺术原理．上海文艺出版社，2001．
96．曹理．普通学校音乐教育学．上海教育出版社，1993．
97．易中天．艺术人类学．上海文艺出版社，2001．
98．李景源．关于人的学说的哲学探讨．人民出版社，1982．
99．[美]托马斯·内格尔．人的问题．上海译文出版社，2000．
100．韩庆祥，邹诗鹏．人学——问题的当代阐释．云南人民出版社，2002．
101．王宁一，杨和平．二十世纪中国音乐美学文献选(1900-1949)．现代出版社，1996．
102．刘建军．演进的诗化人学．东北师范大学出版社，1998．
103．[德]弗里德里希·席勒．审美教育书简．上海人民出版社，2003．
104．胡军．哲学是什么．北京大学出版社，2002．
105．孙正聿．哲学导论．中国人民大学出版社，2001．
106．张志伟，欧阳谦．西方哲学智慧．中国人民大学出版社，2002．
107．金亚文．音乐新课程与示范教学案例．东北师范大学出版社，2003．
108．郭声健．艺术教育论．上海教育出版社，1999．
109．黄济．教育哲学通论．山西教育出版社，1998．
110．袁贵仁．马克思的人学思想．北京师范大学出版社，1996．
111．华东师范大学《马克思恩格斯论教育》编译小组编译．马克思恩格斯论教育上卷．人民教育出版社，1986．
112．蒋一民．音乐美学．东方出版社，1997．
113．[美]赫伯特·马尔库塞．审美之维．广西师范大学出版社，2001．
114．金生鉉．理解与教育—走向哲学解释学的教育哲学导论．教育科学出版社，1999．
115．张前．音乐欣赏心理分析．人民音乐出版社，1987．
116．[波兰]卓菲娅·丽萨．音乐美学新稿．人民音乐出版社，1992．
117．黎乔立．审美生理学．广东人民出版社，2000．
118．李泽厚．中国思想史论(上)．安徽文艺出版社，1999．
119．瞿葆奎．教育与教育学．人民教育出版社，1993．
120．张文勋．儒道佛美学思想探索．中国社会科学出版社，1988．
121．中华人民共和国教育部．普通高中音乐课程标准．人民教育出版社，2003．
122．中华人民共和国教育部．普通高中艺术课程标准．人民教育出版社，2003
123．宗白华．美学散步．上海人民出版社，1981．
124．杨恩寰．审美心理学．东方出版社，1991．
125．魏金声．现代西方人学思潮的震荡．中国人民大学出版社，1997．
126．叶朗．胸中之竹——走向现代之中国美学．安徽教育出版社，1998．
127．何尚．接近天堂的美．广东经济出版社，1999．
128．[苏]康斯坦丁诺夫[保]安盖诺夫等．音乐美学原理．中国文联出版公 司，1987．
12
129．[奧]库尔特·布劳考普夫．永恒的旋律——音乐与社会．上海音乐出版社，1992．
130．[英]H·里德．艺术的真谛．辽宁人民出版社，1987．
131．朱青生．没有人是艺术家，也没有人不是艺术家．商务印书馆，2000．
132．谢嘉幸．走进音乐——音乐鉴赏训练与评估．四川人民出版社，1999．
133．[苏]赞科夫．教学与发展．人民教育出版社，1986．
134．[德]克奈夫．西方音乐社会学现状——近代音乐的听赏和当代社会的音乐问题．人民音乐出版社，2002．
135．邱正伦．艺术美学．西南师范大学出版社，2001．
136．卡西尔．语言与神话，三联书店，1988．
137．曹理，何工．音乐学习与教学心理．上海音乐出版社，2000．
138．文部省．小学学习指导要领解说·音乐编．平成11年．
139．中国高教学会美育研究会．美育通讯．高等教育出版社，2002．
140．让-包罗·萨特．想象心理学．光明日报出版社，1988．
141．傅道春．教育学．教育科学出版社，1999．
142．袁振国．当代教育学．教育科学出版社，1999．
143．张楚廷．教育论．湖南教育出版社，2000．
144．[德]克奈夫等．西方音乐社会学现状．人民音乐出版社，2002．
145．[英]科林沃德．艺术原理．中国社会科学出版社．1985．
146．[德]沃林格．抽象与移情．辽宁人民出版社，1987．
147．何乾三．西方哲学家＼文学家＼音乐家论音乐．人民音乐出版社，1988．
148．肖川．教育的理想与信念．岳麓书社，2002．
149．张人杰，王卫东．20世纪教育学名家名著．广东高等教育出版社，2002．
150．[德]福禄贝尔．人的教育．人民教育出版社，1991．
151．刘峰．人与教育．湖南教育出版社，广东教育出版社，1988．
152．国家教委教育发展研究中心，中国教科文组织全委会．未来教育面临的困惑与挑战．人民教育出版社，1991．
153．安徽师大美育教研室．审美教育．光明日报出版社，1987．
154．马福生．教育的思考．山西人民教育出版社，1987．
155．杨恩寰．审美教育学．辽宁师大出版社，1987．
