“割草问题”的多种解法

有位拳师,熟读拳法,与人谈论起拳术时滔滔不绝,拳师与他人对打时,也确实战无不胜,可他就是打不过自己的老婆.拳师的老婆是一个不知拳法为何物的家庭妇女,但每次打起来,总能将拳师打得抱头鼠窜.有人问拳师:"您的功夫都到哪儿去了?"拳师恨恨地说道:"这个死婆娘,每次与我打架,总不按路数进招,害得我的拳法     

浅谈《安徽地方音乐》课程的教学

安徽地方音乐蕴含着巨大的历史价值、文化价值、民俗价值和审美价值、教育教学价值,了解安徽地方音乐文化生态状况及《安徽地方音乐》课程的教学现状,探索课程的教学资源建设,具有一定的意义。     

＂Turkish Five＂：Their Contributions to Contemporary Piano Music and Piano Education in Turkey

First musicians using polyphony and homophony in their compositions can be seen during the 19th century in Turkey. These talented amateur composers, who worked in simple forms, such as marches or educational music, were not actually professional composers but either orchestral or choral directors. Later, during the Republic period （after 1923）, ＂Turkish Five＂ emerged. ＂Turkish Five＂ consisted of professional composers who were educated in Europe and learned western musical forms. These musicians, according to their birth years, are Cemal Resit Rey （1904-1985）, Hasan Ferit Alnar （1906-1978）, Ulvi Cemal Erkin （1906-1972）, Ahmet Adnan Saygun （1907-1991） and Necil Kazan Akses （1908-1999）. ＂Turkish Five＂ achieved important accomplishments and did significant contributions to Turkish contemporary music in 30-40 years with their efforts. While doing this, they used over 500-year old musical legacy of the West. At the beginning, these musicians used Turkish folk tunes and their rhythmic and modal system, however, later, they began to use ＂impressionism＂, ＂neo-classicism＂ and finally ＂atonalism＂ in their music. In the current study, the contributions of ＂Turkish Five＂ to contemporary Turkish piano music and their approaches to piano education were examined via literature review. After an extensive research with the literature on the topic, the researcher has interviewed with six piano teachers from different music institutions in Turkey （including two schools of time arts, two conservatories and two music teacher training schools）. During these interviews, the contributions of the ＂Turkish Five＂ were examined based on ＂relativity＂ and ＂local to global＂ principles in education, and the researcher has searched for the ways to use more of their music in piano education through the interviews. Therefore, the main purpose of the study was to discover ways to implement more of the music by ＂Turkish Five＂ in piano education in Turkey and to ffmd solutions fo     

例谈线性规划思想与其他知识整合

线性规划知识给学生提供了数学建模、用数学的意识和实践机会,充分体现了数学的工具性、应用性.若用线性规划思想解决高中数学其他问题,不仅渗透了化归、数形结合的数学思想,还可以产生灵活简易的创新解法     

口算题组,口算练习因你而“升值”

扎实的口算练习是提高学生口算能力的有效途径。在学生每一阶段的口算学习过程中,若能把有关相连的口算式题编制在一起让学生进行巧妙训练,不仅能帮助学生更好地理清算理和算法,而且也能提高学生的口算速度和准确率,从而使学生的口算训练“升值”。     

改革音乐课堂培养创新能力

伴随着人类文明的脚步进入崭新的世纪,音乐教育也被赋予了前所未有的重要使命,正以她日益崭新的面貌,确立了在学校素质教育中的重要位置。然而100%的学生喜欢音乐,而80%的学生不喜欢上音乐课,《音体美报》这一沉重的调查数据不能不令我们每一位教育工作者感到震惊与     

线性规划求最值题型归类

线性规划是直线方程一个方面的应用,线性规划自从被引入了高中新教材之后,是历年高考的必考内容.而利用线性规划求最值的试题是热点题型,线性规划求最值的常见题型有以下几种.     

构建和谐的音乐课堂

为了提高课堂教学效率,向课堂教学要质量,充分减轻学生学业负担,构建愉快和谐的课堂教学,我校针对课堂减负增效教学进行了行动研究,我也根据学校的具体研究方案对音乐学科的教学特点进行了积极的探索和实践,下面就简单介绍一下我在音乐教学中是如何构建和谐的音     

浅论音乐教学中音乐情感表达的艺术形态

音乐是表现情感的艺术。作为表达人类思想意志的载体,音乐善于表现人对现实生活的心理感受,尤其是情感态度。音乐欣赏的过程就是感情体验的过程,它既是欣赏者对音乐感情内涵进行体验的过程,同时也是欣赏者的情感和音乐中表现的感情相互交融、发生共鸣的过程。