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当前,在新的历史时期,如何更为及时有效地抢救民族民间宝贵的音乐遗产,避免人亡艺绝,让各个民族、地区、流派、乐种的优秀音乐传统,世世代代相传下去,并在流传中得到创新的发展,使其成为与时代合拍的音乐文化,乃是我们亟待研究和探索的重要课题。1984年,广西壮族自治区创办的“少数民族歌手班”,是音乐教育战线上的一椿新事物,至今已招收了两届学员,使民族民间音乐有了新的传人,加强了基层的战斗力量,其作用和意义是重大而深远的,对继承、发展、繁荣地区的民族音乐是十分有益的。本专栏选刊了范西姆等几位教师在工作中的经验和体会,对该班的办学宗旨、工作方法、教学作业等方面,作了介绍,相信对于有关的读者当会有所帮助与启发。
At present, in the new historical period, how to save the precious musical heritage of the national folk in a more timely and effective manner so as to prevent the loss of life and death and let the excellent musical traditions of all ethnic groups, regions, genres and musical species pass on from generation to generation It is an important issue that we urgently need to study and explore in order to obtain innovative development in the spread and make it a music culture in keeping with the times. In 1984, the “Minority Singer Class” founded by Guangxi Zhuang Autonomous Region was a new thing on the front of music education. So far, two sessions of students have been enrolled, bringing new successions to ethnic folk music and strengthening grass-roots fighting power Its role and significance are significant and far-reaching, and it is very beneficial to the inheritance, development and prosperity of ethnic music. This column is a selection of some teachers such as Fan Simei in the work of experience and understanding of the class’s mission, working methods, teaching and other aspects, made a presentation, I believe for the readership will be helpful and inspired.