156．赵伶俐．高校美育——美的人生设计与创造．西南师大出版社，1995．
157．张滕霄．教育哲学漫谈．人民教育出版社，1996．
158．李燕．文化释义．人民出版社，1996．
159．蔡春．教育人学论纲——教育的人学视野．人民教育出版社，2000．
160．管建华．中国音乐审美的文化视野．中国文联出版公司，1995．
161．萧梅，韩锺恩．音乐文化人类学．广西科学技术出版社，1993．
162．高尔泰．美是自由的象征．人民文学出版社，1986．
163．[美]贝内特·雷默．音乐教育的哲学．人民音乐出版社，2003．
1．刘伟林．21世纪：美育与人学．华南师范大学学报．1998，2．
2．王国健．美育的实现与教育观念的更新．华南师范大学学报．1998，2．
3．柯汉林．审美教育与人的文化性格的革命．华南师范大学学报．1998，2．
4．崔大江．审美教育与现代人的精神建构．华南师范大学学报 1998，2．
5．刘学兰．论美育的心理学价值．华南师范大学学报．1998，2．
6．谢嘉幸．面对二十一世纪的中国音乐学术共同体．全国音乐教育学研讨会论文．1999，5．
7．潘必新．论美育的使命．哲学研究．2000，6．
8．张桂菊．美育与情商．美育园地．1998，7．
9．周岩，郭翠香．论美育的道德培养优势．教育理论与实践．1998，6
10．柳松．美育的目标与文化选择．教育理论与实践．1999，10
11．徐碧辉．美育：一种生命和情感教育．哲学研究．1996，12．
12．周冠生．美育的今天明天与昨天——对美育概念及其在教育中地位之我见．上海师范大学学报．1998，3．
13．赵伶俐，余力新．当代美育研究的主要课题与问题．西南师范大学学报．1998，1．
14．于淑云．迈向21世纪的学校美育的价值取向——兼论美育与素质教育的关系．中国教育学刊1998，5．
15．叶澜．时代精神与新教育理想的构建教育参考．1994，4\5．
16．叶朗．把美育正式列入教育方针是时代的要求．教学与教材研究．1996，8
17．赵伶俐．论美育目标及目标分类体系．西南师范大学学报．1995，3．
18．李新生．艺术教育中的文化意义．艺术教育．2004，5．
19．赵祖达．美育与思想教育．光明日报．2000，3．
20．张燕云，靳黎明．造就全面发展的新人迎接知识经济时代到来．中国教育报．1998，8
21．周冠生．试论艺术教育与美学教育——关于审美素质系统与结构的思考．教育研究．1996，11．
22．张卫良．从美的主体差异性看美育的重要性．有色金属高教研究．1995，2．
23．杜卫．美育与创新教育．教育研究．1999，9．
24．赵伶俐．审美化教学论．西南师范大学学报．2000，9．
25．滕守尧．美育——教育现代化的关键．北京大学学报．1995，2．
26．唐兵．当代中国美育观念演变历程考察．西南师范大学学报．2000，9．
27．李家成．论教育活动中的美感获得．华东师范大学．教育探索．2000，8．
28．汪宏．近现代中国美育两次发展高潮比较与启示．西南师范大学学报 2000，9．
29．吴禹春．加强学校艺术教育，培养全面发展人才．中小学教师培训．2000，4．
30．马新宇．美育对完全人格塑造的作用．河南大学学报．1998，5．
31．范琰．艺术教育是完善人的价值的基本途径．南京社会科学．1998，8．
32．闫慧娟．谈美育与艺术教育．阜阳师范学院学报．1999，3．
33．戈晓毅．论美育和素质教育．东南大学学报．1999，1．
34．王旭晓．人才素质与美育．福州师专学报．2000，2．
35．宮承波．蔡元培美育思想的基本内容．山东大学学报．2000，1．
36．王汶成．九十年代以来中国美育的发展走向与对策．山东大学学报．2001，1．
37．袁济喜．审美教育与当代人文话题．东方．2000，4．
38．马征．美育与个体创造性的培养．青海民族学院学报．2000，2．
39．郭道成．架起美育与创新教育的桥梁．安徽教育论坛．2000，1．
40．林加挺，苏霍姆斯基论美育在全面发展教育中的地位，中外教育．2001，26．
41．孙丽涛，刘传厂．诹议美育在教育中的地位和作用．山东教育．2000，5．
42．傅爱国．美育：学校教育不可或缺的内容．安徽教育．2000，7-8．
43．洪祥生．蔡元培美育思想简论．安徽教育学院学报．2000，5．
44．修海林．美育的价值取向问题．音乐研究．1996，4．
45．刘士林．论审美教育哲学的历史结构．黄淮学刊．1996，4．
46．李静．北大的美育传统与音乐教育．北京大学学报．2001，5．
47．袁鼎生．美是主客体潜能的对应性自由实现．广西师范大学报．2000，4．
48．杨恩寰．艺术学与美学的学科分界．辽宁大学学报．2001，4．
49．彭立勋．20世纪中国审美心理学建设的回顾与展望．中国社学．1999，6．
