巴赫创意曲的艺术内涵之探析

巴赫作为18世纪的重要音乐代表人物,他的一生对巴洛克时期的音乐风格的形成,产生了巨大的影响.作者以巴赫二部创意曲为对象,深刻剖析了形成巴赫音乐风格的历史背景,发现了威尼斯的宗教、文化、建筑艺术等对巴赫音乐创作的影响.通过对作品的剖析,挖掘了巴赫音乐的深刻内涵,多层面的展现了巴赫创意曲贴近大众生活、高度统一和谐、富有个性的深刻艺术内涵.     

‘Structure’ in Educational Theory

This essay explores the contingency of music's value, and the significant ways that contingency qualifies (or should qualify) our understandings of the utility of instructional method. More specifically, it raises the possibility that the altruistic pursuit of methodological purity may serve ends dramatically different than those espoused by practitioners. Music making, music study, and music learning may be liberating, empowering, and educational; but they may also serve precisely opposite ends. More simply put, neither music nor its study is unconditionally or inherently good. The essay explores various ways nihilism may be manifest in musical/instructional practices, and advances alternatives grounded in agency, action, and the acceptance of resistance and responsibility.     

Challenges to Values Education in Hong Kong School Music Education

This study deals with the issue of incorporating values education in music education in Hong Kong's primary and secondary schools. It includes the development of the state's cultural and national identity since its handover from the United Kingdom to the People's Republic of China (PRC). Thirty primary and secondary school music teachers were interviewed in order to understand how notions of “musical values” and “non-musical values” have been addressed in the curriculum. In particular, this study focuses on music teachers' perspectives on teaching world music, traditional Chinese music, the PRC national anthem, and non-musical values. This paper questions the effectiveness of existing curricular and pedagogical attempts to encourage the students' musical experience and extra-musical education. It concludes that values education must have clear conceptions of “values”, “musical cultures”, and “national identity” in order to maintain unity amidst the intensifying plurality of ethnicities and cultures in Hong Kong.     

Sounds of intent,phase 2: gauging the music development of children with complex needs

This article reports the latest phase of research in the Sounds of intent project, which is seeking, as a long‐term goal, to map musical development in children and young people with severe, or profound and multiple learning difficulties (SLD or PMLD). Previous exploratory work had resulted in a framework of six putative music‐developmental stages set across three domains of musical engagement: reactivity, proactivity and interactivity. This was intended as a first step in enabling teachers and therapists to gauge their pupils’ levels of musical development. The research described in this paper indicates that a moderately fine‐grained observation schedule (involving three sub‐levels per Sounds of intent developmental stage) may be sufficient to show longitudinal change in the observed musical engagement of pupils with PMLD, three groups of whom participated in a specially designed programme of musical activities over a six‐month period. However, mapping the individual’s levels of attainment onto their chronological ages indicates that, generally speaking, musical progress is likely to be made in tiny increments – notionally equivalent to around one Sounds of intent level during a child’s entire time in compulsory education (4–16 in the UK). This suggests that an even finer‐grained observation scheme may be of value to practitioners seeking to chart change in the longer term. It is proposed that this should be the subject of further research, and should comprise two components: level and frequency of engagement.     

Early career challenges in secondary school music teaching

The article reports an Economic and Social Research Council‐funded study of the early career experiences of secondary school music teachers in England, set within a wider national picture of decreasing age‐related pupil engagement with school music, career perceptions of music teaching, variable patterns of teacher recruitment and possible mismatches between the musical biographies of young people and intending music teachers. Qualitative and quantitative data were collected from a short‐term longitudinal survey (first questionnaire: n = 74, second questionnaire: n = 29), supplemented by case studies (n = 6) and open‐ended, written questions (n = 20). Analyses suggest that only a half of the newly qualified participants chose to teach full‐time in a mainstream, state‐funded school music classroom. Of these, the majority were faced with a range of early career challenges stemming from curricular, extra‐curricular and non‐curricular school expectations. These included the need to balance their existing musical performer identity with that of being a new teacher.     

Sing a song please: Musical contexts and language learning

Abstract

Language for children who have special educational needs is generally recognised to be an educational objective in its own right. In the last decade, the pragmatic perspective has currently focussed attention on the contexts within which the structures of language develop and are used. It is suggested that naturalistic interactions between children and adults provide appropriate contexts for language learning. The focus of the present study was to examine the possible relationship between a musical context and language learning. A group of six language‐impaired children was studied in two routinized contexts, a lesson‐without‐music and a singing session. Child‐teacher talk in the musical and non‐musical contexts was analysed using a conversational participation coding system, which included measures of turn‐taking, initiation and imitation. The findings suggest that the addition of music to a routinized context has the potential to increase the language‐impaired child's ability to interact non‐verbally.     

