浅论当下华语流行音乐

流行音乐是现代人最喜闻乐见的艺术形式之一,华语流行音乐则与国人联系更加紧密。本文作者多年关注和研究华语流行音乐黄金时期的发展,通过对经典音乐载体资料的收藏来透视和展望流行音乐创作的本质基础和发展趋势。在此篇文章中,本人就华语流行音乐的现状和创作基础谈谈自己粗浅的看法。     

凝炼人生的花朵--从声乐套曲《妇女的爱情与生活》看舒曼的音乐美学思想

19世纪是欧洲音乐美学思想发展的重要历史时期。作为先行者舒曼，通过一系列音乐创作、批评等活动为之做出了自己的贡献。本文借分析舒曼的著名声乐套曲《妇女的爱情与生活》的内容、结构及音乐，尝试对他的音乐美学思想作粗浅的研究，以期达到抛砖引玉之目的。     

静而相协动而生异--词与音乐关系浅论

文章以词和它的音乐形式为立足点，从其产生的艺术理论基础出发，说明了在词产生之初，音乐从旋律、节奏、乐声和乐韵等方面对词的分片、句式、字声和用韵的决定作用及其具体体现。又以历史进步的角度，观察了在音乐形式的内容决定下，词由依附音乐渐趋独立的过程，以及它和音乐互动发展，相互影响的关系变化。从字的内部乐音规律，到词的外部音乐形式，本文也都加以尝试论述，以求更加明晰的论证音乐和词的密切联系。     

Music,Transtextuality, and the World Wide Web

This article sketches the significance of aurality in hypermedia, notes that the field of English studies is constructing the World Wide Web as a verbal and visual medium, and proposes a transtextual framework to aid technical communicators in designing musical hypermedia. Because the study of music on the World Wide Web is nascent, this article includes references to art and film music, whose theories and practices are substantially developed.     

《诗经·王风·扬之水》三题

周王朝为了争夺铜资源,不惜长时间地派遣王师戍守申、甫、许等诸侯国。久而久之戍守申、甫、许便成为征戍者心目中艰难与无奈的代名词了,而诗中所用的恰恰是这样的借代之义;同名篇章研究的音乐指向无疑是正确的,但在没有乐谱的情况下,这一方向的研究必须限定于推想与推定的范畴;本篇把情绪落点停留在了思的阶段,而没有走向怨乃至愤的层面。     

多角度提问,提高音乐课堂教学实效性

本文通过多个案例阐述了音乐课堂提问的重要性。提出了课堂提问要遵循：有效性、科学性、普遍性、启发性、适时性、灵活性、适量性、充分准备八个原则。同时提出音乐课要想生动有趣,在提问时应注意一些方式、方法。通过这些问题的说明,是要使音乐教师明白通过提问这种方法,怎样使音乐课更加丰富多彩,让学生更加上喜欢音乐课。     

侗族大歌的保护与传承

侗族属于古代百越民族骆越人的一支，主要居住在湘、黔、桂三省区交界处，周边峻岭连绵、群山阻隔、外出艰难，历来封闭。这导致其浓郁的原始遗风及其群居生活长盛不衰。侗族大歌从产生到繁荣和发展的过程，就是与自身的生态环境不断发生关系的过程。侗族的社会发展、自然环境、审美意识、社会习俗等决定了侗族大歌的内容和形式，它负载着侗族文化的传承与发展，有着流行音乐所不可取代的功能和作用。而侗族大歌的保护与传承对西部民族文化的发展有着十分重要的意义。     

Betwixt and Between: Working Through the Aesthetic in Philosophy of Education: George F. Kneller Lecture,Conference of the American Educational Studies Association Savannah,Georgia, October 30, 2008

At a time when both philosophy of education and the arts are under threat within education, this article inquires into interdisciplinarity as one way of approaching the disciplines of philosophy of education and aesthetics. The article offers a retrospective autobiographical intellectual history and phenomenology of the author's own learning and scholarship within Higher Education in three main areas—philosophy of literature education, women's studies, and philosophy of music education, areas paralleling the three periods of her academic career. One sub-theme of this narrative about the balancing act of working in literature and music through philosophy of education is the author's ongoing resistance to professionalization or disciplinary academic control—of literature, philosophy, and music—while being a critical student of educational theory and practice in these areas—philosophy, literature and music within philosophy of education—of thus being “betwixt and between.” Two other themes comprising the article's subtext are “praxis” and “embodiment.” The double entendre of the phrase “working through” entails, first, using the arts of literature and music to practise philosophy of education; and secondly, embracing the psychological, ethical, and spiritual introspection that comes with critical engagement of the arts and its discourses. In short, the article aims to reprise some burning philosophical educational questions that have preoccupied its author over the years, questions deemed especially pertinent to the current increasingly diverse membership in the discipline of educational studies.     

