基于Ubuntu的计算机音乐教学系统的实现

为降低构建计算机音乐教学系统的成本,提出了以开源操作系统Ubuntu和开源音乐软件为基础,来实现计算机音乐教学系统的方法,并对实现这一系统的原理和过程进行了阐述.     

论歌唱与唱歌--兼谈声乐训练中的"音乐感觉"培养

歌唱和唱歌不仅存在创新意义上的差异，而且具有内涵和审美价值上的区别。在声乐训练中必须注重音乐感觉的培养，立足于二度创作的艺术要求，实现从“唱歌”到“歌唱”的飞跃和升华。     

新乐府辞入乐问题辨析

长期以来，人们一直认为新乐府不入乐，并认为新乐府已失去演唱功能，成为一种准歌诗，是不可歌的。如任半塘《唐声诗》中认为：“唐之‘新题乐府’，已不歌唱，通体离乐，名实全乖。”其实，认真解读郭茂倩《乐府诗集》新乐府辞序，可以发现，新乐府辞中有相当一部分是当时已经入乐演唱或是徒歌清唱的乐府歌辞，献考证可证明至少有50题新乐府是曾经入乐歌唱的。     

青海地区宗教音乐文化的传承、发展与保护

青海是一个多民族、多宗教的省份,在宗教文化的发展中,宗教音乐异军突起,影响着当地人们的生活习惯和心理变化。宗教音乐在一定程度上丰富了音乐的表现形式和内涵,同时,又作为一种宗教表现形式不断扩充宗教文化的影响。但就目前青海地区宗教音乐发展现状来说,虽然宗教音乐较为活跃,但在当今流行音乐的盛行下也渐渐开始走向迷失。因此,本文从青海地区宗教音乐的分支、文化内涵及保护措施等几个方面进行阐述,以期对宗教音乐的发展有些许裨益。     

浅谈钢琴教学中应注意的问题

音乐的殿堂广阔而恢弘,提高钢琴演奏技巧不是一蹴而就的,而需要长期的努力与实践,在充分完善理论知识的基础上要尽可能为学生创造良好的艺术学习氛围,感受艺术,提高钢琴演奏水平。文章针对不同钢琴学习者的特点,具体问题具体分析,阐述了如何提高钢琴学习者的钢琴演奏技巧,并且指出在此过程中容易出现的问题。     

在高师音乐教育中应开设"室内乐"课

“室内乐”在不同的时代和条件下有其不同的意义。在高师音乐教育中开设“室内乐”课不但可以提高学生对多声部音乐的表演能力，全面提高学生艺术修养，优化高师音乐教育的外部环境，增强艺术实践环节，而且可以使学生接受更多的通才教育，从而增强适应社会的能力。“室内乐”课的开设必将为高师音乐教育注入新的活力。     

高职音乐教育专业声乐教学中的唱法探究

随着高职音乐教育专业教学改革的推进,如何结合高职特点,把“美声唱法”“民族唱法”“通俗唱法”运用在高职声乐教学中,因材施教,提高教学质量,将是高职声乐教学的重要课题。加强对三种唱法教学的研究,找出它的内涵、联系与区别,并结合实际融入教学中,才能开阔高职声乐教学的视野,提高教学方法的科学性,加强内涵建设,培养出符合社会需求的、合格的高质量声乐人才。     

少数民族地区幼儿园民族音乐游戏化教学探究

随着新课改的不断推进,教育部门对于幼儿综合素养的培养提出了更高要求.就少数民族地区的幼教工作来说,应突出教育资源优势,尽早让幼儿接触民族音乐,这对于拓宽其文化视野、培养其音乐素养都有着极其重要的作用.教师应结合民族音乐组织一些游戏化活动,在游戏中吸引幼儿兴趣,打造优质课堂环境.     

浅谈民族声乐艺术的音乐美学因素

民族声乐艺术从产生到发展经历了一个漫长的历史过程,以明显的地域性和很强的民族性为背景,由于人们生产生活方式的转变和对文化精神的不同追求,共同形成了民族声乐艺术的基本美学因素。而今天的民族声乐艺术在借鉴了西洋美声唱法的先进经验和技巧后,其表现方式和不同类型就得以丰富,作品本身所蕴含的文化思想和音乐内涵得到升华。歌者的演唱技巧、文化素养、精神追求、价值取向也直接决定着对作品本身的诠释。所有因素共同作用,从而形成了民族声乐艺术的美学因素,这种因素也决定了民族声乐艺术既要注重表现方式上内在与外在美的兼顾,又强调作品本身所蕴含的艺术美。     

The effective teaching of comparing Orff music method with traditional music approach for music reading and melodic patterns singing for 3rd grade elementary students in Taiwan

The Orff music method has been internationally practiced and recognized as one of the leading music methods in the past fifty years. The success of this approach is that this method encourages all students participating in the designed music activities in the music class to interact with the teacher and other classmates using the Orff approach rather than the traditional one-way music learning approach in the traditional music classroom in Asia. While the children are situated within an environment where music activities and bodily movements are stimulated, the children＇s aesthetic music knowledge can be influenced significantly （Carlson, 1990）. In this study, there were a total number of 180 3rd graders from three elementary schools in Taiwan who participated in this research. The control group which consisted of three classes with a total number of 90 students was the class using the traditional music method taught by a regular classroom teacher, while the experimental group, which consisted of another three classes with a total number of 90 students, was the class taught using the Orff music method by the researcher. The study was controlled in the sense that the six music classes were ascertained to be of equal ability in their understanding of music before the experimental factor was applied. As well, there were no significant differences in age or mental capacity, while the difference in genders was only minimal. The results of this research revealed that not only did the students who had the Orff music method training perform better than the traditional music method on both melodic patterns dictation and music reading tests, but the Orff training also helped the experimental students to have a solid understanding of rhythmic structures and basic music knowledge.