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基于文化学和教育学双重意义的考虑,由笔者担任主讲教师,于2013年9月在中国音乐学院面向研究生层次开设了选修课程“原生民歌的传承与研究”。教学目的在于使学生获取知识、掌握技能、领会风格、体悟传统、感受活态、激发意识。课程以学期为一单元,每学期(单元)有四讲,内容均不重复,为我国各地区(民族)具有代表性的原生民歌;每讲授课包括五个环节:走进课堂、集体采访、录制音频、记谱模唱、学术汇报;先后应邀走进课堂的原生民歌有北京民歌、左权民歌、陕北民歌、大别山民歌、长阳山歌、高邮民歌等;聘请国家级、省区级非物质文化遗产传承人或著名民间歌唱家担任特邀嘉宾。课程具有立体性、实践性、过程性和开放性特点。该课程开设两年半以来,通过大量的教学实践以及学生们的学习反馈,引发了笔者对教学对象、教学方法、教学渠道、教学师资等方面的一些思考。
Based on the dual significance of culture and pedagogy, the author was the chief teacher. In September 2013, the elective course “Inheritance and Research of Native Folk Songs” was set up at the China Conservatory for graduate students. The purpose of teaching is to enable students to acquire knowledge, master skills, understand style, understand the tradition, feel alive, and stimulate awareness. Each semester (unit) has four lectures, the content is not repeated, for all regions (ethnic groups) representative of the original folk song; each lecture includes five sessions: into the classroom, group interviews, Recording folk songs of folk songs, Zuo Quan folk songs, folk songs of North Shaanxi, folk songs of the Dabie Mountains, Changyang folk songs, Gaoyou folk songs; hired national, provincial and municipal non-material culture Heritage heritage or famous folk singer as a special guest. Courses are three-dimensional, practical, procedural and open features. Since the course was opened two and a half years ago, through a large number of teaching practice and students’ learning feedback, the author has triggered some thoughts about teaching objects, teaching methods, teaching channels and teaching staff.