论钢琴教学中学生音乐表现力的培养

钢琴是高师音乐教育专业重要的基础学科,教学目的是使学生掌握必要的钢琴弹奏技能,提高音乐表现力以及为歌曲配弹伴奏的能力。教学重点应该逐步地从单纯讨论演奏技术转向培养学生的音乐性上。尤其需要重视学生实际能力的培养,要把培养音乐表现力的教育与训练始终贯穿于整个教学过程之中。音乐表现力是学生实际能力的具体反映。应从培养正确的读谱习惯、夯实听觉基石、构筑歌唱旋律、控制节奏与速度、加强艺术实践等五个方面通过正确的弹奏技术手段来达到培养学生的音乐表现力、充分表现音乐的目的。     

Comparative analysis of musical abilities of 11-year-olds from Slovenia and the island of Martinique

The focus of the study is the comparison between the musical abilities of 11-year-old children on the island of Martinique and in Slovenia, and finding out to what extent their development of musical abilities is influenced by musical and cultural family background, music school attendance, choral singing and playing orchestral instruments. Our analyses showed statistically significant sample differences between the two countries in the comparison of the dependent variables (melodic, rhythmic and harmonic musical ear). Irrespective of the country, the tests showed that a strong musical and cultural family background, music school, choral singing and playing an orchestral instrument further the development of melodic, rhythmic and harmonic musical ear. The study led to some discoveries which will be used to improve music teaching in Slovenia, as the 11-year-olds on the island of Martinique show much better results. The research also indicated important sample differences that will result in a more successful development of musical abilities.     

悲剧意识的自省与音乐形象的扬弃——肖邦《a小调前奏曲》的戏剧性因素探究

伟大的波兰音乐家肖邦一生致力于钢琴音乐的创作,其作品具有浓郁的抒情性和深刻的思想性。在其创作的众多体裁中,前奏曲这一重要体裁形式在其毕生音乐创作中占据着重要的地位。本文以其代表作《a小调前奏曲》为研究对象,通过对作品创作背景的阐释与音乐本体的分析采展现其个性化的音乐风格,为探究其音乐作品中戏剧性因素的最初表现提供理论依据。     

VOCAL PITCH MATCHING ABILITY IN CHILDREN BETWEEN FOUR AND NINE YEARS OF AGE

Results from a developmental study on pitch matching ability (PMA) were used to draw conclusions on diagnostic and educational practice in music. Forty children from 3 age groups (4, 6, 8 years) participated in a cross‐sectional study with repeated measurements. The factor age was not important in the development of vocal PMA, whereas timbre of note presentation had strong effects on reproduction: Children in all age groups were more successful with vocal than with instrumental presentation. Remarkable were the large individual differences: There are 4‐year‐old children who hare higher ability than many 8‐year‐olds. Evidence is presented that actively produced music gives more valid insights into the individual's competence than the perceptually and verbally dominated traditional procedures for assessing PMA. Emphasis is thus placed on vocal activities because they are the earliest musical (and/or prosodic) expressions.     

民间传统音乐调查的理论和技术准备

传统音乐学是研究音乐与其所处文化环境共生的科学。它的研究目的首先是要阐明各民族、各地区音乐发展的规律,从各民族、各地区的现实音乐状况出发,探索它的起源、形成、繁荣、发展、演变等问题,从而达到对人类音乐文化发展规律的认知。传统音乐的实地调查作为音乐学研究（案头工作）的第一步,要求研究者在资料的搜集、整理和研究上更趋科学和系统,从而能够更加自觉、更加成熟地走向各民族丰富多彩的社会音乐生活。     

Mozart: an anomaly in the history of music?

Mozart's work is quite unique on account of its quantitative and qualitative fullness within a short life. The explanatory patterns offered for this phenomenon range from a concentrated process of musical socialization, which comprised an exclusive preoccupation with music, to the specific fact of his travelling activity at that time (approx. 10 years of Mozart's life); to his good fortune in receiving, as a natural accompaniment in life, a musical education which was focused exclusively on high standards and enabled Mozart to become acquainted with almost the whole of the central European intelligentsia; to a consciously economic way of working which helped him to translate his experience of life into a work of art. These circumstances, which are ideal from the point of view of production, determined as they were by exceptional talent and by the environment, seemed to be so improbable to succeeding generations that the history of the reception of Mozart displays not only a reaction from a non‐academic perspective, but also designed a variety of diverging explanations for the (literally) unbelievable circumstances. This is probably why, ever since the start the nineteenth century, writings about Mozart have been not only contradictory, but have in part also provided no answers whatsoever to those questions which played such a major role in the biography. Consequently, the anomaly is valid not only for the process of production but also for that of reception.     

荀子音乐思想的伦理学维度

荀子作《乐论》,集中阐述了儒家的音乐理论,然而音乐在儒家的思想中并不具有独立的地位与价值,音乐是附属在儒家伦理学之中的。荀子赋予音乐以深刻的伦理价值,重视音乐在道德建设过程中的特殊功用,并将伦理作为音乐评判的根本标准。荀子音乐思想的伦理学维度既使得传统儒家极其重视音乐的社会功能,但又忽视了音乐自身的审美价值,阻碍了中国古代音乐的发展。     

TALENT AND INTELLIGENCE

Specific outstanding abilities are found at all levels of general cognitive functioning, and are independent of it Furthermore, people who are gifted in a particular area but differ widely in general intelligence nevertheless seem to utilise similar mental processes and structures. Thus idiot‐savant musicians remember, as well as generate, musical patterns derived from familiar musical rules, and their ability is not based on rote memory. Calendri‐cal calculators use the rules and structures on which the Gregorian Calendar is based to calculate dates rapidly. Children with low intelligence but outstanding drawing ability need less visual information for the identification of pictures than those who cannot draw but have high IQ's.     

