浅论小军鼓演奏中滚奏的训练法与运用

打击乐器的演奏在乐团演奏中具有非常重要的作用,演奏技巧对于打击乐器的演奏影响深远。特别是在小军鼓演奏中,滚奏方法的有效应用能够起到很好的作用。在小军鼓的学习和演奏过程中,应当注意滚奏训练和演奏技巧的应用,来强化演奏效果,提升训练质量。     

钢琴演奏中断奏与非连奏的演奏技法比较

随着钢琴的普及,一些钢琴基础方面的问题也逐渐暴露出来,在演奏中断奏与非连奏是不同的演奏技巧,表现出不同的音乐语音。两者通过不同的触键角度变化和力度使用变化达到重现作品创作内涵的目的,真正实现以完美的钢琴演奏方法进行作品历史风格性的演奏。因此,清楚认识演奏中的断奏与非连奏的差别有很大的重要性希望更多的老师能研究钢琴基本弹奏法,重视钢琴基本弹奏法,不要因为它简单而忽视了它的重要性。通过分析断奏与非连奏的演奏技法的比较,可以让学生在学习钢琴时更好的掌握正确的钢琴弹奏方法。     

琵琶快速演奏技巧训练之探究

快速演奏不仅是琵琶演奏的重要技巧之一,更是评价一名演奏者快速演奏能力的重要标准,因而也间接反映出一名琵琶演奏者的综合演奏能力与水平.本文着重从右手、左手来探究琵琶快速演奏技巧训练方法,有利于更好的掌握琵琶的快速演奏技巧.     

谈钢琴演奏中的连奏和断奏

“连奏”和“断奏”是两种不同的演奏技巧,表现出不同的音乐语音。在钢琴的演奏和教学中,如果我们仅仅只是理解了它们的概念,就把它们简单地照搬到具体的演奏和教学中,就会使我们的演奏和教学遇到许多难题。为了让我们对连奏和断奏有一个较为完整的认识,本文试从连奏和断奏的含义人手,接着对在钢琴上如何实现连奏和断奏的问题作一点粗略的分析和探讨,最后再简要地谈一谈音乐作品的风格不同对连奏和断奏的要求也有所不同的问题,以求对我们的演奏和教学有些微的裨益。     

论李斯特超技练习曲风格与演奏

在李斯特12首超技练习曲中,音阶是所有演奏法的基本,是李斯特演奏技巧中最重要的一部分;跟音阶一样,分解和弦也是演奏技巧的根本;双音与和弦的洪水式使用法,不仅能引发华丽的效果,同时也不会使音的流泻变得很暧昧;八度音奏法与断奏,也是李斯特卓越的钢琴演奏技巧中不可或缺的一部分。     

手风琴演奏技巧中的手腕训练

手风琴演奏技巧中的手腕训练郭兆双在手风琴演奏中，用手腕连续快速地弹奏和弦是较难掌握的技巧之一，是手风琴表演艺术中的“绝活”。一些手风琴演奏爱好者常对其它演奏技术得心应手，但对用手腕连续快速地弹奏和弦却力不从心，望谱兴叹。这种技巧在实际演奏中的运用是较...     

也谈中学音乐教学中的器乐演奏

在器乐演奏教学过程中,教师如何帮助学生独立掌握乐曲内涵,具备演奏技巧,快速提高器乐的演奏技巧及演奏能力呢?笔者有以下拙见: 一、培养学生的再创作思维     

论巴赫《无伴奏大提琴组曲》对大提琴发展的贡献

巴赫是音乐史上罕有的集大成者,但他对大提琴的贡献过去一直鲜为人知,他的《无伴奏大提琴组曲》是大提琴发展史上具有划时代意义的作品,通过组曲的创作,他预见了大提琴的发展,为大提琴的发展提供了一部传世佳作。我们通过论述组曲空前绝后的历史意义,以及组曲对大提琴的乐器演变、演奏技巧的发展、艺术表现力的丰富等方面,论述组曲对后世大提琴演奏艺术的发展的深远影响和重大意义。     

