falsafah2 muzik
TRANSCRIPT
IMPLIKASI-IMPLIKASI FALSAFAH PENDIDIKAN MUZIK
1. Naturalisme
- Asas kepada falsafah ini adalah pendekatan diri kepada alam.
- Pendidikan haruslah seimbang meliputi aspek fizikal dan mental manusia.
- Pengalaman belajar mestilah menyeronokkan.
- Galakan aktiviti spontan akan menggalakkan kreativiti pelajar.
- Peluang belajar mestilah diperbanyakkan.
- Penggunaan pendekatan generatif: membentuk satu konsep umum melalui
dan merangkumi maklumat-maklumat kecil yang diperolehi.
- Pengalaman negatif dalam belajar harus berlaku.
2. Idealisme
- Kewujudan objek maujud dalam alam difikirkan melalui fikiran logic dan
berteraskan intelek.
- Hanya muzik yang bermutu (muzik yang mengandungi nilai-nilai) yang
dianggap kekal.
- Pelajar harus berfikir secara keseluruhan mengenai sesuatu fakta dan
sesuatu fakta atau pengetahuan itulah mestilah dianalisis melalui proses
sintesis.
3. Realisme
- Idea dipraktikkan terlebih dahulu agar satu bentuk pembuktian dapat
dihasilkan.
- Maklumat diperolehi melalui pemikiran kritis.
- Pengalaman belajar dan aktiviti belajar adalah penting sebagai satu bentuk
didikan bagi mendapatkan kemahiran dalam mengharungi kehidupan.
KEPENTINGAN FALSAFAH PENDIDIKAN MUZIK
1. Membolehkan pendidik memahami isu-isu asas kehidupan dan membuat
keputusan.
2. Membolehkan pendidik mempunyai fahaman sistematik & komprehensif.
3. Membolehkan pendidik lebih tekal di dalam & luar kelas.
4. Memudahkan pendidik menghuraikan rasional & justifikasi kepentingan
Pendidikan Muzik.
TEORI, KAEDAH & PRINSIP PESTALOZZI
1. Pendidikan adalah pendedahan atau kebolehan semulajadi bagi manusia.
2. Pendidikan mestilah bertujuan menuju ke arah pembentukan JERIS.
3. Menggalakkan ke arah lanjutan kurikulum asas, di mana subjek seperti
geografi, muzik, pendidikan seni visual dan sains mula diwajibkan.
4. Proses P&P bukan hanya dengan perkataan, tetapi pelajar boleh rasa,
dengar dan lihat sekeliling mereka bagi membentuk pengalaman
pembelajaran yang berkesan.
5. Proses pembelajaran berasaskan murid dilaksanakan agar pelajar digalakkan
untuk menjadi lebih aktif bagi membetulkan kesilapan.
6. Proses P&P kurang menggunakan buku sahaja.
7. Persekitaran P&P penuh kesih sayang.
8. Digunakan sebagai asas sistem pendidikan di seluruh dunia.
KEPENTINGAN TEORI, KAEDAH & PRINSIP PESTALOZZI
1. Meransang intelektual harmoni, perkembangan fizikal dan moral pelajar.
2. P&P akan membawa kea rah proses pendidikan yang progresif.
PREMIS / ASPEK TERPENTING DALAM TEORI, KAEDAH & PRINSIP
PESTALOZZI
1. Persekitaran emosi kanak-kanak hendaklah sentiasa dipastikan selamat.
2. Arahan-arahan yang diberikan mestilah menurut konsep umum kemanusiaan
yang bermula dengan penggunaan deria.
PRAGMATISME
Pragmatism is an American philosophical tradition which began in the late nineteenth century
with Charles Sanders Peirce and his pragmatic maxim.[1] Through the early twentieth century it was
developed further in the works of William James, John Dewey and, in a less orthodox manner,
by George Santayana. Important positions characteristic of pragmatism include radical
empiricism,instrumentalism, verificationism, conceptual relativity, a denial of the fact-value distinction,
a high regard for science, and fallibilism.
Pragmatism has enjoyed renewed attention since the 1960s, when a new analytic school of
philosophy (W. V. O. Quine and Wilfrid Sellars) put forth a revised pragmatism criticizing the logical
positivism dominant in the United States and Britain since the 1930s, while a new brand infused with
themes from the analytic and other traditions, known sometimes as neopragmatism, gained influence
spearheaded by the philosopher Richard Rorty, the most influential of the late 20th-century
pragmatists. Contemporary pragmatism may be broadly divided into a strict analytic tradition, and
"neo-classical" pragmatism (such as Susan Haack) that adheres to the work of Peirce, James, and
Dewey.
Aesthetics
John Dewey's Art as Experience, based on the William James lectures he delivered at Harvard, was
an attempt to show the integrity of art, culture and everyday experience. (Field, IEP) Art, for Dewey, is
or should be a part of everyone's creative lives and not just the privilege of a select group of artists.
He also emphasizes that the audience is more than a passive recipient. Dewey's treatment of art was
a move away from the transcendental approach to aesthetics in the wake of Immanuel Kant who
emphasized the unique character of art and the disinterested nature of aesthetic appreciation.
A notable contemporary pragmatist aesthetician is Joseph Margolis. He defines a work of art as "a
physically embodied, culturally emergent entity", a human "utterance" that isn't an ontological quirk
but in line with other human activity and culture in general. He emphasizes that works of art are
complex and difficult to fathom, and that no determinate interpretation can be given.
Both John Dewey in Nature and Experience (1929) and half a century later Richard Rorty in his
monumental Philosophy and the Mirror of Nature (1979) argued that much of the debate about the
relation of the mind to the body results from conceptual confusions. They argue instead that there is
no need to posit the mind or mindstuff as an ontological category.
Pragmatists disagree over whether philosophers ought to adopt a quietist or a naturalist stance
toward the mind-body problem. The former (Rorty among them) want to do away with the problem
because they believe it's a pseudo-problem, whereas the latter believe that it is a meaningful
empirical question.