Dalcroze music education system;
Brief introduction of Dalcroze's life:
Original name: Neil Jacques Dalcroze.
Swiss musician and educator was born in Vienna, Austria. Born on July 6th 1865, died on July 6th 1950.
Lifeline of Dalcroze:
Dalcroze Music Learning Stage (1865- 1889)
Born in 1865, my father is a watch salesman and my mother is a music teacher. 187 1 year-old began to learn piano. /kloc-started writing March at the age of 0/872. 1I moved back to Geneva when I was 875 years old. 188 1 year-old, 16-year-old, entered a middle school and studied piano and composition at the Geneva Conservatory of Music for two years.
1883, 18 years old, entered the University of Geneva, 1884, 19 years old, came to Paris to study drama, worked in the French theater, and studied music at the same time,1886,21year old. At the age of 22, 1887 went to Vienna with his father, passed the rigorous examination and entered the composition class in anton bruckner. 24-year-old 1889 was admitted to the Paris Conservatory of Music, entered the composition class of Foley, and studied under the famous composer Dreb.
The stage of music education in Dalcroze;
1892, aged 27, returned to the Geneva Conservatory of Music after completing her studies, teaching music history, harmony, advanced solfeggio and other courses, and also engaged in a lot of music creation activities.
At the age of 28, 1893 published his first collection of songs, and many songs were widely sung immediately.
29-year-old 1894 published solfeggio teaching material "Practice with Pitch".
At the age of 35, 1900 put forward a new theory, which later evolved into "body rhythm teaching method".
1902 37 years old, forced to resign from the Geneva Conservatory of Music.
At the age of 40, 1905 showed her teaching reform achievements for the first time at the meeting of Swiss Musicians Association.
1906-year-old 4 1, published five "Dalcroze Body Rhythm Teaching Methods".
1910 at the age of 45, his career reached its peak, and he established the Dar crozet System Research Institute in Herelau.
From 19 10 to 19 14, body rhythm schools were established in Germany, London, Paris, Vienna and new york.
19 14 August, aged 49, was interrupted by the outbreak of the world war. Back in Geneva, the following year, Dalcroze College was established in Geneva.
1919 ——1930 has published many books on body rhythm music teaching, rhythm, music and education, and body rhythm art and education.
1950 85 years old, died in Geneva.
1965 100 years old, the Swiss held activities to commemorate the birth of Dalcroze 100 anniversary, and established the Dalcroze Memorial Hall.
Dalcroze's education system:
Starting from the reform of solfeggio teaching, after a long period of exploration and the construction of the theoretical basis of "body rhythm", a complete new music education system was established with the introduction of impromptu teaching as a symbol. (Solfeggio, body rhythm, impromptu teaching)
Body rhythm is different from rhythmic gymnastics and dance. He basically obeys the guidance of music. He takes his own body as a musical instrument, experiences the changes of the speed, intensity and duration of music rhythm through body movements, and then "melts" the elements necessary to express music into our bodies and minds, develops the synaesthesia of sound rhythm and body rhythm, and can directly reflect emotions with our senses, thus training students to obtain a relaxed and harmonious sense of rhythm through hearing.
Since body rhythm is a kind of body movement to feel and reproduce the music you hear, the body naturally becomes a musical instrument:
Pitch-the direction and position of gesture (or body) in space.
Sound intensity-intensity of exercise (muscle)
Timbre-the expression of different parts of the body
Time value-continuation of action
Pause.-Pause
Melody-continuity of each movement
Counterpoint-the position of different movements and directions.
Chord-the combination and superposition of various movements
Phrases-action paragraphs
Form-the distribution of motion in space and time
The teaching process of body rhythm begins with listening to music or rhythmic sounds. Let students listen to music first, and trigger kinesthetic response through listening and body movements. Guide students to contact various elements of music through physical movements. Because of the participation of body movements, musical elements become visible physical activities, so the functions of these elements are revealed one by one.
Body rhythm teaching turns a person into an instrument that can understand music requirements, understand and express music. Through this humanized instrument, the core elements of music are displayed, and the artistry is strengthened through the inner hearing and emotion of learners.
Classification of body movements in rhythmic postures;
In-situ activities and space activities (or fixed activities and mobile activities)
1. In-situ actions: clap your hands, swing, shake, command, bend over, turn around, step, talk and sing.
2. Space movement: walking, running, jumping, jumping, flying and sliding.
Pay attention to the integrity of the action and practice in four steps: preparation, performance, continuation and recovery.
Teachers of body rhythm must have the ability to improvise.
His (her) impromptu music must be able to train, dominate, direct and promote children's movements. Piano improvisation requires six conditions: (1) accurate listening; (2) inventing the ability to sing and play melodies; (3) When using different methods and different modes (tone sandhi) to accompany the melody, it should be coordinated.
(4) accurate sight-reading; (5) Memorize many children's songs and folk songs as examples or tunes with dramatic effects; (6) Reproduce the rhythm of children's movements with the sound of music, and have the ability to improvise movements and music for children.
The relationship between physical education and psychology;
1, all rhythms are actions.
