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下面为大家整理一篇优秀的paper代写范文- Discontinuous music education，供大家参考学习，这篇论文讨论了非连续性音乐教育。音乐审美教育的维度是多方面的，是在尊重人的个体复杂性的基础上提高整体音乐素养，塑造更健全的人格。灵活的非连续性音乐教育对音乐审美教育及素养培育来说具有独特的现实意义。作为传统教育的补充，它通过偶然、随机的方式为人们认识音乐、体验音乐、感受音乐、欣赏音乐提供多重选择，使人们在自由选择中提升音乐素养及审美能力，捕捉优秀思想。可以说，非连续性音乐教育是审美教育的一种特殊教学途径，同时，音乐审美是非连续性音乐教育的一项重要延伸。

Influenced by existentialism after the World War I, the German educational philosopher O.F. bornov realized the lack of human crisis coping ability and the limitations of traditional education, and put forward the proposition of human education focusing on the development of human personality and the freedom of survival, and introduced the discontinuous form into traditional education.

The discontinuity education proposed by boroff is a new education mode of relative continuity education. He believes that education should no longer be regarded as an independent phenomenon similar to school education, but should be regarded as an indispensable condition that plays a decisive role in people's whole understanding, so that people's essence can be understood as a whole and their taste and value can be improved through education. Under the guidance of this concept, music educators began to ponder how to perfect the personality shaping through discontinuous music education. The author believes that the discontinuity and absurdity of non-continuous music education is an opportunity for music aesthetic education to develop multiple education methods, and it is also an important concept for participants to break the solidified aesthetic thinking and improve music literacy.

Continuous education has created a long-term stable environment for human growth and basic personality, and laid the foundation for family, school and social education. The cultivation of sound personality and noble accomplishment should be combined with setbacks, contradictions, accidents, crises, failures and other situations so as to overcome the emotional and will weaknesses of the educatees and arouse the deep moral character of the people. The crisis and experience of students in the process of development may make their moral development higher or lower at the original level, or change the direction of students' development. Therefore, discontinuous education accompanied by "experience" is very important. For example, some family and social situations lead to the phenomenon of left-behind children for a long time in rural China. "left-behind" breaks the emotional sustenance for children to live a normal life with their parents. Under such circumstances, left-behind children continue to receive traditional continuous education is likely to backfire, lose themselves and deviate from the original intention of receiving education. Therefore, it is necessary for discontinuous educators to train children to be self-sufficient, resolve difficulties, and be strong and positive. As bornov says: "the transition to a new phase of life can only be achieved through a crisis. No one can attain inner independence except by steadfastly going through the crises that beset him. Only in a crisis or through a crisis can we grow up."

It can be seen that only by accepting the intermittent "encounters" of emotional loss, plan failure, unexpected misfortune and other powerful influences on life and carrying out good discontinuous education can we stimulate the inner moral consciousness, arouse the positive thinking of the educatees on life and highlight the quality and value of people.

Similarly, the author believes that the discontinuity and absurdity of non-continuous music education is an opportunity for music aesthetic education to develop multiple education methods and perfect personality shaping, as well as an important concept for participants to break the solidified aesthetic thinking and improve music literacy.

Listening is an art. Different from watching, it is an abstract experience accompanied by thinking and cognition. It is also the primary way for the educated to contact music. According to Finn of Greece, in the initial stage, the listener must identify and summarize according to the rhythm, linking short music units to form long music units, including melodic, rhythmic, music and textual patterns. This proposition is completely in line with the teaching goal of continuous music education, and advocates to make use of the continuous and normative advantages of continuous education to lay a basic listening accomplishment in training and shaping. Then, can discontinuous music education promote the cultivation of listening literacy? What does "encounter" music mean to music aesthetic education?

The author believes that, according to boroff's point of view, discontinuous music education mainly occurs in the process of sudden emotional impact or mood change of music on people, which is beyond the expectation of continuous music education and brings discomfort and crisis to the recipients. For example, when John cage played "4:33" on music, the audience's understanding of traditional concert was broken, and they expressed confusion, anger and dissatisfaction to the occasional music played by cage, believing that such "music" completely deviated from their expectation of listening. When people hear the traditional noise on the Internet by collage, amplification, processing noise music, once feel sick, uncomfortable and irritable. Because "encountering" these "accidental music" receivers' listening habits still remain on the consciousness of taking melodious, classic and beautiful as the aesthetic standards of music, their listening quality is generally established in the continuous music education of textbook style. However, the change and thinking brought by non-continuous music education make the educated form a more professional and inclusive listening quality. The so-called more professional and inclusive listening quality refers to the ability to actively face the music that is different from the previous aesthetic habits, enrich perceptual feelings and acquire more music exploration ability. Facts have proved that although the occasional appearance of music and experimental music has been greatly criticized, discontinuous contact and education have gradually made them gain supporters and played an active role in promoting the creation of music.