Meme Engineers: children as producers of musical culture

This paper examines the ways in which young children construct and negotiate musical meaning as song-makers in a post-modern consumerist musical world. A critical analysis of the presentation of music in two popular Australian children's television programmes (Play School and Hi-5) and the ways in which such media impact upon children's constructions of music and musical understanding is presented. This analysis provides a context for the examination of tensions that exist between a modernist account of what constitutes musical understanding in the young child, and an account that is cognisant of post-modern aesthetics. The implications of this concerning views of children's musical development and curriculum decision making are discussed and a view of the child as an active agent in the construction of her musical worlds is illustrated through an examination of the musical narratives of a 4-year-old child.     

音乐教学中钢琴伴奏者的素质与作品风格的把握

钢琴伴奏是现代高师音乐教学中一门极其重要的、包容性强、涵盖面宽的表演艺术课程。要求伴奏不仅要具备一定的弹奏技能和应变能力，而且还要具备丰厚的化底蕴、较高的音乐素养和广阔的思维空间，这样才能准确地把握音乐作品的风格，具有正确的理解能力、分析能力和艺术表现能力。     

PSYCHOLOGICAL COUNSELLING IN MUSIC SCHOOLS IN POLAND

The development of psychological counselling for students of music schools in Poland is presented. The author's counselling experience has shown that crises in music school students can be analyzed in terms of values, technology and socio‐emotional factors. An important feature of psychological diagnosis is the analysis of musical achievement motivation (short, medium and longterm).     

IDENTIFICATION AND PROMOTION OF MUSICAL TALENT

Research on musical giftedness in Poland has a long tradition. Looking back, these endeavours can be seen as a process of transformation and reorientation of the basic concepts, methods and strategies of research, and of attitudes towards the problem of the psychology of talent. This process resulted from successive discoveries of new aspects of musical giftedness and new factors influencing its development. In the light of experience until now, musical giftedness can be seen as a lifelong process of music related activity, with strong intrinsic motivation to improve both results and knowledge. Simultaneously, it is a stream, very sensitive to external and internal emotional pressures, a potential which cannot be realized without active and competent socioemotional support and tutoring – in all stages of the talented person's life. Research on this problem requires international cooperation among experienced researchers, counsellors, music teachers and parents of the musically gifted.     

Powerful knowledge: insights from music's case

This paper examines Young and Muller's elaboration of Michael Young's concept of powerful knowledge and considers music's alignment with the characteristics theorised as distinguishing this type of knowledge. Consideration of the concept in relation to music may be timely as music teachers continue to grapple with the problem of knowing what knowledge to include within the parameters of a school curriculum. The concept of powerful knowledge may provide us with a fresh way of considering what school music may have to offer in such a noisy and musically heterogeneous world. This curricular challenge, however, is by no means unique to music, even though it may be exacerbated in music which is so open to the forces of cultural change. I argue that access to this knowledge occurs by placing abstract concepts at the centre of curriculum conception as the means to mediate the space between everyday knowledge and the more vertical discourse of school knowledge. It is in this ‘academic’ space that students can come to understand and utilise music as a form of powerful knowledge, when epistemic understanding illuminates the experiential and aesthetic dimensions of musical experiences.     

Envisioning Autonomy through Improvising and Composing: Castoriadis visiting creative music education practice

Do psychological perspectives constitute the only way through which the role of musical creativity in education can be addressed, researched and theorised? This essay attempts to offer an alternative view of musical creativity as a deeply social and political form of human praxis, by proposing a perspective rooted in the thought of the political philosopher and activist Cornelius Castoriadis (1922–1997). This is done in two steps. First, an attempt is made to place the pursuit of the concept of musical creativity within a larger educational and societal context of conflicting trajectories that run through (a) Modernity and (b) Education. Then, I revisit the issue of educational value of improvising and composing through creating conceptual links between the process of music‐making through improvisation and composition and the project of political autonomy as conceived by Castoriadis. By foregrounding instituting imaginary over instituted imaginary, improvising and composing become active processes of positing new legitimacies, and of creating a music‐making context that searches for its own foundations. It is in and through creative musical praxis that we can think about issues of hierarchies, musical values, social dimensions of different music‐making processes, our relationship to past values and to historical dimensions of music. By arguing that improvisation and composition might be seen as ways of positing the issue of political autonomy in musical terms, this paper emphasises the role of improvisation and composition as a mode of potentially transformative educational practice that may foster the development of critical consciousness, linking music education to a larger project of re‐discovering and at the same time re‐defining democracy.