本文選題：鋼琴教育 + 體驗(yàn)式教學(xué)��； 參考：《東北師范大學(xué)》2017年碩士論文

【摘要】：鋼琴教育長久以來在我國都是以專業(yè)教育的形式出現(xiàn)的,教學(xué)方式也是為了培養(yǎng)專業(yè)鋼琴演奏者而生的,這種教學(xué)形式注重鋼琴演奏的技巧,以及扎實(shí)的基本功,尤其在學(xué)生的學(xué)習(xí)初期,這種基礎(chǔ)演奏機(jī)能的培養(yǎng)十分重要。但隨著鋼琴教育的影響力,它的教育目的開始不僅僅為培養(yǎng)專業(yè)鋼琴演奏者,而是為了對學(xué)生的藝術(shù)審美進(jìn)行整體培養(yǎng),這樣一來,傳統(tǒng)的專業(yè)鋼琴教育就顯得很不適用,會(huì)使一些學(xué)生產(chǎn)生反感。即便是沒有反感也沒有讓鋼琴和音樂審美直接聯(lián)系在一起。而體驗(yàn)式教學(xué)在這方面卻有著很大的積極意義,尤其是對于鋼琴初級學(xué)生而言,一方面體驗(yàn)教育方式從感受出發(fā),改變了傳統(tǒng)教育中被動(dòng)學(xué)習(xí)的觀念,使技巧教學(xué)不再成為鋼琴初級學(xué)習(xí)的唯一部分,讓枯燥的學(xué)習(xí)狀態(tài)變得有趣,使學(xué)生能從感官獲得的情緒出發(fā),增加興趣。另一方面,體驗(yàn)的豐富性讓學(xué)生對鋼琴和音樂的理解有更加深入的理解。一種教學(xué)方式的誕生勢必對舊教學(xué)方式進(jìn)行修正或革命,而體驗(yàn)式教育的出現(xiàn)與傳播也使得它迅速成為了鋼琴教育者們的熱議和焦點(diǎn)。本文通過對體驗(yàn)教學(xué)式教學(xué)的拆分使這種教學(xué)方式的優(yōu)勢層層顯現(xiàn),通過對這種教學(xué)法應(yīng)用的講述,能夠引導(dǎo)其他進(jìn)行體驗(yàn)式教學(xué)的老師從宏觀上對課題有深刻認(rèn)識,對這種教學(xué)法加深了解,也對其中的重點(diǎn)進(jìn)行掌握。從而提高學(xué)生的音樂審美以及學(xué)習(xí)質(zhì)量。本文共分四個(gè)部分對課題展開敘述第一章通過對體驗(yàn)與感受的分析,以及體驗(yàn)式教學(xué)與經(jīng)驗(yàn)、認(rèn)知等關(guān)系和體驗(yàn)式教學(xué)的基本原理,闡述體驗(yàn)式教學(xué)法的基礎(chǔ)理論研究。分三個(gè)章節(jié)進(jìn)行敘述。第二章通過對不同年齡層的初級鋼琴學(xué)習(xí)者的特點(diǎn),以及體驗(yàn)式教學(xué)與傳統(tǒng)鋼琴教學(xué)的區(qū)別談體驗(yàn)式教學(xué)法在初級鋼琴教學(xué)中的意義。這部分主要說明,體驗(yàn)式教學(xué)在鋼琴初級教學(xué)中的教育目的與傳統(tǒng)不同,是以鋼琴、音樂普及為目的教育。分為三個(gè)章節(jié)進(jìn)行敘述。第三章體驗(yàn)式教學(xué)在初級鋼琴教學(xué)中的體現(xiàn)是本文重點(diǎn)敘述章節(jié),分為四個(gè)章節(jié)進(jìn)行敘述。首先從一些主流教學(xué)法的角度上談目前體驗(yàn)式教學(xué)的教學(xué)情況。其次從情節(jié)帶入、活動(dòng)與互動(dòng)以及深入探究談體驗(yàn)式教學(xué)方式的表現(xiàn)。其中涉及一些案例分析。再次通過一些案例分析提及體驗(yàn)式教學(xué)與傳統(tǒng)初級教材的結(jié)合,但這不是本文所要表現(xiàn)的論點(diǎn),所要只做簡單說明。最后談體驗(yàn)式教學(xué)中師生關(guān)系的要求。
[Abstract]:For a long time, piano education has appeared in the form of professional education in our country. The teaching method is also for the training of professional piano players. This teaching form pays attention to the skills of piano playing and solid basic skills. Especially in the early stage of students' study, the cultivation of this basic performance is very important. But with the influence of piano education, the purpose of piano education is not only to train professional piano players, but also to cultivate the students' artistic aesthetics as a whole, so the traditional professional piano education is not suitable. It will make some students resent. Even if there is no antipathy, there is no direct connection between piano and musical aesthetics. But the experiential teaching has great positive significance in this aspect, especially for the piano junior students, on the one hand, the way of experience education changes the concept of passive learning in traditional education from the perspective of feeling. So that the teaching of skills is no longer the only part of the primary piano learning, so that the boring learning state becomes interesting, so that students can start from sensory emotions, increase interest. On the other hand, the richness of the experience enables students to have a deeper understanding of piano and music. The birth of a teaching method is bound to modify or revolutionize the old teaching method, and the emergence and dissemination of experiential education makes it a hot topic and focus of piano educators. Through the separation of experiential teaching methods, the advantages of this teaching method are revealed layer by layer. Through the narration of the application of this teaching method, it can guide other teachers who are engaged in experiential teaching to have a profound understanding of the subject from the macro perspective. This teaching method to deepen understanding, but also to grasp the key. In order to improve the students' music aesthetic and learning quality. This thesis is divided into four parts. The first chapter expounds the basic theory of experiential teaching through the analysis of experience and feeling, the relationship between experiential teaching and experience, cognition and the basic principle of experiential teaching. It is described in three chapters. The second chapter discusses the significance of experiential teaching method in primary piano teaching through the characteristics of primary piano learners of different ages and the difference between experiential teaching and traditional piano teaching. This part mainly explains that the purpose of experiential teaching in piano primary teaching is different from the traditional one, and aims at the popularization of piano and music. It is divided into three chapters. The third chapter is the embodiment of experiential teaching in primary piano teaching, which is divided into four chapters. First of all, from the point of view of some mainstream teaching methods, this paper talks about the current teaching situation of experiential teaching. Second, from the plot into, activities and interactions and in-depth exploration of the experience of teaching performance. Some case studies are involved. Again, the combination of experiential teaching and traditional primary teaching materials is mentioned through some case studies, but this is not the argument to be expressed in this paper, but only a simple explanation. Finally, the requirements of teacher-student relationship in experiential teaching are discussed.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J624.1-4

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