本文選題：唱名法 + 首調唱名法　； 參考：《東北師范大學》2009年碩士論文

【摘要】： 視唱練耳課作為基本樂科的重要組成部分,是一門技術性、藝術性和師范性都很強的課程。而視唱在視唱練耳課中又占有中心地位,視唱訓練中的唱名法問題一直是一個有爭議的話題。各種唱名方法的應用中究竟孰優(yōu)孰劣,國內音樂界爭論了幾十年,莫衷一是。本文就唱名法的理論發(fā)展、音樂教育專業(yè)視唱教學中采用何種唱名法為宜以及對各唱名法訓練方法的問題,通過具體的教學實踐分別進行理論的剖析與探討。 本文共分為四章。 第一章,唱名法的由來以及發(fā)展。這一章主要講唱名法的產生、創(chuàng)建、改革以及發(fā)展,還分別介紹了我國唱名法的發(fā)展情況和各種唱名法的應用現(xiàn)狀。11世紀初,圭多·達萊佐的六聲音階理論開啟了唱名法的大門。他把紐姆符號擺放在4根平行線上,從而明確了音高,后來在每根線的開端標上一個拉丁字母表示線的絕對音高,這便是如今使用的譜號的雛形。他以《圣約翰贊美詩》六句歌詞中每一句的第一個音節(jié)作為音級名稱:ut、re、mi、fa、sol、la,目的是幫助記憶從G或C開始的六個音級的全音與半音的排列,也就是說在C-D-E-F-G-A這樣的排列中,E-F之間為半音,其他均為全音。圣詠記譜定型為四線譜,這是音樂科學的偉大成就。唱名法經(jīng)過多次改進終于形成了一直沿用至今的七個唱名的唱名體系。 第二章,固定唱名法和首調唱名法的結合與轉換。這一章主要講兩種唱名法結合與轉換時的原則與方法。 第三章,兩種唱名法在中外教學中的應用。這一章是文章的主體部分,主要介紹題目中所說的唱名法的實踐研究。 第四章,對新唱名法的探索。這一章是對目前新興的唱名法的研究。
[Abstract]:As an important part of basic music, solfeggio is a highly technical, artistic and normal course. Solfeggio plays a central role in solfeggio training, and the question of singing name in solfeggio training has always been a controversial topic. The domestic music industry has been arguing for decades about which is better or worse in the application of various singing methods. In this paper, the author analyzes and discusses the theoretical development of the method of singing name, the proper method of singing name in the teaching of music education specialty, and the training methods of each method of singing name, respectively through the specific teaching practice. This paper is divided into four chapters. The first chapter, the origin and development of the name-singing method. This chapter mainly talks about the emergence, creation, reform and development of the roll-name method. It also introduces the development of the roll-name method in China and the current situation of its application in the early 11th century. Guido Dallezzo's six-voice theory opened the door to the name-singing method. He fixed the pitch on four parallel lines, and later marked the beginning of each line with a Latin letter indicating the absolute pitch of the line, which was the embryonic form of the spectral number used today. He used the first syllable of each of the six verses of St. John's hymn as the phonetic name:: utterre mimifa sola, in order to help remember the arrangement of the whole and the semitones of the six scales beginning with G or C, This means that in an arrangement like C-D-E-F-G-A there is a semitone between E-F and the rest is full. It is a great achievement in music science that the hymn is shaped into four lines. The method of singing names has been improved many times to form the system of seven names that have been used until now. Chapter two, the combination and transformation of fixed-name method and first-tone-name method. This chapter mainly talks about the principles and methods of the combination and transformation of the two methods of singing and naming. The third chapter, the application of two kinds of singing method in Chinese and foreign teaching. This chapter is the main part of the article, mainly introduces the title of the name of the practical research. The fourth chapter, the exploration of the new singing method. This chapter is a study of the emerging method of singing names.
【學位授予單位】：東北師范大學
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：J613.1

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