実用論的視点の導入によるデューイ理論の再考 : 芸術観・芸術教育観・コミュニケーション論に着目して

The current study sought to examine the influence of pragmatics on music education by reconsideration of Dewey’s theories of art, art education, and communication. Dewey was an American philosopher, pragmatist, and pedagogist who examined interactions between environment and organisms from the position of monism. Dewey claimed that art was not a “product” that only exists outside of common experience, but “the work of art” that occurs in common experiences. In addition, Dewey regarded the work of art as a phenomenon that expresses quality. Based on this notion, the current study considered Dewey’s theories and the educational theory applying them, revealing the following findings: (1) Dewey’s theory of art was based on the collateral response (motor neuronal response or habit which has already been formed), (2) teachers or instructors are regarded as part of the environment, and can be considered as the agents who present samples or objects of imitation (Azuma, 2015), (3) Nishizono (2015) included heteronomous purpose, and emphasized the content of feeling the “goodness of the work of art”, and (4) Nishizono regarded the qualities of the work of art as being interpreted uniformly. The current findings indicated that a gap could be created between the interpretation of the addresser and that of the addressee, from the perspective of pragmatics. In addition, it is possible that learners’ considerations might be changed by perceiving music or dance, which are presented by the teacher or instructor.