50．谢嘉幸．关于当代中国音乐教育改革的几点思考．音乐周报 2001，10
51．李田．21世纪的美育理念．中国教育报．2002，1．
52．[美]菲力普·阿尔佩．音乐哲学的新趋势—〈美学与艺术评论杂志音乐哲学专辑导言．中央音乐学院学报．2002，1．
53．刘志军．轮发展性课程评价的基本理念．第三次全国课程学术研讨会论文
54．中华涉外网．十五世纪意大利文艺复兴古典主义．
55．杨力．前进中的中国学校艺术教育．中国音乐教育．1991，5．
56．杨立梅．以素质教育观探究国外音乐教育．高教理论战线．1999，10．
57．赵沨．教育是立国之本，美育是树人之本．音乐艺术博览．1988，10．
58．卓吾．我看素质教育．全国教育研讨会论文．2000，5．
59．时晓玲，范绪锋．素质教育：跨世纪的一场深刻变革．中国教育报．2000，11月
60．中华涉外网．近现代学校音乐教育中有关素质教育的一些史迹．伍雍谊
61．中华涉外网．为自己选择一个简单的艺术．
62．汪毓和，孙继南．中国音乐教育．中国大百科全书·音乐舞蹈．1989，4．
63．佩内洛普·史密斯·伍特沃德．亚伯拉罕·哈罗德·马斯洛关于音乐 教育与高峰体验．音乐教育．2002，3．
64
64．中央音乐学院网．音乐何需懂——重塑音乐审美观念．周海宏．
65．潘必新．论美育的使命．美育通讯．2002，2．
66．曾繁仁．论美育的现代使命．美育通讯．2002，2．
67．万光侠．探求马克思主义人学价值与时代视野的融合．哲学原理 1997，6．
68．陈志尚．人学—21的显学．世界教育信息．1996，1．
69．张军．近年来我国人学研究要述．哲学原理．1997，7．
70．叶舒宪．马克思主义人学研究初探．陕西师大学报．1998，3．
71．吴元迈．关于艺术领域的人学思考．文艺报．1982，4．
72．张奎良．马克思主义人学的新课题．哲学原理．1997，6．
73．孙宝林．哲学就是人学驳论．新华文摘．1998，8．
74．黎明．哲学的终结——从神学、哲学到人学(上)．方法．1998，2．
75．黎明．哲学的终结——从神学、哲学到人学(下)．方法．1998，3．
76．增永成．马克思主义人学生命观论略．哲学原理 1998，2．
77．孙宝林．马克思主义哲学与人学．内蒙古社会科学．1997，3．
78．依俊卿．人的成熟与人学的自觉．哲学原理．1997，6．
79．韩庆祥．人学何以可能．哲学原理．1997，3
80．韩庆祥．人学是时代的声音——当代人类发展的深层问题与人学回应．哲学原理．1998，5．
81．依俊卿．人发展状况批判与人学主体的确立．哲学原理．1998，5．
82．欧阳康．中西哲学比较与当前我国的人学研究．哲学原理．1998，5．
83．王锐生．当代人类发展与21世纪的价值选择．哲学原理．1998，5．
84．袁贵仁．人的素质与当代中国发展．哲学原理．1998，5．
85．张立波．人学问题研究新进展．教学与研究．1998，3．
86．孔伟．人学问题研究新进展．教学与研究．1997，4．
87．李火林．论艺术掌握世界的方式的特殊性及其人学意义．青海社会科学报．1996，1．
88．黄枫森．关于构建人学的几点设想．社会科学战线．1989，3．
89．高青海，孟宪忠．人学论纲．吉林社会科学 1988，12．
90．邓晓芒．人学实践论(美学纲要)．当代文艺思潮．1987，2．
91．韩庆祥．当代中国的人学研究．光明日报．2001，11．
92．赵玲，张治平．关于音乐教育的人学思考．星海音乐学院学报．2001，6．
93．王啸．作为人学的教育学．高等师范教育研究．2002，5．
94．唐兵．从人学角度论教育本质．思茅高等师专学报．2000，6．
95．李欣复．传统人学价值观再讨论．青海社会科学．1997，6．
96．于跃．传统文化中的人文精神．辽宁师范大学学报．1997，3．
97．罗尧．从人学视野审视儒家文化．博览群书．2001，5．
98．黄正泉．中国古代人学思想总结与终结．中国哲学．2000，7．
99．赵汀阳．理解20世纪的精神财富．国际经济评论．1997，6．
100．柏元海．论人生的基本规律．哲学原理．1997，6．
101．唐正东．人学的实践唯物主义视界．哲学原理．1997，3．
102．衣俊卿．人类发展状况与人学主题．哲学原理．1998，5．
103．周忠厚．马克思主义美学的实践观点．新华文摘．1983，6．
104．刘国权．人的全面发展与它的新实践．哲学原理．1998，7．
105．韩庆祥．人学与精神文明的实效性．哲学原理．1997，6．
1、Music Activitice in Early Childhood John M. Feierabend 1990 MENC
2、The Psychology of Music Teaching Edwin Gordon1971 by Prentice—Hall, Inc.