Changing tune: reconceptualizing music with under three year olds

Recent years have seen a rapid increase in opportunities for very young children in the UK to participate in musical activity. These opportunities are provided by a range of music professionals who are expanding their work into the early years sector. Support for this increase in early childhood music draws on recent research into aspects of musicality, fuelling a growing conviction that music is developmentally beneficial. This article, while not implying any diminution in the potential value of music in the upbringing of very young children, calls for a more rigorous and critical use of research evidence. The main argument presented is that research evidence is being used discriminately to divert attention onto the transferable benefits of music into domains such as basic skills—music as means—rather than direct attention to musicality as it is manifest in earliest childhood. The article draws on ideas evolved in practice during an action‐research project which aimed to develop arts practice in early childhood settings. The project team of artists—recruited from a range of disciplinary backgrounds, including music—gradually developed a generic model of improvisatory arts activity which emphasized dynamic temporal‐spatial activity. This model of practice connected with the corpuses of recent research into infant musicality at points which, I will argue, are more congruent with their findings than the discriminatory readings. The revised model is further discussed and expanded with reference to some priorities and theoretical positions which are currently influential in early childhood arts practice.     

音、诗、画的完美结合--钢琴曲《二泉映月》的民族特性及演奏艺术

文章以曲名的由来为导引，着重从作品的曲式结构、调式、和声、织体、旋律等方面阐述和分析了钢琴曲《二泉映月》的民族特性，并对作品演奏的技巧性和艺术性处理作了详细的论述，以期从中获得对民族钢琴音乐作品艺术表现上的启示。     

Higher Education,Collaboration and a New Economics

In this article I take as my starting point the economist, Jeremy Rifkin's, claims about the rise of what he calls the ‘collaborative commons’. For Rifkin, this is nothing less than the emergence of a new economic paradigm where traditional consumers exploit the possibilities of technology, and position themselves as ‘pro‐sumers’. This emphasises their role in production rather than consumption alone, and shows how they aim to bypass a range of capitalist markets, from publishing to the music industry. In asking how education is situated in relation to the collaborative commons, I consider the growth in technology‐driven, cost‐negative services as a response to the current market in higher education. This raises the issue of what we mean by ‘collaboration’ in the university, and how this might be different from, for example, cooperation or teamwork. In seeking to provide a richer conception of collaboration in higher education, I look to Martin Buber's concept of the relational act and the life of dialogue, and to some of the seminal work of Ronald Barnett on the philosophy and economics of higher education. The article suggests that these concepts afford a new perspective on collaboration that amount to a new economics for education. Such economics require a radical shift in how we perceive the role of responsibility, reciprocity and the educative possibilities of conversation.     

《妈妈咪呀》怎一个“乐”字了得

从1999年英国伦敦首演后,音乐剧《妈妈咪呀》有14个语言版本巡演于世界240多座城市。歌舞片《妈妈咪呀》从音乐剧改编而来,继承了音乐剧的优美旋律,发扬了电影艺术独特的视听艺术,将温馨的亲情、甜蜜的爱情、感人的友情和追求自我的目标,通过无时空的音"乐"和无极限"乐"曲展现得淋漓尽致,它们或欢快、或感伤、或兴奋、或低落,但都完美地契合了人物的情绪变化和故事的发展轨迹,使观众的情绪伴随着情节的发展和音乐的节奏而波澜起伏。从歌舞片的独特魅力出发,详尽分析音乐在影片中举足轻重的地位,将音乐与人物、情节、主题相结合,试图寻找该片成功的原因所在,并为歌舞类型片的发展提供借鉴意义。     

浅谈声乐与音乐表演心理

音乐表演是音乐实践活动中重要的环节,声乐是音乐表演艺术中的一种形式,本文对声乐与音乐表演心理作了论述.     

Music, mathematics and Bach

In the earlier part of this article, an introduction to musical scales, counterpoint and harmony was given. In this part these themes are developed further with reference to Bach’s music and the emergence of the equally tempered scale.     

