国内音乐院校本科视唱练耳专业方向教学现状分析与研究

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西安音乐学院 申请硕士学位论文

国内音乐院校本科视唱练耳专业方向教学现状 分析与研究 研究生姓名: 导师姓名:

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本人声明所呈交的学位论文是我个人在专业导师指导下，独立完成的研究工 作及取得的研究成果。论文中除特别加以标注和致谢的地方外，不包含其他人已 经发表或撰写过的研究成果。与我一同工作并提供过帮助的同志对本研究所做的 任何贡献，本人均己在论文中作了明确说明并表示了谢意。 研~名:最食、签字日期;}o}}二月、。日 西安音乐学院学位论文使用授权说明

本人送交西安音乐学院的学位论文的复印件及电子文档，可以采用影印、缩 印或其他复制手段予以保存。本人电子文档的内容与纸质论文的内容相一致。处 在保密期内的保密论文外，允许论文被查阅和借阅，可以公布(或者刊登)论文 的全部或部分内容。论文的公布(或者刊登)授权西安音乐学院科研处办理。 研~名:鬓霆、、师签名飒签字日、lob:二二· 中文摘要

视唱练耳专业教学是以培养专业型教学人才为主要目的。从上世纪八十年代 诞生到现在，仅仅只有二三十年短暂的历史。纵观音乐教育的历史长河，视唱练 耳专业教学仅是一种新型的和具有探索性的教学。本文以国内主要高等音乐院校 为对象，从目前本科视唱练耳专业教学入手，着重分析、研究其教学现状及未来 发展趋势。笔者通过前往国内各主要音乐院校，开展一系列的实地调研;结合个 人多年在本专业学习的心得及在教学实习中的经验和不足，分别从入学考试、教 学大纲、 基础上，

课程设置、教材、教学形式等诸多方面，作详细阐述和深入分析。在此 提出自己的思考和建议。

业的健康发展提供有价值的参考。 研究生教育提供有益的借鉴。

力求完善己有的教学内容及教学体系，为本专 同时，也希望对视唱练耳学科的建设和发展及

关键词

视唱练耳;本科;专业方向;教学现状;教学思考 Abstract

Solfeggio Training Professional Teaching is the primary purpose of teaching personnel. 80 years from the birth of the last century to the present, only a short history of only 30 years. Throughout the long history of music education, teaching ear

training is a new and only has the exploratory teaching. This paper's major domestic institutions of higher targets, from the current undergraduate teaching Solfeggio start,

focus on analysis of the teaching situation and future trends. The author had been to

the major music institutions of China, launched a series of field research; combine your many years of experience in the professional learning and in teaching practice and lack of experience, respectively, from the entrance exam, syllabus, curriculum, teaching materials, teaching style and other aspects, described in detail and depth analysis. On this basis, make the own thinking and recommendations. Seeks to

improve the existing education system and teaching content, health-oriented

professional development useful. At the same time,we also wish to subject the construction and development Solfeggio and graduate education to provide useful lessons. Key woeds

Solfeggio ;Undergraduate; professional direction; Teaching situation; Teaching Thinking 目录 中文摘要··············································································??(工)

Abstract.. ............... ............... ............ ............... .................. ......(工工) 绪

论····················································································??(1) 第一章视唱练耳学科的发展历程·.................................................. }4} 第一节视唱练耳学科的起源及形成·......................................... }4}

第二节国内视唱练耳学科的传入及发展·................................... } 5 } 一、“听声会意”在中国古代的衍生······························??(5)

二、西方音乐理论的传播·············································??

(7)

三、视唱练耳学科在我国形成····································??(8)

四、视唱练耳学科的初期发展····································??(10)

第三节独立设置视唱练耳专业的必要性·................................ (10 一、视唱练耳学科的重要性·······································??(10)

二、时代发展的需求················································??(11)

三、视唱练耳专业方向与作曲专业方向的异同···············??(12)

第二章国内本科视唱练耳专业方向教学现状介绍·.......................... ( 14) 第一节入学考试·.............................................................. ( 14) 第二节教学大纲·.............................................................. ( 16 一、教学目的与任务·..................................................... ( 17

二、教学年限与学时················································??(17)

三、教学形式·························································??(17)

四、教学原则·························································??(17)

五、教学要求与内容················································??(17)

六、考试要求·························································??(18) 第三节课程设置·.............................................................. ( 18 第四节教学教材·.............................................................. ( 18 第五节教学形式·.............................................................. ( 21) 一、技能训练·························································??(22)

二、教学实践······················································??(24)

三、音乐创

作·························································??(24)

四、论文写作·························································??(24)

第三章国内本科视唱练耳专业方向教学现状分析·.......................... ( 25 第一节入学考试分析·........................................................ ( 25

第二节教学大纲分析·........................................................ ( 26

一、不同点·························································??(26)

二、相同点·························································??(28)

第三节课程设置分析·........................................................ ( 28

第四节教学教材分析·........................................................ ( 30

第五节教学形式分析·........................................................ ( 31) 一、视唱部分·························································??(31)

二、听觉训练部分···················································??(34)

三、实践环节·························································??(35)

四、小结·······························································??(35)

第四章本科视唱练耳专业方向教学现状的思考与建议·.................... ( 36

第一节专业相关课程思考与建议·......................................... ( 36

一、专业基础课相关课程补充····································??(36)

二、专业课相关课程内容补充····································??(38)

三、将音乐会实践环节纳入教学要求···························??(42)

四、教材建设思考···················································??

(43)

第二节学科性质及诸多方面的深入思考·................................ ( 43

一、学科性质的启示················································??(43)

二、师资的合理利用················································??(44)

三、理论知识的重要性·············································??(44)

第三节人才培养问题的思考·............................................... ( 45

一、主观因素·························································??(46)

二、客观因素·························································??(46) 结

语·················································································??(48) 参考文献···········································································??(49) 致

谢·················································································??(56) 绪论

“音乐听觉”是进行一切音乐活动的前提条件，就如同卡尔·马克思曾说的: “对于不辨音律的耳朵，最美的音乐也没有意义”。要真正地欣赏音乐、演奏音 乐、感受音乐，就需具备一定地音乐听觉能力。

起源于欧洲的音乐基础学科一一视唱练耳，距今己有近一千年的历史。最初 是由法国音乐理论家圭多·阿雷蒂努斯所提出，为唱诗班开设唱歌训练，其还发 明了“圭多之手”的视唱教学法。直至1795年巴黎音乐学院成立，solfege(法 语视唱练耳)第一次纳入音乐院校，才被制定为一门基础学科。经历了无数时代 变迁、岁月洗礼，这门课程的重要性被越来越多的音乐学者所认可，①“最终形 成了音乐教育领域中一门系统的学科，以培养音乐听觉能力为主，即“用唱名法 一系列的练习来训练耳朵的学科”，在我国称之为“视唱练耳”。②\年我国 上海国立音专建立，视唱练耳学科第一次进入了我国专业音乐院校的课堂，并成 为学院必修课之一。”自此，视唱练耳学科在我国各大音乐院校相继以专业基础 课设立，开始了探索发展之路。

从上世纪八十年代起，在我国九所音乐学院当中，许多都先后设置了视唱练 耳本科专业方向，使这一领域的人才培养逐步纳入高等音乐教育的正规渠道，从

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