捏面人——大班音乐活动

设计思路《捏面人》是一首说唱歌曲,含有京剧中的韵味,唱起来朗朗上口,很有特色,念白部分的内容也是孩子们很喜欢的《西游记》中的人物,非常适合大班幼儿演唱。     

从幼儿的游戏精神说起

幼儿园课题研究结题之际,我们班承担了展示音乐游戏的任务。为了保证幼儿游戏的质量和展示的效果,我们把原本由幼儿听音乐自由敲击小竹竿的节奏游戏编成了一个有队形、节奏与动作变化的表演性节奏游戏活动。虽然敲击小竹竿的动作和节奏都来源于以往     

流动的音符 互动的课堂——谈音乐教学中的“互动式”教学

教育家舍吉宁说：＂我们的任务是——不要孤立的学生,孤立的教师,而要学生＋教师。＂青少年学生,特别是低年级的学生,他们天生活泼好动、好奇心强、想象力丰富,特别喜欢模仿。为此,笔者在音乐教学中,进行了＂互动式＂教学模式的探索,即师生互动,共同营造良好的教学氛围,把音乐学习与表演、游戏、     

隔代家长的五大“教养守则”

由于社会竞争加剧、工作节奏加快,许多年轻父母因工作疲于奔波,无暇顾及对孩子的教育关照;再加上城市人口老龄化的趋势,祖辈承担起对孙辈的隔代家庭教养,正成为中国家庭教育的一大特色。     

电影与时间——塔可夫斯基的电影美学观念探析

安德烈一塔可夫斯基这位世界著名的电影大师享有“银幕诗人”的美誉．他对电影语言的杰出贡献具有公认的典范意义。塔可夫斯基以其内省的气质以及深厚的文化底蕴开创了一个独特的富有生命力的艺术世界。同时,他以“雕刻时光”为核心的电影美学观念阐释了他对电影与时间的关系。     

我眼中的春天

都说阳春三月草长莺飞,可现在都到四月了,有些树的叶子还没长出来。今年的春天来得有点晚,不知是什么扰乱了它的节拍。早上,树枝上停满了悠闲的小鸟,为光秃秃的枝干增添了一些生机。下午,春光明媚,春风拂面,正是放风筝的好天气。我拿起在家里躺了整个冬天的风筝,骑着     

＂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     

婚事的节拍

我读初一那年,家里开始为21岁的大哥的婚事费神,发拜帖请本村媒婆来说亲。经过合议,相上了邻村的玉姑娘,让媒婆赶紧去回话,选个日子两家人在圩上“打照面”。     

谈“歌唱”在钢琴教学中的运用

我们知道,乐谱是作曲家创作时一切乐思、情感的载体,乐谱上充满着作曲家想要告诉人们的信息。对于学生弹钢琴来说困难的是,他们认为只要能弹出所有音符就足够了,而不会去费心雕琢作曲家所精选的珍珠。而且不少学生识谱视奏的能力不强,弹奏时节拍不稳,节奏杂乱,乐句模糊,分不清走向,缺乏乐感,不能很好的表现音乐作品的思想。同时,我们有部分老师在教学中也是片面的只讲弹琴,不讲音乐,不注重培养学生良好的弹琴习惯和方法。鉴于钢琴教学中出现的以上诸多问题,笔者通过长期的教学实践,探索出一条行之有效的办法：将“歌唱”运用到钢琴教学中。实践证明歌唱对于提高学生的识谱视奏能力,帮助学生掌握节拍与节奏,引导学生如何弹奏好复调作品,帮助学生分清乐句走向,增强乐感,提高艺术表现力以及锻炼学生的演出心理素质等都是非常有效的。     

你心里能不能阳光点

方格格的老妈气消了大半,言辞恳切地说:宝贝女儿,好好念书,别想其他的。方格格摇了摇头:你们大人,思想可真复杂!1CD机里缓缓流淌出来的,是理查得克莱德曼的钢琴曲《秋日的私语》。舒缓的音乐,轻快的节奏,水一样漫过时光,流进方格格的心里。