3、Secondary School Music (Philosophy, Theory and Practice) 1970 by Prentice—Hall, Inc.
4、A Guide to Research in Music Education Roger P. Phelps 1993 by The Scarecrow Press, Inc.
5、Experimental Research in Music Clifford K. Madsen 1970 Prentice—Hall, Inc.
6、Orff—schulwer (Applications for the Classroom) Brigitte Warner 1991 by Prentice—Hall, Inc.
7 Psychological Foundations of Musical Behavior Radocy and J. David Boyle 1988 by Charlesc Thomas. Publisher
8 Applications of Research in Music Behavior Clifford K. Madsen and Carol A Prickett 1987 by The Uni. Of Alabama Press
9 Discipline in the Music Classroom R. Louis Rossman 1990 MENC
10 A Cross-Cultural Guide to Music Teaching and Learning Patricia Shehan Campell 1991 by Schirme Books
11 Nurtured by Love Suzuki 1980 by Prentice-Hall, Inc.
12 Introduction to the Music and Brain Don G. Compell 1992 by Prentice-Hall, Inc.
13 The National Standards for Arts Education 1994 by MENC
14 Technology for Music Educators Charles G. Boody 1990 MENC
15 Teaching Music Darwin E. Walker 1990 MENC
16 Is Early Childhood Music Study for Every Child Elaine Harriss 1997 Issue of keyboard Companion magazine
17 Making the Case for Music Education Article by 1999 Education world
18 Making the National Standards Work for You Standards and Assessment from 2000 MENC Home Page U.S.
19 Introdution: The premise of learning Through Music Larry Scripp Jurnal For Learning Through Music Spring 2000 P2
20 Integrity in Integrative Programs:A Challenge to Learning Through Music Sam Hope Same up P12
21 Cross-Culture Alternatives for Music in Education
George Santayana Same up P1622 Music and Multiculturelism: Dimensions,Difficulties, and Delights Warren Sender & Lyle Davidson Same up P1823 Introducing Multiple Representation of Music into the Elementary School Curriculum Lrry Scripp Same up P2824 Music, Math and Science: Toward an Integrated Curriculum Jeanne Bamberger Same up P3225 What Happens When Two Elementary School Meet a Symphony Orchestra Larry Scripp Same up P4226 Building Learning Through Music Communities: How Performing Musicians Can Work With Public Elementary Schools John Tyson Same up P4427 Assessment.Accountability and Learning Through Music Practices Larry Scripp Same up P5028 Learning Through Music Porfolios in Elememntary School Shawn Crouch & Andrea Norton Same up P5629 Mental Stretching in Action: Reaserch ang Program Dvelopment at the Conservatory Lab Charter School Larry Scripp Same up P6830 Music, Learning, and Behavior: A Case for Mental Stretching Martin Gaediner Same up P 72 31 Implications of Learning Through Music for Public Education Larry Scripp Same up P94 32 Music in Society: The Evolving Story of a Powerful Presence Eileen Tate Cline Same up P9834 The Developmental Psychology Of MusicDavidn J.Hargreaves Cambridge University Press, 200135 Test Information Booklet (Volume 6 :Communication and Performing Arts)Massachusetts Department of Education, 200136 Meeting the Highly Qualified Teeport on Teaachers Challenge (The Secreary's Annual Report on Teacher Quality) U.S. Department of Education Office Postsecondary Education 2002
37 Learning for the 21st Century (A Report and Mile Guide for 21st Century Skills) www.21st Centuryskills.org 2002
38 MileGuidefor 21s' Century Skills www.21st Centuryskills.org 2002
39 Envisioning Arts Assessment (Process Guide for Assessing Arts Education in School Districts and States) Nancy Pistone A Publication of the Arts Education Partnership 2002
40 Learning Though Music New England Conservatory 2002
41 Learning Though Music (Curriculum Sample) New England Conservatory 2002
42 A User's Guide to the Brain John J. Ratey, Vintage Books, New York, 1994
43 In a New Key: Reinventing Music Education Scripp Larry Harvard Graduate School of Education, Nov. 1, 2000
44 No Child Left Behind www.doe .mass.edu 2002
44 Arts Curriculum Framework: The Practice Of Creating www.doe .mass.edu 1996
45 What Type Of Musical Practice Makes A Student Perfect? Gary E. McPhersonMcPherson, G. E. (1999). Proceedings of the XII National Conference for the Australian Society for Music Education held at Sydney University, July 9-13, 1999. ISBN 0 9596304 9 X.
46 The effects of different practice techniques upon technical accuracy and musicality in student instrumental music performance Barry, N.H. (1990). Research Perspectives in Music Education, 1.
47 The effects of practice strategies, individual differences in cognitive style, and gender upon technical accuracy and musicality of student instrumental performance Barry, N.H.( 1992) Psychology of Music, 20.
48 The extent to which parental supervision and other selected factors are related to achievement of musical and technical-physical characteristics by beginning instrumental music students Brokaw,J.P. (1983). (Doctoral dissertation, University of Michigan, 1983). Dissertation Abstracts International, 43, 3252A.
