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英国Paper代写:The Theory of Body Cognition in Music Education

2019-07-17 | 来源:51due教员组 | 类别:Paper代写范文

下面为大家整理一篇优秀的paper代写范文- The Theory of Body Cognition in Music Education,供大家参考学习,这篇论文讨论了音乐教育中的具身认知理论。具身认知理论为我们传统的音乐课堂教学提供了一个全新的视角,知识并不是客观的、独立存在的,认知必须发生在具有各种经验的身体主体之上,身心一体不可分,没有身体则没有意识。音乐是情感的艺术,基于具身认知观的音乐课堂教学,解放了师生的身体主体,让他们在具体情境中的亲身感知、体验。

Theory of Body Cognition,音乐教育具身认知理论,论文代写,essay代写,paper代写

Embodied philosophy is a new trend of thought emerging in the field of contemporary western studies. It is the product of the criticism of Descartes' mind-body dualism by philosophers such as merlo ponti. According to merlo ponti, "the body co-exists with the body and the world." He advocated: first, to achieve the unity of the body and mind relationship from the inside of the body; Second, from the outside of the body to achieve the unity of the self and the world.

Since the 1970s, contemporary philosophers, linguists such as rekev and Johnson have put forward embodied cognition philosophy theory, which has set off a wave of research on embodied cognition theory in the west. The core idea of this theory is that human cognitive development process is based on physical experience and the interaction between body and environment. Physical experience ACTS on psychological feelings, and body plays a crucial role in human cognitive process. Embodied cognition emphasizes the embodied, situational and non-representational aspects of cognition.

The traditional mind-body dualism holds that the mind exists independently of the body and that the body is opposed to cognitive activities. Influenced by this concept, traditional classroom teaching only focuses on the transfer of objective theoretical knowledge, but ignores the direct physical experience and life experience of students. According to the theory of embodied cognition, cognition depends on the dialogue and interaction between the body and the environment, and is generated in the multi-level interaction of body senses, body experience and body experience. Cognitive activity cannot be disembodied and external, it is embodied all the time.

The theory of embodied cognition holds that cognition is the result of interaction between body and environment. If cognition leaves the situation, it becomes empty and representational. The mind exists in the brain, the brain is embedded in the body, and the body is rooted in the environment. Cognition spans the brain and the body through physical activities, and integrates with the environment.

Cognition is a continuous and complex evolutionary process, which changes constantly with the changes of body and environment, rather than a symbolic, representational processing and operation process. As a medium of communication between the id world and the external world, the body body is of great significance to cognition. According to the theory of embodied body, knowledge should be generated actively through the sensory and motor systems of the body through the interaction of the body subject in the external environment.

At the beginning of the 20th century, CAI yuanpei, an educator in China, put forward the educational policy of "simultaneous development of five educations". Therefore, aesthetics has always been the main content of music education. In the 1970s, the famous American music educator Bennett reimer put forward the concept of "music education is aesthetic education". Influenced by this concept, music curriculum standard in China puts "aesthetic" at the core of music education. These educational concepts have never got rid of the thinking mode of "subject-object dichotomy". Therefore, music classroom teaching filters out the historical, cultural and other humanistic factors in music, and only focuses on teaching students the stylized knowledge of music. Under this teaching mode, it is impossible to talk about the new teaching concept that takes students as the main body and attaches importance to students' emotional experience and life experience.

And cognitive theory from the Angle of physical activity, to look at the origin of the cognitive, stressed that play an important role in cognitive body, this will be for the school traditional music education mode provides a new theoretical perspective: in music teaching how to help the teachers and students to build the body of the unity of body and mind subject, emphasis on the subjectivity of the music teaching in the process of the body to return to. View cognition from the communication and interaction between body and situation, pay attention to individual subjective feelings, emotional experience and other aspects.

Teachers should give students full physical freedom in class and give full play to their subjectivity and creativity in teaching activities. People understand the world in a way of perception, and their mind is inseparable from physical experience. Compared with the body being "disciplined" in a narrow desk and passively receiving monotonous theoretical knowledge, students are more eager to move and release their body and mind freely.

Teachers should pay attention to the systematic production of knowledge learning. Every student is an independent individual, so teachers must respect students' individual knowledge generation, and be good at transforming the beneficial resources generated by students in teaching activities into the Shared resources of all students. The most valuable thing in the course is not only the fixed text knowledge in the textbook, but the physical experience students get from participating in classroom activities is often the most unique and valuable.

The students sat on the chairs, and the teachers adopted a series of methods, such as demonstration singing, sentence singing, singing by roles of male and female students. Students have been maintaining a correct posture, the whole teaching process orderly. However, near the end of the class, the teacher let a student alone sing two sentences to learn the content, the student hesitated for a long time with a red face to sing a sentence, obviously not in tune.

The above cases are just a microcosm of many classroom teaching phenomena. Influenced by traditional cognitive theories, it is generally believed that only the brain needs to participate in cognitive learning, while the body does not help cognitive activities, and even the physical activities will interfere with cognitive activities. Students are required to sit in tight Spaces between desks during class, and any classroom activity that is not permitted is considered a breach of classroom discipline. It seems that students can transfer knowledge efficiently, but they can really learn very little.

From the perspective of embodied cognition, human mind and understanding ability are embodied, and all minds are based on the mind of physical experience, and the acquisition of physical experience mainly refers to the acquisition of the experience of the body sensory system. "All knowledge starts from sensory perception, and transcendental theories are not enough to be understood and accepted unless they can be proved". The teaching design based on sensory experience should liberate students from the narrow desks, guide them to move, and provide a wider channel for the acquisition of sensory experience. For example, in the above example, if the teacher can lead the students to learn some basic movements commonly used in opera, and lead them to feel the props of opera performance, the students can conduct classroom teaching through physical and mental participation based on intuitive sensory experience. From the perspective of educational psychology, this way of acquiring knowledge through physical participation is more in line with the characteristics of students' psychological and cognitive development.

