让音乐陪伴学生一生——谈新课改高中音乐鉴赏教学

《乐记》中记载,“夫乐者乐也,人情之所以不可能免也”。就是认为音乐使人“快乐”,是满足情感需要所不可缺少的。高中生正处于世界观、性格形成、发展创造力、想象力的黄金时期。他们大多喜欢音乐,或出于美的享受,或追赶时尚,或放松身心等,但怎样让音乐触及学生心灵,让其真正感受音乐的巨大魅力,这就是音乐课的价值了。     

差一点无人叫好

1956年,苏联举行全国运动会,莫斯科电影制片厂准备摄制一部大型文献纪录片《在运动大会的日子里》。在制作过程中,制片厂需要一些背景歌曲。于是,制片厂找到当时的作曲家索洛维约夫.谢多伊。谢多伊是个老牌的作曲家,电影制片厂认为由他来作曲,肯定会得到一首完美的歌曲。但是,当他把创作好的歌拿去录音时,电影厂的音乐部负责     

浅谈在音乐教学中如何陶冶学生情操

音乐是蕴涵情感最丰富的艺术,不仅是一项听觉艺术,而且是表现艺术。音乐中所表现的情感把音乐与培养情操紧密地结合起来,音乐对孩子们自身修养的形成、人性的形成、想象力和创造力的激发是别的东西无法代替的。     

培养幼儿音乐节奏感的几点体会

音乐是孩子喜欢的一种艺术形式,音乐构成的第一要素是节奏,节奏是音乐的生命,幼儿良好的节奏感是幼儿学习唱歌和舞蹈的基础,幼儿在掌握了乐曲的节奏后再理解音乐、表现音乐就容易多了,因此,为了充分发挥音乐艺术的教育功能,培养幼儿音乐素质和能力,促进幼儿全面发展,幼儿园必须重视培养幼儿的音乐节奏感。     

闹钟闹醒，不如音乐唤醒

天气越冷,温暖的被窝就越吸引我们。早晨起床就成了一件非常难过的事情。为了不迟到．我们往往会让闹钟“叫醒”自己。最近．美国人将床头闹钟评为最讨厌的人类发明之一。闹钟之所以令人讨厌．是因为它对身体有害。     

台湾客家八音生态文化管窥

客家文化是中华文化的一部分,客家八音是客家文化的代表。台湾地区的客家八音一方面保留了大陆祖地的文化特征,另一方面也随台湾的社会生活、文化风貌、风俗习惯不同呈现出特有的地域特征。在演出方式、乐队编制、传承方式、曲目保存及创作、南北风格差异、社区扶持与推广等方面均展现出在创造中继承,在吸收中融合的旺盛生命力。台湾客家八音的生存经验,对民间民族音乐遗产的保护具有启发与参考价值。     

浅谈闽南语歌曲的保护传承策略

闽南语歌曲本质上属于中国民歌、民间音乐,属于大众化流行歌曲的音乐范畴。它是闽南地区和台湾及东南亚的一种地域文化,如何保护传承这一重要的地域文化,是目前我们面临的一个十分紧迫的课题。文章在对闽南语歌曲的生存现状调查的基础上,提出通过地方高校音乐课堂教学与民间传承相结合的方式,使这一宝贵的地域文化得到更好的传承和保护,显示出更强的生命力。     

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