钢琴教学与视奏能力培养

视奏是钢琴基础教学中的重要环节。在钢琴教学中,培养学生视奏能力至关重要。其目的就是通过最佳教学途径,提高学生这种能力以促进训练进程,快速提高演奏水平。     

钢琴视奏学习探研

钢琴视奏练习是钢琴学习中一项非常重要的内容,在演奏实践中有着极强的实用性,是钢琴学习的重点和难点所在。大多数初学者和演奏者都视钢琴视奏为畏途,即使在视奏上颇下苦功,也往往收效甚微。笔者以为究其原因要有五点。通过多年的教学与演奏实践,笔者尝试提出一套解决视奏难的办法,并提出了几点学习中所应注意的问题。     

从《溪山琴况》谈当今器乐教学与演奏

《溪山琴况》不仅是一部音乐美学专著, 而且还深入细致地论述了古琴演奏技术、技巧及音乐表演理论。诸多学者着重研究其音乐美学思想, 而忽视其古琴演奏技术、技巧及音乐表演理论的研究。如果能将《溪山琴况》中古琴演奏技术、技巧及音乐表演理论与当今器乐教学与演奏结合起来, 将对当今器乐教学与演奏起到有力的推动作用。     

Is phonology bypassed in normal or dyslexic development?

A pervasive assumption in most accounts of normal reading and spelling development is that phonological coding is important early in development but is subsequently superseded by faster, orthographic coding which bypasses phonology. We call this assumption, which derives from dual process theory, the developmental bypass hypothesis. The present study tests four specific predictions of the developmental bypass hypothesis by comparing dyslexics and nondyslexics from the same families in a cross-sectional design. The four predictions are: 1) That phonological coding skill develops early in normal readers and soon reaches asymptote, whereas orthographic coding skill has a protracted course of development; 2) that the correlation of adult reading or spelling performance with phonological coding skill is considerably less than the correlation with orthographic coding skill; 3) that dyslexics who are mainly deficient in phonological coding skill should be able to bypass this deficit and eventually close the gap in reading and spelling performance; and 4) that the greatest differences between dyslexics and developmental controls on measures of phonological coding skill should be observed early rather than late in development. None of the four predictions of the developmental bypass hypothesis were upheld. Phonological coding skill continued to develop in nondyslexics until adulthood. It accounted for a substantial (32–53 percent) portion of the variance in reading and spelling performance in adult nondyslexics, whereas orthographic coding skill did not account for a statistically reliable portion of this variance. The dyslexics differed little across age in phonological coding skill, but made linear progress in orthographic coding skill, surpassing spelling-age (SA) controls by adulthood. Nonetheless, they didnot close the gap in reading and spelling performance. Finally, dyslexics were significantly worse than SA (and Reading Age [RA]) controls in phonological coding skill only in adulthood. This research was supported by the following grants to the first author: A NIMH RSDA (MH00419-05) and project grants from NIMH (MH38820-04), NICHD (HD19423-02) and the March of Dimes (12-135). Author Smith’s work was supported by a project grant from NICHD (HD 19423-02).     

To Think or Not To Think: The apparent paradox of expert skill in music performance

Abstract

Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. For Chaffin, expert skill in music performance relies solely upon overarching mental representations, while, for Dreyfus, such representations are needed only by novices, while experts rely on a more embodied form of coping. Between Chaffin and Dreyfus sit the Noices, who argue that both overarching cognitive structures and embodied processes underlie expert skill. We then present the Applying Intelligence to the Reflexes (AIR) approach—a differently nuanced model of expert skill aligned with the integrative spirit of the Noices’ research. The AIR approach suggests that musicians negotiate the apparent paradox of expert skill via a mindedness that allows flexibility of attention during music performance. We offer data from recent doctoral research conducted by the first author of this article to demonstrate at a practical level the usefulness of the AIR approach when attempting to understand the complexities of expert skill in music performance.     

