本文選題：鍵盤和聲　切入點(diǎn)：教材　出處：《上海音樂學(xué)院》2007年碩士論文　論文類型：學(xué)位論文

【摘要】： 我國音樂院校的和聲學(xué)教學(xué)長期以來存在著不同程度脫離實(shí)際的經(jīng)院化研究傾向,不少教師進(jìn)行“純理論”教學(xué),而不注意解決學(xué)生學(xué)習(xí)和聲過程中出現(xiàn)的實(shí)際問題,特別是對于鍵盤和聲練習(xí)不夠重視,專業(yè)研究人員缺乏,進(jìn)展緩慢。結(jié)果幾乎使本該非常引人入勝,具有音響審美意義的和聲學(xué),實(shí)際上成為令人費(fèi)解的“無聲”的符號。大多數(shù)學(xué)生花費(fèi)了大量時(shí)間進(jìn)行學(xué)習(xí),卻沒有真正掌握這一學(xué)科,不能很好地用于音樂實(shí)踐。因此我們有必要對我國的和聲學(xué)的課程設(shè)置、師資培養(yǎng)、教材建設(shè)、教學(xué)理念等方面,進(jìn)行全面、深入的思考,對和聲課教學(xué)進(jìn)行改革。 本文研究的目的就是根據(jù)國外已翻譯出版的《鍵盤和聲學(xué)》、《鍵盤和聲學(xué)教程——古典音樂和聲體系》、《鋼琴和聲學(xué)教程》、《鍵盤即興作曲教程》等四本不同國家的鍵盤和聲(即興演奏)教材進(jìn)行全面地研讀,研究其教學(xué)理念、教學(xué)方法、教學(xué)布局、教學(xué)特點(diǎn)等,比較其不同之處,總結(jié)其值得我們借鑒的、符合我國國情的內(nèi)容,以推動我國這方面教材的編寫。 本文的基本觀點(diǎn)是;學(xué)習(xí)和聲學(xué)除了必要的知識性講解之外,重點(diǎn)是培養(yǎng)學(xué)生的多聲部和聲思維,要做好這一點(diǎn),必須結(jié)合鍵盤和聲的教學(xué)�；窘虒W(xué)理念與教學(xué)方法是;和聲學(xué)教學(xué)應(yīng)該注重和聲音響感受力的培養(yǎng),強(qiáng)調(diào)聽力訓(xùn)練、移調(diào)訓(xùn)練、即興彈奏與即興創(chuàng)作能力的訓(xùn)練,最后達(dá)到學(xué)生普遍具有多聲部音樂思維及將和聲用于實(shí)際(創(chuàng)作、即興配彈、和聲分析)的能力。如果我國能將鍵盤和聲真正引入和聲課教學(xué)中,那么,中國音樂教育的水平及學(xué)生的音樂實(shí)踐能力,必將會有新的提高。
[Abstract]:For a long time, the teaching of harmony acoustics in Chinese music colleges has a tendency to deviate from reality to some extent. Many teachers teach "pure theory" instead of paying attention to solving the practical problems in the process of students' learning harmony. Especially the lack of attention to keyboard harmony exercises, the lack of professional researchers, and the slow progress. It's actually an inexplicable "silent" symbol. Most students spend a lot of time studying, but don't really master the subject. Therefore, it is necessary for us to carry out comprehensive and in-depth thinking on the curriculum of harmony acoustics, teacher training, teaching material construction, teaching idea, and so on, so as to reform the teaching of harmony class. The purpose of this paper is to study the keyboard and acoustics, classical music and acoustics system, piano and acoustics course, keyboard improvisation course, and so on, according to the key of four different countries, such as "keyboard and acoustics", "keyboard and acoustics course", "keyboard and acoustics course", etc. Disc harmony (improvisation) teaching materials for comprehensive study, This paper studies its teaching idea, teaching method, teaching layout, teaching characteristics and so on, compares its differences, sums up the contents which are worthy of our reference and conforms to the national conditions of our country, in order to promote the compilation of teaching materials in this respect in our country. The basic point of view of this paper is: apart from the necessary knowledge explanation, the emphasis of learning harmony acoustics is to train students' multi-part harmony thinking. In order to do this well, we must combine the teaching of keyboard harmony with the basic teaching idea and teaching method. In the teaching of harmony acoustics, attention should be paid to the cultivation of the sense of harmony sound, emphasizing the training of listening, shifting, improvisation and improvisation. Finally, the students generally have multi-part musical thinking and use harmony in practice. If our country can really introduce keyboard harmony into the teaching of harmony, then the level of Chinese music education and the students' practical ability of music will be improved.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：J624.1

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 楊靖晶;我國鋼琴即興演奏、伴奏課程發(fā)展情況調(diào)查與研究[D];上海音樂學(xué)院;2012年

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本文編號：1575987