Aesthetic Music Educatin and the Influence of Bennett Reimer

Since the late 1950s, a clear concept, aesthetic education, has developed a strong philosophical foundation for music education and continues to develop into a definite theoretical orientation of effective practice. Bennett Rimer has made a great contribution to the discussion and development of the value of aesthetic education in music education. Other people in music education also support and promote these ideals and focus on deepening the understanding of music educators.

Modern music scholars claim that effective music insists on the use of empirically correct arguments that transcend political motives and personal tasks. Music philosophers such as Bennett Reimer, Estelle Jorgensen, David J. Elliott, John Paynter and Keith Swanwick support this view, but many music teachers, music organizations and schools make this claim to their music advocacy theory It does not apply. Researchers such as Ellen Winner conclude that advocates of the art are misrepresenting not helping to defend music research and her research argues that music education improves mathematics Denied. Researchers Mr. Glen Schellenberg and Eugenea Costadiomi criticized the proponents to mislead the relationships and causal relationships and said, "There is a close relationship between music participation and academic achievement But"

Abstract The philosophy of music education means the value of music, the value of music education, and how these values ​​are actually used in the music classroom. In this article, Emile Jacques-Dalcroze, Carl Orff, to explore the philosophy of Zoltan Kodaly, Bennett Reimer, and David Elliott, especially in the context of training and improvisation of the ear, it introduces the practical application or philosophy in the orchestra classroom I will. From these philosophies, the author has developed his own philosophy of personal music education. And it was most widely defined as the key to experiencing and understanding emotional experiences.

Traditionally, the aesthetics of music or the aesthetics of music has focused on the aesthetics of music and the quality and appreciation of playing (play style and jusanse). Aesthetics is the discipline of philosophy. However, many musicians, music critics, and other non-philosophers have contributed to the aesthetics of music. In recent decades philosophers tended to emphasize problems other than beauty and pleasure. It is widely believed that human reactions to music are influenced by culture. For example, Beethoven 's music section is very inharmonic to those of contemporaries, not harmonic for today' s audience. Therefore, the aesthetic appeal of music seems to depend heavily on the culture of its practice. But there is a physical background that defines whether the sound is correct or not. Appropriate sounds are regarded as soft sounds, and incorrect sounds are considered more or less good sounds depending on the listeners' listening sounds.