We tend to think that physical activity has nothing to do with learning. "Intellectual activity is distributed among the various senses of the human body. Senses and thoughts coordinate with each other. The brain is closely related to cognitive activities. Embodied activities and the sensory experience gained from them will also promote the development of students' brain and mind.

The salient feature of situational cognition and learning theory is that "individual cognition is put in the context of larger physical and social context, which is interactive". Knowledge is constantly developing and progressing in a concrete and rich context. Knowledge and action, mind and context are closely linked. Studies of mirror neurons have shown that context-specific information allows us to experience the same emotions when faced with a similar situation or other body subject in a similar situation.

Music education, as an important part of school aesthetic education, will have an important impact on the cultivation of students' healthy personality and the harmonious development of body and mind. This requires us not only to carry out education from the perspective of curriculum construction, but also to promote the overall development of students from the perspective of subject cognition and experience. The body is the subject of aesthetic experience, and the interaction between the body and the external specific situation is the most critical link. However, many teachers only pay attention to the imparting of objective aesthetic knowledge in the teaching process, and seldom consider the participation of students' subjectivity and the perception experience of body and mind integration. Each student is a unique individual, and the physical and mental experiences and emotional states are individual and unique. Therefore, in the teaching process, teachers should try their best to help students put themselves in a specific situation and get aesthetic experience through active participation of body and mind.

The so-called situation setting in class is to return the classroom teaching to the real life world, so that the "abstract" knowledge can be connected with students' actual life and existing knowledge and experience, set up problem situations around students' daily life, and encourage students to actively explore and learn.

"Learning records" said: "learn to learn and kiss its teacher, happy friends and believe its way." It can be seen that the harmonious emotional communication between teachers and students and between students is very important for classroom teaching. Classroom teaching is not only the process of information processing and communication, but also the process of emotional dialogue between body subjects. We believe that we have had similar experience, the teacher in the classroom a look of encouragement, an approving smile, a reassuring pat and other body movements, will have an important impact on the students' subsequent classroom behavior. Especially for music classroom, music as the art of emotion, is even more need to teachers in the teaching process is good at using the language of music and body language to express feelings, through the full attention of emotional factors in the teaching and the effective transfer and maximize the positive role of emotional factors, optimize the teaching, to promote the harmonious development of the students' quality.

Classroom teaching can be optimized from three aspects: emotional induction, emotional edification and emotional regulation.

Emotional induction is to induce and guide students' interest in learning and stimulate learning motivation. For example, the author has heard a music class, the teaching syllabus stipulates that teachers should teach singing songs and understand the relevant music background knowledge, but students may not want to learn this aspect of the content, sitting upright for a short time began to twist the body, whispering to communicate... This phenomenon is quite common in teaching. Teaching activities contradict students' specific learning needs. What should we do? Example to the class, the teacher can follow the characteristics of the student body "active", lead the students with the music rhythm, the rhythm of weaving, the interpretation of knowledge or can be done by students interested in things, such as images, the classroom teaching students learning from passive to active transformation, carry out to create the necessary conditions for the next teaching activities.

As for emotional edification, it refers to the cultivation of moral sense, sense of reason, sense of beauty and other social high-level emotions of students when teachers are carrying out teaching activities. However, the emotional transmission by text in the textbook is very limited, so the emotional edification in the classroom should be completed through the communication and interaction between teachers and students and between the body subjects of life and life. According to the "mirror neuron" principle, if the body has had a similar experience, when it is exposed to the relevant situation again, the relevant nerves in the brain will be activated, and the body will have a similar emotional experience, which is often referred to as the "empathy" ability. Back to music classroom teaching, teachers can use situational setting, music story role-playing, body rhythm and other ways to help students get relevant emotional experience.

About emotional regulation, first of all, teachers should pay attention to the regulation and management of their own emotions in class. As the organizer and manager of a class, teachers play a key role in classroom teaching. Therefore, teachers' personal emotions directly affect students' emotional development and the atmosphere of the whole class, which requires teachers to have a higher EQ, and cannot transfer their bad emotions to students, which is bound to lead to tension between teachers and students, and further affect the teaching.

Secondly, it is the management of students' emotions in class. Generally speaking, pleasant emotional state always provides the best emotional background for intellectual activities, which is a moderate and sometimes almost peaceful positive emotional state, which can form the best emotional atmosphere to promote students' learning and development in all aspects. The best emotional atmosphere in class mentioned here means that teachers should try their best to establish a dominant emotion for the whole class, and classroom teaching activities are carried out around this dominant emotion. It seems that there is a theme in the music, and we can add various chords, music and so on. In addition, to make the students keep high spirits for a long time, so the teacher not only blindly to the completion of tasks of classroom teaching, should pay more attention to the emotion of students in the classroom more subtle changes, and body language to enrich the students' spirits emotional change, guide and help students adjust and manage their emotion, truly promote students personality independent development of emotions and thoughts.

Embodied cognition theory provides a new perspective for our traditional music classroom teaching: knowledge is not objective and independent, cognition must occur on the body subject with various experiences, body and mind are inseparable, no body, no consciousness. Music is the art of emotion, based on the music classroom teaching and cognitive view, the liberation of the teachers' and students' body, will the past pure brain thinking, "listening learning" into the personal perception, experience in the specific situation, found in the perception and experience of students or inadequate, advantage, or potential problem, and then give appropriate guidance and encouragement, really promote students comprehensive and harmonious development of personalized.

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