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논문 기본 정보
- 자료유형
- 학술대회자료
- 저자정보
- 발행연도
- 2009.10
- 수록면
- 199 - 218 (20page)
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초록· 키워드
오류제보하기
Why do we perform music? Why do we and how can we teach music? People who practice music must have raised these questions. Music has a great influence on human emotions and communication. Even the ancient Chinese understood there is music of good and bad influence. Those political leaders of ancient China used music as a means of purifying manners i.e., comforting, purging and changing people’s mind and behavior. People getting nice through music become the basis of stability and peace of their society. It is very meaningful and important that a person’s goodness be the spark of peace and order for his or her fellow citizens, society, country, and the world, and this is where I found one of the reasons and purposes of music. But different people have different ways of recognizing and teaching music. I will discuss two ways: one is the view of sinmin[新民], the other, chinmin[親民].
Wang Yang-Ming’s music and musical education from a view of chinmin originated from his particular understanding of chinmin in The Great Meaning. The basic difference between his and Zhu Xi’s understanding, that is to say, chinmin theory of Wang and sinmin theory of Zhu Xi finally resulted in the difference of their methods and understanding of music and musical education. Wang’s chinmin refers to the attitude of being good, familiar, happy, helpful each other. It also includes the attitude of protecting others like protecting children, loving what the others love, and disliking what the others dislike. He thought of the word chin[親] as giving comfort to others. These views are based on the idea that human beings are fundamentally good, and he named the representation of human goodness as chiyangji[致良知].
Wang thought of yangji, which is the mind of natural law of pure and absolute goodness, as the source of the subject and music, and one of the self-revealing aspects of yangji is music itself. That’s why he considered music not as a means of controlling the suppressed but as spontaneity of human mind. Without any manipulation, only through the revelation of yangji, which means enhancing peace and virtue, manners will turn excellent and beautiful.
For the specific way of encouraging yangji, Wang used drama, the most popular musical genre of that day. He found out a way to get familiar with people by loving the music they also loved. Reluctant to force them to follow, he just inserted didactic stories in drama. He never practiced any coercive, oppressive, intellectual ways when he taught children. He carefully observed and understood the psychological and emotional state of a child, and then lead the depressed and dispersed feeling to organized rhythm and tune. So his pedagogy can make children have gentle personality by their own controlling their reason and sentiment, which also proves that his method was based on the deep affection toward children.
Wang Yang-Ming’s music and musical education from a view of chinmin originated from his particular understanding of chinmin in The Great Meaning. The basic difference between his and Zhu Xi’s understanding, that is to say, chinmin theory of Wang and sinmin theory of Zhu Xi finally resulted in the difference of their methods and understanding of music and musical education. Wang’s chinmin refers to the attitude of being good, familiar, happy, helpful each other. It also includes the attitude of protecting others like protecting children, loving what the others love, and disliking what the others dislike. He thought of the word chin[親] as giving comfort to others. These views are based on the idea that human beings are fundamentally good, and he named the representation of human goodness as chiyangji[致良知].
Wang thought of yangji, which is the mind of natural law of pure and absolute goodness, as the source of the subject and music, and one of the self-revealing aspects of yangji is music itself. That’s why he considered music not as a means of controlling the suppressed but as spontaneity of human mind. Without any manipulation, only through the revelation of yangji, which means enhancing peace and virtue, manners will turn excellent and beautiful.
For the specific way of encouraging yangji, Wang used drama, the most popular musical genre of that day. He found out a way to get familiar with people by loving the music they also loved. Reluctant to force them to follow, he just inserted didactic stories in drama. He never practiced any coercive, oppressive, intellectual ways when he taught children. He carefully observed and understood the psychological and emotional state of a child, and then lead the depressed and dispersed feeling to organized rhythm and tune. So his pedagogy can make children have gentle personality by their own controlling their reason and sentiment, which also proves that his method was based on the deep affection toward children.
목차
1. 서론
2. 주희의 ‘新民’과 양명의 ‘親民’의 관점
3. 왕양명의 親民的 音樂觀 이해
4. 왕양명의 ‘親民之樂’의 교육
5. 왕양명의 ‘親民之樂’의 현대적 의의
“‘親民’의 관점에서 본 왕양명의 음악관과 음악교육”에 대한 논평문
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UCI(KEPA) : I410-ECN-0101-2010-151-002332460