Music is one of the living ways of human beings, and understanding music is an important bridge reflecting people's psychological activities, emotional state and social environment. Therefore, the cultivation of understanding literacy should not be ignored in the process of music education. There are two main ways of understanding literacy, one is organized, the other is spontaneous. In general, organized understanding mainly depends on the continuous music education in school, and the level of music understanding of the public also depends on it. The second kind of random and spontaneous understanding is the dialogue that really shows the value between people and music, that is, the proposition of discontinuous music education.

In the school music education as an example, the ideal education should focus on the students' self development, cultural consciousness and the cultivation of moral character, but the status quo of education in China can be seen, from kindergarten to the senior year, music as a set of teaching essential courses, education function too, this pattern is likely to make long-term of educatees to form a single music understanding thinking. On the other hand, bornov's non-continuous music education concept provides a solution for school music education -- making use of non-continuous situation simulation to enable students to independently feel music and emotional resonance, and to choose the appropriate way of understanding music in the situation to improve their comprehension ability.

The cultivation of understanding ability is open, with levels and stages. If continuous music education is regarded as the first level of music understanding, non-continuous music education is the second level of comprehension improvement. Discontinuous teaching method can guide students to encounter with characters in the textbook, guide students to encounter with abrupt voices in life, and lead students to encounter with all kinds of different music, generating strong spiritual shock. This mode makes education focus on the sublimation of students' experience and comprehension ability of life instead of only imparting knowledge. Students' sensitivity to music is also gradually improved in the intermittent experience, and they realize many truths beyond the textbooks, so as to better cope with the discontinuous events in life.

Just as composers need to know how performers understand and listen to their work, performers need to be professional and ethical performers, who are not only playing musical notes, but also conveying beliefs and awareness. The sublimity of transmission behavior completely depends on their performance quality, which is not the basic skills of reading, playing and singing music in continuous music education, but the extra embodiment in the process of non-continuous music education. The author believes that non-continuous music education can improve performance literacy in the following two aspects.

Music performance, like any other human behavior, consists of a variety of psychological components, including happiness, stimulation, embarrassment, tension, anxiety and so on. Music performance is the art of improvisation, very susceptible to interference and interrupt, so in the process of performance to overcome disturbance stress ability can reflect the highest performance level instead, help the performers in the inevitable interference or spiritual reality, to overcome obstacles, coherence to continue to present the music works is the value of the continuous education. By guiding the performers to accept the "encounter", affirms the positive significance of "encounter" to individual development, and solves the temporary crisis in the performance, only in this way can they develop the professional quality to guarantee the integrity of the work in any state and deduce the music full of true feelings.

Good discontinuous music education is reflected not only in the stress behavior under "encounter", but also in the sense of responsibility shown by music. According to Maurice grossman, acting involves a major tension between constraint and freedom, "double duty." Qualified performers do not simply copy a sheet music. They also determine the content and quality of a piece of work. For example, when a performer is suddenly asked to give an emotional performance of requiem in a church, the solemn and eulogized performance style is generally more indicative of music's moral quality than the passionate and rock and roll performance style. The impact of discontinuous education makes performers understand that although they have the right to interpret music flexibly, they also undertake the mission of conveying positive beliefs to the recipients, and different groups of performers need to assume different music responsibilities. "Encounter" refining literacy, which is the discontinuity of music education is different from ordinary music education.

The dimensions of music aesthetic education are various, although "interest is not controversial", but the goal is still to respect the individual complexity of people on the basis of improving the overall music literacy, shaping a more sound personality. Flexible discontinuous music education has unique practical significance for music aesthetic education and cultivation of literacy. As a supplement to traditional education, it provides multiple choices for people to know music, experience music, feel music and appreciate music in an accidental and random way, so that people can improve their music quality and aesthetic ability and capture excellent ideas in free choice. It can be said that discontinuous music education is a special teaching way of aesthetic education, and at the same time, music aesthetic discontinuous music education is an important extension.

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