49 The Art of Practising: A Guide to Making Music from the Heart Bruser, M. (1997). New York: Bell Tower
50 Novice musicians'approaches to practice and performance: Learning new music Hallam, S. (1994). Newsletter of the European Society for the Cognitive Sciences of Music, 6.
51 How important is time in learning? An investigation of the predictors of achievement and drop out in instrumental tuition Hallam, S. (1996). Paper presented at Music, the Mind and Education, conference of the Society for Research in Psychology of Music and Music Education, Cambridge, 23-24th March, 1996
52 Learning to learn: A fine idea but does it Work? Howe, M. (1991). British Psychological Society, Education Section Review, 15(2)
53 Teaching / learning strategies in instrumental practice Paper presented at the Third RAIME (Research Alliance of Institutes for Music Education) Symposium, Florida State University, Tallahassee, Florida, 6-10th April Jorgensen, H. (1995). Published in J. A. Taylor (Ed.), Transatlantic roads in music education: World Views. Center for Music Research, Florida State University, 1997.
54 Musical performance: Learning theory and pedagogy Kohut,D. L. (1985). Englewood Cliffs, New Jersey: Prentice-Hall.
55 Motivational and self-regulated learning components of musical practice (pp. 121 -130). McPherson, G. E., & McCormick, J. (1998). In T. Murao (Ed.), Proceedings of the 17th Research Seminar of the International Society for Music Education. Hosted by the School of Music, University of Witwatersrand, Johannesburg, South Africa, July 11-17, 1998.
56 The young performing musician. (pp. 171-190). In I. Deliege, & J. A. Sloboda (Eds.), Sloboda, J. A., & Davidson, J. W. (1996). The origins and development of musical competence. Oxford University Press .
57 "Practice makes perfect": The effects of piece and ability level on performance preparation (pp. 323-328). Williamon, A., & Valentine, E. (1988). In Suk Won Yi (Ed.), Proceedings of the 5th International Conference on Music Perception and Cognition, August 26-30, 1998, Seoul National University, Korea.
58 The use of behavioural contracts in music instruction (pp. 43-50). In C. K. Madsen & C. A. Prickett (Eds.) Wolfe, D. E. (1984). Applications of research in music behavior, Tuscaloosa, Alabama: University of Alabama Press
59 The developing child (6th ed.)Bee, H. (1992) New York: Harper Collins.
60 Teacher expectations in infant school: associations with attainment and progress, curriculum coverage and classroom interaction Blatchford, P., Burke, J., Farquhar, C, Plewis, I., & Tizard, B. (1989). British Journal of Educational Psychology, 59.
61 American adolescents and music videos: Why do they watch? Brown, E.F., Campbell, K., & Fischer, L. (1986) Gazette, 37, Training the talented. Burland, K., & Davidson, J.W. (submitted)
62 The role of parents and teachers in the success and failure of instrumental learners J. W., Sloboda, J. A., & Howe, M. J. A. (1995/1996 Winter). Bulletin of the Council for Research in Music Education, 127, Special Issue: The 15th ISME International Research Seminar.
63 The role of parental influences in the development of musical ability Davidson, J. W., Howe, M. J. A, Moore, D. M., & Sloboda, J. A. (1996). British Journal of Developmental Psychology. 14.
64 Environmental factors in the development of musical performance skill over the life span In D. J. Hargreaves & A. C. North (Eds.), Davidson, J. W., Howe, M. J. A., & Sloboda, J. A. (1997). The social psychology of music (pp. 188-206). Oxford: Oxford University Press
65 The role of teachers in the development of musical ability Davidson, J. W., Howe, M. J. A., Moore, D. M., & Sloboda, J. A. (1998). Journal of Research in Music Education, 46 (1),
66 Seeds of a false consciousness Davies, J.B. (1994) The Psychologist, 7(7), DeCasper, A.
67 Human Development (2nd edition) Gardner, H. (1982), Boston: Little, Brown and Company.
68 Time specific and cohort specific influences on musical development Gembris, H. (1997).Polish Quarterly of Developmental Psychology, 3(1)
69 The nature, description, measurement, and evaluation of music aptitudes Gordon, E. E. (1986). Chicago: GIA.
70 A music learning theory for newborn and young children Gordon, E. E. (1990). Chicago: GIA. 71 Instrumental teaching Hallam, S. (1998). Oxford: Heinemann.
72 Musical development and learning: The international perspective Hargreaves, D. J., & North, A. J. (2001) (Eds) London: Cassel.
73 An examination of foetal learning before and after birth Hepper, P.G. (1991).Irish Journal of Psychology, 12,
74 Are there early childhood signs of musical ability? Howe, M. J. A., Davidson, J. W. Moore, D. M., & Sloboda, J. A. (1995). Psychology of Music, 23,
75 Mass media and children's development In Damon, W., Sigel, I. E. & Renninger, K. A. (Eds.), Handbook of child psychology (5 th Edition), Vol. 4: Child Psychology in Practice (pp. 999-1058). Huston, A. C.& Wright, J. C. (1998). New York: Wiley.