Rethinking Creative Teaching and Teaching as Research: Mapping the Critical Phases That Mark Times of Change and Choosing as Learners and Teachers of Music

This article describes the use of a visual-based construct elicitation tool developed from the use of critical incident charting for the purpose of reflecting on our creative learning journeys either at significant points as music learners in childhood, in adult life, or as preservice or experienced teachers. In this article, I introduce diverse applications of this reflective tool called “Rivers of Musical Experience” that can help us to represent, construct, and reconstruct significant milestones or significant events in our creative learning journeys. It also considers what we can learn from each other's reflections on and about our learning journeys that enable us to reflect on the assumptions underpinning our own practice. In this article, by creative teaching or teaching for creativity, I mean creating a positive learning environment in which both teachers and students can take risks, engage in imaginative activity, and do things differently.     

浙江天台山天台宗祖庭国清寺佛乐文化管窥

诞生于浙江省天台县天台山的天台宗,作为中国汉化佛教第一宗,其佛宗思想体系不仅直接影响了之后建立起来的三论宗、华严宗、禅宗等宗派,而且其用于各种仪轨的佛教音乐也对其他宗派的仪轨音乐产生了重要影响.从天台宗佛教音乐所形成的宗教、历史、社会背景等以及佛教音乐的特征对天台宗祖庭国清寺的佛乐文化进行初步探索具有一定意义.     

On being musical: Education towards inclusion

Abstract

This article questions educational practices that undermine ‘being’ musical. Where Western misconceptions about the nature of human musicality distance many individuals from meaningful engagement with an intrinsic part of their humanity, I challenge the status quo to argue for an inclusive educational practice which gives everyone an opportunity to ‘be’ musical. Despite evidence from neuroscience now supporting the understanding that humans are a musical species, the widespread neo-liberal oriented focus on vocational training fails to recognise music as an essential aspect of healthy human being. Where current polarised music education provision supports a discriminatory system that leads to widespread underdeveloped musicality, I draw on Gadamer and Dewey to explore how musicking integrates cultural development and to question the value of a practice that leaves many of us musically disabled. Including examples of teaching practices that engage and transform, I argue the case for an enriched, broader curriculum that no longer sees music as a ‘frill’.     

中国民间音乐旋法规律的文化发生初探

本文首先对几种较为常见的中国民间音乐的旋法手段作一分析介绍,而后从哲学、民族审美心理、思维方式、以及音乐与其它传统文化品种的"共生性"研究出发,分别从"游"、"圆"、"内敛、综合、统一"、"程式化"等四个方面来对民间音乐旋法规律、中国传统音乐的创作方式进行文化发生学的探讨与阐释.     

Music education in Taiwan: the dynamics and dilemmas of globalization,localization and sinophilia

The article examines the complicated interplay of globalization, localization and sinophilia that, along with associated social changes, determines reforms in Taiwanese music education today. Students are expected not only to be tri-lingual, in so far as they are obliged to learn English, Mandarin and a local language, such as Southern Fujianese, Hakka or an aboriginal dialect, but they must also become tri-cultural with respect to western classical music, traditional Chinese music and indigenous Taiwanese music. The findings of our questionnaires suggest that the processes of globalization, localization and sinophilia are unequal determinants in the transformation of Taiwanese music education. The survey, which was conducted among 2596 primary and secondary school students (1309 from Tainan and 1287 from Taipei) between May and November 2000, shows that schools are less inclined than the Taiwanese government to promote local music. Students in the survey much prefer western classical and popular music to local Taiwanese and traditional Chinese styles. They show little interest in promoting Chinese culture or in singing Taiwan's national anthem. By examining the major concerns of music education from the perspective of the complex dynamics of globalization, this study illuminates the tensions and dilemmas facing the music curriculum of Taiwan today.     

从乐器看阿拉伯音乐对欧洲音乐的影响

诸多的欧洲音乐史著述是以古希腊、古罗马音乐为开端的,这反映了古罗马、古希腊音乐在欧洲音乐史中的地位,然而大多数的论述忽略了阿拉伯音乐对欧洲音乐的影响。文章着重从乐器方面论述了阿拉伯音乐对欧洲音乐的影响并进行了简要分析,从而初步说明阿拉伯音乐文化在欧洲音乐史中的重要地位。