Historical Study Of Textbooks Of Music Didactics (1901-1976)

The historical research of textbook of Music Didactics is a crucial area in music education study. The textbook of Music didactics from1901-1976witnessed the spiral developing process of imitation, exploration, re-imitation, re-exploration and then variation under the influence of political movements. Various characteristics emerged under different historical background and these may enlighten the textbooks nowadays.In this study we investigate the textbook of Music didactics (1901-1976) from three levels including overview, characteristics and edition of textbook. Based on first-hand materials and the characteristics of stylistic rules of textbook, the author divides the developing history into three periods:period of after Japan, period of after Soviet Union and period of variation in Culture Revolution, and arguments with specific cases. From the demonstration the author clarifies the developing clues, causes and influence of textbook in the historical contexts and reflects from the history. At last, edition suggestions of textbooks are raised.The first chapter introduces the research from the double role, teacher of music didactics and user of the textbooks, and then defines the following terms, musical teacher education, music didactics curriculum and music didactics, and review the related literature from four aspects, and at last, the author raises the structure and methods of this thesis.The second chapter is "The history of music didactics curriculum". The author reviews three periods of the history, the period of germination, the period of construction and setback, the period of destroy and stagnation. The music didactics curriculum initiated at the end of QING dynasty and beginning of Republic of China. Then it got the first chance of developing from1949but encountered setback after the cancel of Aesthetic Education. During the Culture Revolution, the curriculum vanished (only existed in short music teacher training class and "FIVE and SEVEN school") This part is the basis of historical research of textbook.The third chapter is "Textbook of Music Didactics in the period of after Japan (1901-1949)". In this chapter, the author argues that diversification is the main characteristic of the textbooks of this period. The collection of school songs, music education research papers and the translation of foreign textbook bred the local Music Didactics textbooks. And during1920s-1940s, the textbooks began its localization and originality. Japanese elements were so obvious for the Sing movement of schools in Japan gave birth to the textbook, and collection of school songs and other publications pushed the textbooks. The understanding of music curriculum and the afferent of western music theory actuated the music knowledge and skill in Music Didactics textbooks. The fourth chapter is "Textbook of Music Didactics in the period of after Soviet Union(1959-1965)". Under the that specific historical background, many textbooks were translated from S. U., and the influence was so profound even when we edited some independent textbook. Soviet Union marking, political overtones and practical character were three distinctive features are the main characteristics. The reasons are two parts:ideology-oriented literary thought intensified the political overtone and the Soviet Union emphasized the educational practice.The fifth chapter is "Textbook of Music Didactics in the period of variation during Culture Revolution (1966-1976)" During the Culture Revolution, the education revolution destroyed the music teacher education system and the Culture Revolution music became the dominate part. Music classes in the elementary schools were shift to revolutionary literary classes and the function of textbook of Music Didactics was replaced by revolutionary literary teaching guidance. The textbook appeared to be Mao-oriented, songs of commander-in-chief, revolutionary songs, example comedies were the main contents, but music teaching method was so weak.The sixth chapter focuses on the reflection and suggestions. From the historical study the author clears the relationship between textbook and social culture environment, the influence of ideology on textbook and the structure of editors. On this basis, the author raises4pieces of advice on the composition of textbook of Music Didactics. The suggestions are the followings:textbook target should shift from the knowledge monologue to the conversation with basic music education; the value orientation should shift from knowledge-centered to humanistic education; the content model should shift from traditional unitary model to the pluralistic structure of "theory, practice, skill, resource"...