76 Prenatal auditory experience In I. Deliege & J. A. Sloboda (Eds.),Lecanuet, J.P. (1996). Musical beginnings: Origins and development of musical competence (pp. 3-34). Oxford: Oxford University Press.
77 Listeners communicative uses of popular music In J. Lull (Ed.), Lull, J. (1987). Popular Music and Communication (pp. 140-174), Newbury Park: Sage.
78 Mothers and infants communicative musicality Musicae Scientiae Malloch, S. N. (1999/2000). Special Issue: Rhythm, Musical Narrative, and Origins of Human Communication
79 The development of musical ability Noy, P. (1968). The Psychoanalytic Study of the child, 23.
80 The social psychology of music education In D. J. Hargreaves & A. C. North (Eds.), The social psychology of music (pp. 290-305).Olsson, B. (1997). Oxford: Oxford University Press
81 The essentials of keyboard pedagogy: I. Sight-reading and musical literacy. Pace, R. (1999).Chatham, New York: Lee Robert's Music.
82 Beginning of human musicality In R. Steinberg (Ed.), Music and the mind machine: The psychophysiology and psychopathology of the sense of music (pp. 27-34). Papousek, H., & Papousek, M. (1995). Berlin: Springer.
83 Intuitive parenting: A hidden source of musical stimulation in infancy In I. Deliege & J. A. Sloboda (Eds.), Musical beginnings. Origins and development of musical competence (pp. 88-112). Papousek, M. (1996). Oxford: Oxford University Press.
84 The genetics of cognitive abilities and disabilities In S. j. Ceci & W. M. Williams (Eds.), The nature-nurture debate (pp. 178-196). Plomin, R. & DeFries, J. C. (1999) Oxford: Blackwells.
85 Genotype-environment interaction and correlation in the analysis of human behavior Plomin, R., DeFries, J. C, & Loehlin, J. C. (1977). Psychological Bulletin, 84,
86 Talent, teaching and achievement Radford, J. (ed.) (1991) London: Jessica Kingsley.
87 An investigation into the acoustical induction of intrauterine learning D Satt,B.J. (1984). Octoral dissertation, California School of Professional Psychology, Los Angeles.
88 Sociocultural context of individual creativity: A transhistorical time-series analysis. Simonton, K.D. (1975). Journal of Personality and Social Psychology, 32(6),
89 Creative productivity, age, and stress: A biographical time-series analysis of 10 classical composers Simonton, K.D. (1977). Journal of Personality and Social Psychology, 35(11),
90 Home influences on talent development In B. S. Bloom (Ed.), Developing talent in young people (pp. 439-476).
91 Is everyone musical? Sloboda, J. A., Davidson, J. W., & Howe, M. J. A (1994). The Psychologist, 7(8),
92 The role of practice in the development of expert musical performance Sloboda, J. A., Davidson, J. W., Howe, M. J. A., & Moore, D. M. (1996). British Journal of Psychology, 87.
93 The young performing musician In I. Deliege & J. A. Sloboda (Eds.), Musical Beginnings. Origins and Development of Musical Competence (pp. 171-190) Sloboda, J., & Davidson, J. (1996). Oxford: Oxford University Press
94 Learning to be a concert pianist In B. S. Bloom (Ed.), Developing talent in young people (pp. 19-67) Sosniak, L. A. (1985). New York: Ballantine.
95 Nurtured by Love Suzuki, S. (1969). New York: Exposition.
96 Ability development from age zero Suzuki, S. (1981). Athens, Ohio: Ability Development Associates.
97 Musicality and the intrinsic motive pulse: Evidence from human psychobiology and infant communication Musicae Scientiae Trevarthen, C. (1999-2000). Special Issue: Rhythm, Musical Narrative, and Origins of Human Communication,
98 Parental involvement, selected student attributes, and learning outcomes in instrumental music Zdzinski, S. F. (1996) Journal of Research in Music Education, 44,
99 From Child to Musician: Skill development during the beginning stages of learning an instrument Gary E. Mc Pherson University of New South Wales, Sydney
100 From aims to actions: 2. Music Teacher September, 26-27. Baker, D. N. (1969). Addison, R. (1986) Jazz Improvisation. Chicago: Maher Publications.
101 The effects of practice strategies, individual differences in cognitive styles, and sex upon technical accuracy and musicality of student instrumental performance Barry, N. (1990) Ph.D., Florida State University.
102 Measurement and evaluation of musical experiences Boyle, J. D., & Radocy, R. E. (1987). New York: Schirmer Books.
103 The effect of special memory instruction and guided analysis on the memorization efficiency of college brass players Bryant, D. E. (1985) Doctor of Philosophy, University of Oklahoma.
104 Teaching music in the Twentieth century Choksy, L. Abramson, R. M., Gillespie, A. E., & Woods, D. (1986) Englewood Cliffs, New Jersey: Prentice-Hall.
