幼儿园艺术综合教学的实践探讨

幼儿园艺术综合教学除了要求整合音乐、舞蹈、戏剧、美术等多种艺术表现形式之外，还着意于音乐与美术的结合、音乐与语言的结合、艺术与科学的结合。     

师范院校普及音乐教育的必要性及相关措施

师范院校普及音乐教育的必要性及相关措施陈泓茹音乐是一种感染力与穿透力较强的感情语言，是人类不可或缺的精神家园，历代统治者以及文人学士都很重视音乐的教化作用。在当今的学校教育中，音乐又是进行美育的重要课目，通过音乐教育，培养学生的审美意识，提高学生的审...     

浅谈新课改中的艺术课教学

在新课程改革中，艺术课程的变动最大，它将过去单一的音乐、美术融合到了一起，甚至加入了舞蹈、戏剧、影视、文学等内容。在教学实践中，我深深体会到：音乐以其明快的旋律，能够改变美术课堂教学的沉闷气氛；而美术则以其清晰的画面，能使抽象的音乐语言增强形象性。因此，实施美术、音乐互补教学法，即在美术课教学中注入音乐内容，在音乐课教学中加进美术欣赏，使这两门课都做到“声中有画，画中有声”，两者和谐统一，既有利于创设课堂教学的审美氛围，又有利于学生愉悦身心、激发灵感、发展思维和陶冶情操。     

师范院校钢琴课程的新课題——谈谈钢琴即兴伴奏的教学

钢琴即兴伴奏作为钢琴课程教学中一个新的课题,已受到普遍的重视。在上海和南京召开的全国师范院校钢琴教材会议上,都分组专门讨论了这个问题。师范院校音乐专业培养的目标,绝大部分是中学音乐师资。在中学音乐教学和音乐活动中,即兴伴奏起着重要作用。设想,当爱好音乐的学生高高兴兴地拿来一首刚发表的歌曲,     

2002年艺术院校报考大帮忙(上)

引言近年来,随着我国综合国力的增强和社会生活水平的不断提高,人们对美的追求也逐日高涨,报考艺术类院校的热浪一浪高过一浪。我国目前综合性艺术院校和美术、音乐等专门性艺术院校约有30余所(其中不包括国内各综合性大学、师范院校、学历文凭院校、民办院校等设置的艺术学院艺术类专业),全国艺术院校的招生规模呈逐年上升的趋势。据最近在湖南长沙召开的2001年全国招生总结会上公布     

高师院校实施美育的途径与方法

美育在师范院校里，并不是开设一门美术选修课、音乐选修课就完成了全部的美育任务。而是要以一种教育理念、教育思想和教育方式，贯穿在整个教育过程中，渗透在一切教育活动中。学校各类学科的课程教学，不论是社会学科还是自然学科，无不蕴含着丰富的审美因素，都具有重要的美育价值。     

培养学生民族民间音乐的综合素质--谈当前师范院校民族民间音乐课程教学

围绕“师范院校民族民间音乐教学应面向基础教育，全面培养学生民族民间音乐的综合素质”这一中心，对当前师范院校民族民间音乐课程教学诸方面进行探索。     

“美术学科教育学”理论建构的指导思想及方法

“美术学科教育学”理论建构的指导思想及方法郑祖玉师范院校美术教育专业，以培养合格的中学美术专业教师为教育目标。因而，师范院校美术教育专业，从课程设置、教材编写到课堂教学都应围绕这一目标进行。目前，在师范院校美术教育专业的教育教学工作中，不同程度地存在...     

