本文選題：系統(tǒng)　切入點(diǎn)：方法論　出處：《河南大學(xué)》2002年碩士論文　論文類型：學(xué)位論文

【摘要】： 聲樂界不可否認(rèn)地面對(duì)著混亂的現(xiàn)實(shí)。雖然聲樂藝術(shù)發(fā)展與演變的時(shí)間已經(jīng)足夠長，但聲樂的理論長時(shí)間地停留在經(jīng)驗(yàn)的積累與總結(jié)階段，這是不利于聲樂藝術(shù)發(fā)展的。聲樂理論的科學(xué)化、系統(tǒng)化已成為迫在眉睫的任務(wù)。英國系統(tǒng)學(xué)家切克蘭德教授為我們提供了將系統(tǒng)論應(yīng)用于聲樂活動(dòng)的契機(jī)。他發(fā)明了“軟”系統(tǒng)方法論，這一方法論可應(yīng)用在他所說的人類活動(dòng)系統(tǒng)中，這一類系統(tǒng)沒有明顯的結(jié)構(gòu)，沒有目的，貝塔朗菲、維納等人發(fā)展起來的“硬”系統(tǒng)范式，在這一領(lǐng)域是幾乎失效的�！败洝毕到y(tǒng)方法論實(shí)際上是一個(gè)7階段組成的循環(huán)過程，在這個(gè)方法論中，階段1與階段2是對(duì)某一特定問題情景中結(jié)構(gòu)與過程的分析，階段3是提出相關(guān)系統(tǒng)的根定義，階段4是構(gòu)造和檢驗(yàn)概念模型，階段5是將概念模型與現(xiàn)實(shí)比較，階段6與階段7是實(shí)施“可行的和合乎需要”的變革。 本文將這一方法論應(yīng)用在聲樂的教學(xué)、學(xué)習(xí)、演唱等三項(xiàng)活動(dòng)中。將方法論應(yīng)用于教學(xué)活動(dòng)之前，我對(duì)金鐵林與劉九思兩人的聲樂教學(xué)方法進(jìn)行了分析和對(duì)比，在此基礎(chǔ)上，吸收了兩種方法的優(yōu)勢。根據(jù)自己對(duì)聲樂活動(dòng)的理解，提出了一個(gè)“歌唱者三項(xiàng)能力培養(yǎng)系統(tǒng)”的概念模型。在此模型中，聲樂教學(xué)活動(dòng)被分為發(fā)聲技巧訓(xùn)練、語言訓(xùn)練、藝術(shù)表現(xiàn)訓(xùn)練這三項(xiàng)主要任務(wù)。模型還包括一些教師與學(xué)生之間的信息交流活動(dòng)。作為模型與現(xiàn)實(shí)對(duì)比的結(jié)果，我提出了對(duì)現(xiàn)實(shí)進(jìn)行改進(jìn)的建議。 在將方法論應(yīng)用于聲樂學(xué)習(xí)活動(dòng)時(shí)，我提出了一個(gè)探究式聲樂學(xué)習(xí)系統(tǒng)的概念模型。這蘊(yùn)含了我的以下觀念，即我們應(yīng)該培養(yǎng)具有較強(qiáng)開拓創(chuàng)新能力的聲樂人才，要讓學(xué)生具有“發(fā)現(xiàn)知識(shí)的知識(shí)”。因?yàn)橹挥羞@樣才能夠推動(dòng)聲樂理論的研 究不斷地深人，提高我們駕馭聲樂藝術(shù)的能力。 在將方法論應(yīng)用于演唱活動(dòng)時(shí)，，我對(duì)演唱活動(dòng)包括的主要內(nèi)容進(jìn)行了分析。 在我構(gòu)建的概念模型中，體現(xiàn)了我對(duì)聲樂演唱活動(dòng)的如下觀念。演唱能力的獲得 是最重要的活動(dòng)。演唱前要對(duì)受眾的審美心理進(jìn)行分析。演出前要精心準(zhǔn)備。在 演唱時(shí)，要注意受眾對(duì)演唱的反饋，并根據(jù)反饋適當(dāng)調(diào)整演唱活動(dòng)。 通過“軟”系統(tǒng)方法論在聲樂活動(dòng)中的應(yīng)用，我們深化了對(duì)聲樂活動(dòng)的理解，增 強(qiáng)了我們駕馭聲樂藝術(shù)的能力。但這項(xiàng)研究剛剛起步，希望有更多的聲樂界同仁 加人到這項(xiàng)研究中，為我國聲樂藝術(shù)的發(fā)展作出貢獻(xiàn)。
[Abstract]:Although vocal music art has been developed and evolved for a long time, the theory of vocal music has remained in the stage of accumulation and summary of experience for a long time. This is not conducive to the development of vocal music art. Systematization has become an urgent task. Professor Chuck Rand, a British systemologist, has provided us with an opportunity to apply systematics to vocal music. He invented the "soft" system methodology. This methodology can be applied to what he calls a system of human activity, which has no obvious structure, no purpose, the "hard" system paradigm developed by Bertalanfie, Wiener, et al. The "soft" system methodology is actually a cycle of seven stages, in which stages 1 and 2 are analyses of structures and processes in a particular problem scenario. Stage 3 is to put forward the root definition of relevant system, stage 4 is to construct and test the conceptual model, stage 5 is to compare the conceptual model with reality, stage 6 and stage 7 are to implement the "feasible and desirable" transformation. This paper applies this methodology to the three activities of vocal music teaching, learning and singing. Before applying the methodology to teaching activities, I have analyzed and compared the vocal music teaching methods of Jin Tielin and Liu Jiushi. It absorbs the advantages of two methods. According to its own understanding of vocal music activities, this paper puts forward a conceptual model of "three abilities training system for singers". In this model, vocal music teaching activities are divided into vocal skills training and language training. The model also includes some information exchange activities between teachers and students. As a result of the comparison between the model and the reality, I put forward some suggestions to improve the reality. In applying methodology to vocal music learning activities, I proposed a conceptual model of the inquiring vocal music learning system. This implies my idea that we should cultivate vocal music talents with a strong ability to develop and innovate. Let students have "knowledge of discovery", because only in this way can we promote the study of vocal music theory. The study continuously deepens the person, enhances our control vocal music art ability. When applying methodology to singing activities, I analyze the main contents of singing activities. In the conceptual model I have constructed, I have embodied my concept of vocal singing activities as follows. The acquisition of singing ability. Is the most important activity. Before singing, we should analyze the aesthetic psychology of the audience. When singing, pay attention to audience's feedback on singing, and adjust the singing activities according to the feedback. Through the application of "soft" system methodology in vocal music activities, we have deepened our understanding of vocal music activities. Our ability to master the art of vocal music. But this research is just beginning, and we hope to have more colleagues in the vocal music field. Add person to this research, make contribution to the development of our country vocal music art.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2002
【分類號(hào)】：J616

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本文編號(hào)：1560072