105 Improvising jazz Coker, J. (1964). Englewood Cliffs, New Jersey: Prentice-Hall.
106 Patterns for jazz Coker, J. (1970).Englewood Cliffs, New Jersey: Prentice-Hall.
107 An investigation of achievement in music in the public schools of Sloux Falls, South Dakota Colwell, R. J. (1961) Doctoral dissertation, University of Illinois at Champaign-Urbana.
108 Tools and environments for musical creativity Davidson, L. (1990). Music Educators Journal, 76(9)
109 Music from 5 to 16: Curriculum matters 4 Department of Education and Science. (1990) London: Her Majesty's Stationery Office.
110 A comparison of verbal instruction and nonverbal teacher-student modeling in instrumental ensembles Dickey, M. R. (1991) Journal of Research in Music Education, 39(2)
111 A correlation study of keyboard sightreading facility with previous training, note-reading, psychomotor, and memorization skill Eaton, J. (1978). Doctoral dissertation, Indiana University.
112 The relationships among instrumental sight-reading ability and seven selected predictor variables Elliot, C. A. (1982). Journal of Research in Music Education, 30(1)
113 Relationships among ensemble participation, private instruction, and aural skill development Elliot, C. A., & May, W. V. (1980) Journal of Research in Music Education, 28(3)
114 The Crane symposium: Toward an understanding of the teaching and learning of music performance Fowler, C. (Ed.). (1988) Potsda, New York: Potsdam College of the State University of New York.
115 Harmonization at the piano Frackenpohl, A. (1985). (5th ed.). Dubuque, Iowa: Wm. C. Brown.
116 The individualized instructor: Sing, drum and play Froseth, J. O. (1984). Chicago: G.I.A. Publications.
117 A longitudinal study of the relationship of melodic ear-to-hand coordination and selected indices of musical achievement at the University of Michigan School of Music Froseth, J. O. (1985) Research presented to the Dean and Executive Committee of the School of Music: University of Michigan, Ann Arbor.
118 Test of melodic ear-to-hand coordination Froseth, J. O. (1987). Chicago: G.I.A. Publications.
119 Studies in creative musicianship: Ear training for musical improvisation Froseth, J., Blaser, A. (1980)Levels 1 & 2, Chicago: G.I.A. Publications
120 An investigation of divergent production abilities as constructs of musical creativity Gorder,W.D. (1976). Ed.D., University of Illinois at Urbana-Champaign.
121 Divergent production abilities as constructs of musical creativity Gorder, W. D. (1980). Journal of Research in Music Education
122 Learning sequences in music Gordon, E. E. (1989). Chicago: GIA Publications
123 Jump right in: The instrumental series Grunow, R. F. (1988). Chicago: GI.A. Publications
124 Rehearsal skill and musical competence: Does practice make perfect? (91-112). In J. A. Sloboda (Ed.). Generative processes in music Gruson, L M. (1988). Oxford: Clarendon Press.
125 The nature of human intelligence Guilford, J. P. (1967). New York: McGraw-Hill.
126 Handbook for examiners. (1990). Issued by the Music Examiners Advisory Board of New South Wales: Australian Music Examinations Board.
127 The developmental psychology of music Hargreaves, D. J. (1986).Cambridge: Cambridge University Press.
128 Making music for the joy of it: Enhancing creativity, skills, and musical confidence Judy, S. (1990). Los Angeles: Jeremy P. Tarcher, Inc.
129 Musical performance: Learning theory and pedagogy Kohut, D. L. (1985). Englewood Cliffs, New Jersey: Prentice-Hall.
130 Structuring the music curriculum for creative learning Kratus, J. (1990). Music Educators Journal, 76(9)
131 Music, memory, and thought Ann Kratus, J. (1990) Arbor, MI: University Microfilms International
132 Sight-reading and ear playing abilities related to the training and backgrounds of instrumental music students Luce, J. R. (1958). Doctoral dissertation, University of Nebraska, Lincoln, Nebraska.
133 Sight-reading and ear playing abilities as related to instrumental music students Luce, J. R. (1965). Journal of Research in Music Education,XIII(2)
134 A multitrait-multimethod investigation of the relationship between music memory and spatial memory Maggio, M. S. (1989). Ph.D., Texas A & M University.
135 Kinaesthetic factors in the recall of musical experience Mainwaring, J. (\933).British Journal of Psychology, XXIII(3)
136 The meaning of musicianship: A problem in the teaching of music Mainwaring, J. (1941)..British Journal of Educational Psychology, XI(3)
137 An investigation of the effects of matching timbre and training on melodic ear-to-hand coordination of college music majors Markovich, V. A. (1985). Doctoral dissertation, University of Michigan.
138 Factors and abilities influencing the development of visual, aural and creative performance skills in music and their educational implications McPherson, G E. (1993). Ph.D., University of Sydney, Australia. UMI Order No. 9317278.
139 Evaluating improvisational ability of high school instrumentalists McPherson, G. E. (1993/4). Council for Research in Music Education
140 Contributions of selected music skills to music sight-reading achievement and rehearsed reading achievement Miller, R. E. (1988). Ed.D., University of Illinois at Urbana-Champaign.