我国幼儿园各科教学研究情况简述

一九八五年,全国幼儿教育研究会第二届理事会确定将幼儿园的体育、音乐、美术、语言、常识、计算等各科教学作为重点研究项目之一。五年来,全国幼教界对各科教学的研究有了长足的进展。从研究目的和手段来看,各科教学研究可分为两个类型,一是围绕着幼儿年龄特点这个轴心,研究各科教学在幼儿期的不同年龄阶段的不同特点和发展规律,为修订《幼儿园教育纲要》提供科学依据;二是以目前幼教机     

小学开英语 初中可选修 高中学分制 国家课程标准框架初定

国家课程标准框架已基本确定，目前该课程标准正在全国范围内广泛征求意见，预计 2002年 9月在各省市建立课实验区，启动课程改革实验； 2005年开始在全国逐步推行。 　　该框架中，小学阶段以综合课程为主，低年级设品德与生活、语文、数学、体育与健康、艺术 (音乐、美术 )；高年级设思想品德与社会、语文、数学、科学、外语、综合实践活动、体育与健康、艺术 (音乐、美术 )。 　　初中阶段设分科与综合相结合的课程，主要包括思想政治、语文、数学、外语、科学 (理、化、生 )、历史与社会 (史、地 )、体育与健康、艺术 (音乐、美术 )以及…     

谈情境教学法在小学美术课堂中的应用

美术作为培养学生绘画能力与审美能力的基础课程,理应受到社会的重视和关注,对于小学阶段的学生,教师在美术教学中应更加重视情境教学。本文将以培养小学生的美术想象力为出发点,重点对情境教学的应用进行分析,希望能为美术教学的发展提供帮助。     

谈舞蹈鉴赏课对当代大学生素质培养的意义

艺术教育是素质教育中非常重要的组成部分,不同的艺术形式对学生素质的培养有不同的作用。舞蹈作为一种融合了视觉和听觉的形体艺术,它综合包含了音乐、美术等艺术形式于一体,对促进学生的综合素质全面发展有着其他艺术门类不可替代的作用。     

Carnival in the Curriculum

This article focuses on a carnival in the curriculum project designed to revitalise the arts in the experience of students in Higher Education preparing to become primary school teachers. It argues the relevance of a combined arts or trans‐disciplinary artform in the remit of a visual arts education journal and explores carnival as a complex, inclusive, multifaceted and multidimensional cultural practice with deep historical and social roots. It locates carnival within theory and the debate about the arts in schools in the UK from the early 1980s. Drawing on the analysis of interviews with students and teachers in carnival project schools, issues and themes such as student involvement, creativity, artists in schools, and cross‐curricular learning are explored, concluding that carnival in the curriculum provides an opportunity for agency within the regulated official curriculum.     

从高校美术生源状况反观中学审美素养教育

现代教育要全面推进中学生的素质教育,最为首要的是创造性思维能力的培养。美术教学过程正是认知转化为能力的最直接方式,它能给予学生更广阔的自由空间,和培养创造性观念的基础。然而现在的学生大多有表达美的愿望,没有表达美的方式和途径,这些都与审美素养水平紧密相关。审美的素养是美术创造力的源泉,也是艺术创新型人才创新能量的蓄积地,关系着美术专业人才的艺术生命,也关系着社会全民素养的水平。从高校美术生源现状,重新认识中学阶段美术素养教育的重要性有利于美术教育目标的统一与连贯。     

浅议高师音乐教学

基础教育正在实施的课程改革对中小学艺术课提出了新的标准,作为培养中小学教师摇篮的高师音乐教学也应顺应其变化,在课程设置上符合培养“一专多能”人才的要求,注重师范性,加强教学法教学,确保教学质量。     

中小学戏曲教学的师资培养与高师音乐教育对接研究

戏曲是一门集服装、化妆、表演、舞蹈、歌唱、武术、杂技等诸多表演技能和技巧于一体的综合艺术。中小学生学习戏曲艺术有助于丰富历史知识,增强民族自豪感和培养、提高艺术鉴赏能力。在义务教育飞速发展的今天,研究高校音乐院系如何培养既能胜任普通音乐教学又能从事戏曲教学的中小学合格教师,使高师音乐教学与中小学"戏曲教学"有效对接是当前高师音乐教育工作中急需解决的一个重要研究课题。     

