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中文摘要 20世纪记载着我国教育大改革的历史轨迹，中国音乐教育也在这一背景下经历了质的蜕变，特别是改革开放以来的二、三十年，在历经多轮课程改革后，我国音乐教育观念逐渐成熟、教学模式不断更新、教学内容日趋合理、教学方法愈发多样化。在此过程中，“对国外优秀音乐教育体系的引进和发展"有着特别重大的意义，匈牙利的柯达伊、瑞士的达尔克罗兹、德国的奥尔夫、日本的铃木镇一等都在不断的研究和实践中探索出了各自理念中的音乐教育体系，这其中数奥尔夫音乐教育体系对我国音乐课程改革的影响最为深远。奥尔夫以“原本性音乐”为主轴提出了追求朴实性、主张整体性、注重实践性、提倡普及性、强调创造性、坚持开放性这六大理念：为了更好地实践“用节奏将音乐与语言、动作三者结合”的想法，他独创了声势活动和一整套以打击乐器为主、操作简易的奥尔夫乐器。奥尔夫音乐教育体系凭借其独特性和先进性在世界各国获得了广泛的传播，并以其开放的态度接受着各国的反馈，于20世纪80年代开始了其在中国的传播与实践过程。笔者从纵向与横向相结合的角度出发，通过广泛的材料收集，采用对文献分析和比较等研究方法，将奥尔夫音乐教育体系在中国的传播与实践过程进行了一次梳理，既为了昭示这一进程的历史脉络，又旨在为该体系在中国的继续发展提供历史依据和经验。本文可分为三大部分。第一部分对奥尔夫生平概要及奥尔夫音乐教育体系做了概括性的阐述。其中，生平概要以服务“奥尔夫发展其音乐教育体系”为目的，选择求学、创作、教育三个阶段加以陈述。
英文摘要 The 20th century was a historical record of the Chinese education reform. Under this background, the Chinese music education was always changing, especially after our carrying out the reforming and open-door policy. Because of the course reforms, the music education idea, the mode of teaching, the teaching method and the content of course renewed constantly. In this process, some foreign music education systems made great contribution to the development of our country's music education, such as the Orff music education system. And, its principle of "elemental music" conduces that it is an artless, integrated, practical, all-pervading, creative and open system. Karl Orff, the founder, invented the body activity and lots of percussion instruments that were performed very easily. Therefore, the music education system spreaded swiftly in many other countries, and was introduced into China at 80's of 20th century. The Orff music education system began its process of propagation and practice in China. After collecting materials widely, my thesis, which is used to tide up this progress of propagation and practice and provide experience for its developing again in China, has been completed basically. This thesis can be divided into three major parts. The first part is the recapitulative discussion about the life of Orff (including the life of
DOI CNKI:CDMD:2.2007.036161 |