141 Technique and creativity - part 5 Morris, K. (1991). Music Teacher, 70(1)
142 Memorization of piano music Nuki, M. (1984). Psychologia, 27
143 Aural awareness: Principles and practice Pratt, G (1990). Milton Keynes: Open University Press.
144 Playing by ear: An investigation of the phenomenon and of its potential for instrumental learning as part of music education Priest, P. (1988). M.Phil., Institute of Education, University of London
145 Playing by ear: Its nature and application to instrumental learning Priest, P. (1989). British Journal of Music Education, 6(2)
146 Principles and problems of music education Regelski, T. A. (1975).Englewood Cliffs, NJ: Prentice-Hall
147 Memorizing piano music: What the research offers teachers Reichling, M. (1989). Update, 8(1)
148 The effectiveness of mental practice in improving the performance of college trombonists Ross, S. L. (1985). Journal of Research in Music Education, 33(4)
149 The influence of analytical prestudy in memorizing piano music Rubin-Rabson, G. (1937). Archives of Psychology, 31
150 Studies in the psychology of memorizing piano music I: A comparison of the unilateral and the coordinated approaches Rubin-Rabson, G. (1939). Journal of Educational Psychology
151 Studies in the psy chology of memorizing piano music II: A comparison of massed and distributed practice Rubin-Rabson, G. (1940a). Journal of Educational Psychology, 31
152 Studies in the psychology of memorizing piano music III: A comparison of the whole and the part approach Rubin-Rabson, G. (1940b). Journal of Educational Psychology, 31
153 Studies in the psychology of memorizing piano music IV: The effect of incentive. Rubin-Rabson, G (1941a). Journal of Educational Psychology, 32
154 Studies in the psychology of memorizing piano music V: A comparison of prestudy periods of varied lengths Rubin-Rabson, G. (1941b). Journal of Educational Psychology, 32
155 Studies in the psychology of memorizing piano music VI: A comparison of two forms of mental rehearsal and keyboard overlearning Rubin-Rabson, G. (1941c). Journal of Educational Psychology, 32
156 Studies in the psychology of memorizing piano music VII: A comparison of three degrees of overlearning Rubin-Rabson, G (1941d). Journal of Educational Psychology, 32
157 Studies in the psychology of memorizing piano music VIII: The inhibitory influence of the same and of different degrees of learning Rubin-Rabson, G (1947). Journal of Musicology, 5
158 A sound approach to teaching instrumentalists: Application of content and learning sequences Schleuter, S. L. (1984). Kent, OH: The Kent State University Press.
159 An experimental approach to the memorization of piano music with implications for music reading Shockley, R. P. (1980). Doctoral dissertation, University of Colorado
160 Generative processes in music: The psychology of performance, improvisation, and composition Sloboda, J. A. (1988). Oxford: Clarendon Press.
161 The effect of a sight reading pacer machine upon the sight reading ability of college wind instrumentalists Streckfuss, R. J. (1984). Doctoral dissertation, Catholic University of America, Washington.
162 A sequence of musical development: A study of children's compositions Swanwick, K., & Tillman, J. (1986). British Journal of Music Education, 3(3)
163 Creative music in education Thackray, R. M. (1968).London: Novello.
164 Some thoughts on aural training Thackray, R. M. (1975). Australian Journal of Music Education, 17
165 Aural awakening Thackray, R. M. (1978). Perth, Western Australia: University of Western Australia Press.
166 Music as model and metaphor in the cultivation and measurement of creative behavior in children Vaughan,M. M. (1971). Doctoral dissertation, University of Georgia, Athens, Georgia.
167 The Watkins-Farnum performance scale: A standardised achievement test for all band instruments Watkins, J. G, Farnum, S. E. (1954). Winona, Minn.: Hal Leonard Music, Inc.
168 A factor of intellect approach, to creative thinking in music Webster, P. R. (1977). Doctoral of Philosophy, Eastman School of Music, The University of Rochester.
169 Relationship between creative behavior in music and selected variables as measured in high school students Webster, P. R. (1979). Journal of Research in Music Education, 27
170 Refinement of a measure of musical imagination in young children and a comparison to aspects of musical aptitude Webster, P. R. (1983). Paper presented at the Armington Symposium, Case Western Reserve University, Cleveland, OH.
171 Refinement of a Measure of Creative Thinking in Music In C. L. Madsen & C. A Prickett (Eds.). Applications of research in music behavior Webster, PR. (1987). Tuscaloosa, Alabama: University of Alabama Press.
172 Creative thinking in music: The assessment question (40-74) In Richmond, J. W. (Ed.). The proceedings of the suncoast music education forum on creativity. Webster, P. R. (1989). Tampa: University of South Florida.
173 The effect of instruction in music composition strategies on middle school band students' ability to improvise melodies Wig, J. A. (1980). Doctor of Education, Pennsylvania State University.
174 The effect of sleep and time on music memory Wilson, J. P. (1983). Doctoral dissertation, California State College, Stanislaus.
175 The Arts and The Creation of Mind James G. Henderson (2002). New Haven, Yale University Press.