＂Turkish Five＂：Their Contributions to Contemporary Piano Music and Piano Education in Turkey     

Sirin Akbulut 《美中教育评论》2011,(3):354-369

First musicians using polyphony and homophony in their compositions can be seen during the 19th century in Turkey. These talented amateur composers, who worked in simple forms, such as marches or educational music, were not actually professional composers but either orchestral or choral directors. Later, during the Republic period （after 1923）, ＂Turkish Five＂ emerged. ＂Turkish Five＂ consisted of professional composers who were educated in Europe and learned western musical forms. These musicians, according to their birth years, are Cemal Resit Rey （1904-1985）, Hasan Ferit Alnar （1906-1978）, Ulvi Cemal Erkin （1906-1972）, Ahmet Adnan Saygun （1907-1991） and Necil Kazan Akses （1908-1999）. ＂Turkish Five＂ achieved important accomplishments and did significant contributions to Turkish contemporary music in 30-40 years with their efforts. While doing this, they used over 500-year old musical legacy of the West. At the beginning, these musicians used Turkish folk tunes and their rhythmic and modal system, however, later, they began to use ＂impressionism＂, ＂neo-classicism＂ and finally ＂atonalism＂ in their music. In the current study, the contributions of ＂Turkish Five＂ to contemporary Turkish piano music and their approaches to piano education were examined via literature review. After an extensive research with the literature on the topic, the researcher has interviewed with six piano teachers from different music institutions in Turkey （including two schools of time arts, two conservatories and two music teacher training schools）. During these interviews, the contributions of the ＂Turkish Five＂ were examined based on ＂relativity＂ and ＂local to global＂ principles in education, and the researcher has searched for the ways to use more of their music in piano education through the interviews. Therefore, the main purpose of the study was to discover ways to implement more of the music by ＂Turkish Five＂ in piano education in Turkey and to ffmd solutions fo  相似文献   

对提高艺术类专业统考评委素质的思考     

王长恩 《扬州大学学报(高教研究版)》2011,15(5):30-35

目前艺术类专业统考就评委这个环节而言,存在着考前辅导学生现象普遍存在、遴选方法过于保守、个别评委法制意识淡薄、评判＂离群值＂偏高等问题。提高担任艺术类专业统考评委的个人素质,是解决上述问题的关键。为此必须改进评委遴选制度,确保评委的专业素养;完善评委培训机制,提高评委的评价能力;加强评委道德素质教育,增进评委廉洁自律意识;建立民意反馈机制,提升评委队伍的＂公信度＂。  相似文献   

音乐的非倾向性功能与儿童音乐教育     

史爱华 《学前教育研究》2011,(7)

音乐具有非倾向性、审美性和倾向性三个层次的功能,其中非倾向性功能具有基础性地位,是后两种功能实现的基础.音乐能以情绪的方式满足人类精神生活的天然需要,儿童对音乐有着天然的亲近,并能对音乐这种意会性语言产生跨越时代与种族的心灵共鸣.儿童音乐教育应端正目的,放弃功利化的追求,遵循潜移默化的原则,秉承"顺应儿童天性、让儿童适才适性成长"的理念,以游戏精神为引导,在真正激发儿童艺术天性的基础上,以浸润和熏陶为基本手段,促进儿童音乐学习的热情与兴趣.  相似文献   

生态论教育思想视域下的当代中国艺术歌曲的价值     

朱晓丹 《辽宁高职学报》2011,13(6):77-78,86

生态论教育思想是全球性生态危机背景下诞生的一种新的教育理念,生态论思想与现代教育实践的融合对于当代音乐教育工作有着重要的指导意义。当代中国艺术歌曲中有大量饱含生态论价值的优秀作品,这些作品必将是以生态论教育思想为指向的当代音乐教育所亟需的艺术资源,具有较高的生态教育价值。  相似文献   

肖邦《降E大调夜曲》的作品设计     

曾少颐 《柳州职业技术学院学报》2011,11(5):74-76

夜曲是肖邦（Fryderyk Franciszek Chopin,1810-1849）创作中最富于浪漫主义气质的体裁。文章选例肖邦的《降E大调夜曲》,从夜曲的体裁和作品本体两方面对这首广为流传的夜曲在作品的设计上进行了简要的分析,以期揭示出肖邦夜曲创作的艺术特点。  相似文献   

论基督教会音乐的发展     

洪严 《周口师范学院学报》2004,21(4):118-120

基督教会音乐从中世纪产生发展至今产生了格利格里圣咏、奥尔加农复调音乐、清唱剧等音乐形式,更有像亨德尔、巴赫、海顿、莫扎特等伟大音乐家,为基督教会音乐创作了大量不朽的传世之作.  相似文献   

Curriculum stasis: the disconnect between music and technology in the Australian curriculum     

Renée Crawford  Jane Southcott 《Technology, Pedagogy and Education》2017,26(3):347-366

Technology is a dominant mediating factor impacting on current human behaviour and social change, which both acts on and is acted upon by other phenomena. This changing social landscape, along with new expectations and requirements, drives our educational priorities and curriculum agenda. There is no denying the prevalence of technology found in the statements and guidelines of the national Australian Curriculum. Further, the National Review of School Music Education identified the importance of technology in school music education in 2005. The curriculum guidelines illustrate an understanding of technology in Music and the Arts that is both vague and limiting. In 2015 we are at a point of curriculum stasis, an equilibrium that highlights a disconnect between music, technology and Australian music education. This article investigates current secondary school Years 7–10 (ages 11–15 years) Music and Arts curriculum statements concerning the use of technology and compares this to the general capability information and computer technology (ICT) curricula. There is wide recognition that digital technology is essential in teaching and learning, but this is not reflected in contemporary Australian Arts and Music curricula.  相似文献   

MOOC背景下音乐课翻转式教学的设计与实践——以汉口学院《中国民族音乐欣赏》慕课为例     

王梦熠 《教育教学论坛》2019,(14):166-168

本文以汉口学院《中国民族音乐欣赏》慕课为例,围绕中国民族音乐在大学生艺术教育中的实践,探讨慕课翻转模式的音乐教学对高校音乐教育生态系统的解构与重构,以期为高校音乐慕课+翻转课堂模式的良性发展提供新的思路。  相似文献   

重视教学中音乐与诗词的联姻     

李凌 《临沂师范学院学报》2001,23(5):95-96

一首好的音乐作品，必然是乐中有诗，诗中有乐，相得彰益，给人以 极大的审美享受。因此，在音乐教学中，既要重视学生音乐技能的训练，也要重视对学生文学素养的培育，尤其是诗词鉴赏力的培育，以提高音乐专业学生的艺术品位和整体素质。  相似文献   

音乐艺术教育功能浅论     

李飏 《楚雄师范学院学报》2004,19(2):83-84

不朽的艺术作品不但能积极地教育影响下一代人，而且还能永久性地发挥艺术的教育功能，影响若干代人的成长和进步，这样的作品具有永恒的艺术魅力。  相似文献