Trainer Feedback: A Method for Teaching Interpersonal Skills

Feedback is an important teaching skill for counselor educators and supervisors teaching helping skills and for practitioners employing skill-training programs as an intervention for clients with relationship problems. Trainer feedback reports observable behaviors, describes how the trainee's performance deviated from or matches mastery performance criteria, and provides suggestions for improved skill implementation. By using a systematic, organized feedback delivery, a trainer can have powerful impact in promoting skill acquisition by trainees. This article describes the elements of trainer feedback, offers guidelines for giving and receiving feedback, and responds to common issues concerning the use of feedback in skill training groups.     

略论《溪山琴况》中的“和”与“淡”对二胡演奏的启示

徐上瀛所著《溪山琴况》不仅提出一套古琴演奏技法的要求,同时阐明了琴乐的审美原则和所应达到的思想意境,具有独到的美学价值。＂二十四况＂中尤以＂和＂、＂淡＂最为关键。在器乐学习和演奏过程中,演奏者需要将技巧和心态、心境的培养有机结合以来,方能达到习琴的最高境界。     

论器乐演奏中的时间感与空间感

音乐艺术中的时间和空间具有特殊的含义,从技术性与艺术性的角度而言,时间感和空间感在演奏领域内显得尤为重要,演奏者应体验和把握二者,将其有机融入到演奏技巧中并形成立体的时空思维方式,提高音乐作品的艺术表达效果。     

表象训练在技巧教学中的尝试

通过对学生在技巧教学中运用表象训练实验，结果表明，表象训练可促进动作概念的形成。加速学习和改进动作技术，提高教学质量。与此同时，对表象训练运用于技巧教学的理论依据进行了分析和探讨，为在优化教学中针对性地运用表象训练提供一定的科学依据。     

Spatial visualization ability and laparoscopic skills in novice learners: Evaluating stereoscopic versus monoscopic visualizations

Elevated spatial visualization ability (Vz) is thought to influence surgical skill acquisition and performance. Current research suggests that stereo visualization technology and its association with skill performance may confer perceptual advantages. This is of particular interest in laparoscopic skill training, where stereo visualization may confer learning advantages to novices of variant Vz. This study explored laparoscopic skill performance scores in novices with variable spatial ability utilizing stereoscopic and traditional monoscopic visualization paradigms. Utilizing the McGill Inanimate System for Teaching and Evaluating Laparoscopic Skills (MISTELS) scoring protocol it was hypothesized that individuals with high spatial visualization ability (HVz) would achieve higher overall and individual MISTELS task scores as compared to low spatial visualization ability (LVz) counterparts. Further, we also hypothesized that a difference would exist between HVz and LVz individual scores based on the viewing modality employed. No significant difference was observed between HVz and LVz individuals for MISTELS tasks scores, overall or individually under both viewing modalities, despite higher average MISTELS scores for HVz individuals. The lack of difference between scores obtained under the stereo modality suggested that the additional depth that is conferred by the stereoscopic visualization may act to enhance performance for individuals with LVz, potentially equilibrating their performance with their HVz peers. Further experimentation is required to better ascertain the effects of stereo visualization in individuals of high and low Vz, though it appears stereoscopic visualizations could serve as a prosthetic to enhance skill performance. Anat Sci Educ 7: 295–301. © 2013 American Association of Anatomists.     

The Cognitive Correlates of Computational Estimation Skill Among Third‐Grade Students

The purpose of this study was to examine the relations of various cognitive abilities and aspects of math performance with computational estimation skill among third graders. Students (n= 315) were assessed on language, nonverbal reasoning, concept formation, processing speed, long‐term memory, working memory, inattentive behavior, basic reading skill, arithmetic number combination skill, double‐digit computation skill, and computational estimation ability. One‐way analysis of variance indicated significant differences in estimation skill among students of low, average, and high math computation performance. The unique predictors of estimation skill were arithmetic number combination skill, nonverbal reasoning, concept formation, working memory, and inattentive behavior.     

谈视唱练耳的教学内容及方案设计

视唱练耳是学习音乐的基础 ,它除了训练基本的音准、节奏感、读谱能力外 ,主要是发展学生的音乐听觉 ,使其积极地将听觉运用到表演实践中。在全国所有的音乐院校及师范院校音乐系 ,凡报考的音乐附中、专科、本科各类不同专业的考生 ,视唱练耳是必考的科目之一。