高师声乐课探索

在高校扩招以及由国家教育部组织专家制定并颁布实施的《全日制义务教育音乐课程标准》的背景下,如何在声乐师资短缺条件下能高效率地培养出更多高质量的中小学音乐教师,是我们高师声乐课面临的一项艰巨任务。本文旨在对高师声乐课程的内容应如何适应培养目标、教师应具备怎样的素质、学生应该怎样学习、教学方法应该怎样调整方面做一些积极的探讨。     

Food Safety Education Using Music Parodies

ABSTRACT:  Musical parodies of contemporary songs with their lyrics altered to address current food safety issues were incorporated into a variety of food safety educational programs and the effectiveness of the music was evaluated by semiquantitative and qualitative measures. Audiences receiving the music-enriched curricula included school foodservice supervisors, school foodservice managers, culinary arts instructors, culinary arts students, Family and Consumer Sciences teachers, and youth aged 8 to 12 y and studies were conducted in South Carolina, North Carolina, and Delaware. Among school foodservice supervisors, school foodservice managers, and culinary arts students, most participants were able to recall the main points of each song that was introduced in the curriculum. The culinary arts students were less likely to recall the main points of each song than were the other 2 groups, possibly because of the lack of prior knowledge of food safety practices as well as a lack of preference for the style of songs used. Family and Consumer Sciences teachers were enthusiastic about the use of the music but also identified potential barriers to the successful use of the music, due to the potential lack of appropriate audiovisual equipment, a lack of skills in using such equipment, and time constraints for the use of music in curricula due to the strong emphasis on end of year testing. Participants in the summer youth groups demonstrated significant increases between pre- and posttest examinations of safe food handling behaviors and most were able to quote lines or phrases from the songs.     

The impact of fostering relationships through music within a special school classroom for students with autism spectrum disorder: an action research study

Music therapists have been working in special education contexts for many decades, utilising research and case studies to inform practice. Growing interest in the link between the creative arts and well-being has led music therapists to consider what aspects of their knowledge others could feasibly appropriate in the school system. An action research approach was utilised to explore this question, grounded in partnerships between university-based music therapy researchers and staff at a school for learners on the autistic spectrum. Five cycles of planning, action, observation and reflection framed the collaborative partnership, with a music therapist acting as consultant to explore how music could be used across the school day. The greatest shift evidenced through qualitative and quantitative analysis was in the area of relationship building. Rather than seeing music as a tool that supports the acquisition of specific skills, the professionals and students in the school came to understand that music could be a meaningful part of their encounter with one another. This is congruent with music therapy research findings that also emphasise the ways music can be used to motivate, evoke and elicit meaningful responses from young people. Some limitations were identified in the sustainability of music practices in the school, particularly when other parts of the school culture were changing.     

‘I – from dreams to reality’: A Case Study of Developing Youngsters’ Self‐Efficacy and Social Skills through an Arts Educational Project in Schools

This is a case study of a one‐year arts educational project ‘I – from dreams to reality’ in which artists worked at school with teachers and learning at the school was planned through arts‐based, co‐operative teamwork during one extra school year of 10th grade students in Finnish basic education. The theme of the year was ‘I’, and so the project was designed to highlight everyone's own way of thinking and expressing art. The research task was to determine whether long‐term holistic arts pedagogy and artist co‐operation at school have any significant connection to students’ self‐efficacy and social skills. Data has been collected through students’ self‐evaluations before and after the school year. Altogether 40 students from 10th grade participated in this case study. Half of the pupils participated in an arts educational project called ‘I – from dreams to reality’ and half formed the control group. Artists worked with the test group weekly during a period of one school year (altogether nine months). Students’ self‐evaluations concerning their self‐efficacy and social behaviour were collected by e‐questionnaire. The measures used were Likert‐based evaluation scores of pupils’ self‐assessment of their self‐efficacy and social behaviour in everyday situations at school. According to the results, artist–teacher co‐operation and learning through the arts can be worthwhile experiences to develop students’ self‐efficacy and social skills.