2. All sports are physical sports.
3. All sports need time and space.
4. In sports, space and time are reorganized by transforming them into external rhythms.
5. Children's sports are pure physical sports and unconscious sports.
6. Physical experience forms consciousness.
7. The perfection of physical means produces clear and orderly intelligent perception.
8. Controlling exercise is to cultivate a sense of rhythm.
Kodaly music education system;
An Overview of the Rise of Teaching Method in Kodaly;
Original name: Kodály Zoltán, born in 1882 and died in 1967 (85 years old). He is a famous composer, philosopher and music educator in Hungary.
Kodaly's education system:
First, the teaching order.
Second, the teaching method (1, the first tune roll call method 2, the rhythm reading method 3, the letter spectrum 4, the gesture use 5, the fixed sound name singing method).
Third, the source of teaching materials.
Fourth, the educational concept.
The Foundation of Kodaly's Teaching Method: Singing.
Kodaly's teaching objectives:
1. Cultivate children with balanced social skills and artistic talents.
2. When children grow up, they can have such musical talent. When they see music scores, they can think of sounds. When they read and record music, they want to talk and write.
First, the teaching order
The arrangement of teaching order should respect the law of children's ability development, not be based on the subject system. Teaching based on subject system does not combine the order of courses with the characteristics of children's music development ability, but only organizes the teaching contents in a seemingly reasonable order, which is not conducive to children's learning and development of music.
Kodaly believes that several characteristics of children's musical ability development;
1. Children's songs should meet the following requirements: no more than six tones, with an interval of more than two years. It is difficult for children to sing half an interval accurately.
2. For children, falling intervals are easier to learn than rising intervals, which means that in the beginner stage, teachers should choose songs with falling tunes.
3. For children, the third interval is easier to master than the second interval, and the big intervals such as the sixth and eighth intervals are more difficult to learn.
4. A study on vocal range shows that children are most likely to sing the third degree above F, that is, A sound.
Second, teaching methods.
1, the first call method.
2. rhythmic reading.
3. alphabet.
4, the use of gestures.
5, fixed sound name singing.
Application of gestures
1, the creation of gestures.
2. Basic forms of gestures.
3. The principle of gestures.
4. The application of gestures in practice teaching.
Third, the source of teaching materials.
1. Games, nursery rhymes and hymns in children's lives.
2. Folk music.
3. Classical music, that is, music created by famous composers.
Fourthly, educational philosophy.
1. The core position of music curriculum.
2. Voice is the best musical instrument and plays an important role in singing teaching.
3. The important role of textbook selection.
4. Be strict with teachers.
Overview of Kodaly's teaching thought:
Teaching methods adopted: first-tone roll call, rhythm reading, application of letters and gestures.
Choose folk songs and the music of famous composers as teaching materials.
Emphasize the importance of early music education.
Advocate the use of sound as a teaching instrument.
It is considered that putting music at the core of the curriculum and the importance of music education to all-round development.
Orff music education system;
Biography:
Carl orff (1895- 1982) is a world-famous German composer and music educator. 1July, 895 10 was born in an artistic military family in Munich. Influenced by the family environment, carl orff had a keen interest in music and drama since he was a child, which laid the foundation for him to become a musical master.
Orff's musical experience;
1, art education received in early childhood.
2. Musical activities in adolescence.
3. The study period of Munich Conservatory of Music.
4. Gunter's school days.
5. Return to the period of musical comedy creation.
6. The development and internationalization of Orff's music education.
The concept of "original music";
Orff is in his book.
"Primitive music is by no means pure music, it is closely combined with action, dance and language; It is a kind of music that people must participate in themselves, that is, people participate not as listeners, but as performers. "
Differences between traditional music and Orff s music education thoughts;
1. Traditional music: an educational guide that tends to be professional, skilled and technical, focusing on the old mode of learning music only with music theoretical knowledge and music skills. Ignore students' emotion and experience of music, and ignore students' initiative, subjectivity, personality and creativity in the learning process.
2. Orff Music: People-oriented, paying attention to the great role of music education in human development, and the ultimate goal is to tap people's inner potential, cultivate sound personality and develop rich creative ability through music learning, which is the starting point and ultimate goal of music education.
Orff s Thought on Music Education;
"Original Music" education: Music teaching is conducted by integrating music, action, dance, language, games, creation, etc., guiding students to actively participate in music activities and feel and experience for themselves, so that children can naturally integrate music into their hearts in a relaxed and happy atmosphere, thus achieving the communication between music and mind.
And in this process, cultivate students' character, promote the development of fantasy ability and creativity, and establish self-confidence. Then this kind of emotional stimulation and experience, as well as the acquisition of various abilities, are not external knowledge indoctrination and technical training, but spontaneous, natural and intangible acquisition through personal participation.
Orff s Thought on Music Education;
1, advocating comprehensiveness.
2. Pay attention to improvisation and creativity.
3. Emphasize practicality.
4. Emphasize localization.
5. For everyone.
1, advocating comprehensiveness
The comprehensiveness here once again reflects his "original ecology" music concept. The so-called comprehensiveness means that the form of music education should be a whole art integrating music, dance and language.
Orff believes that expressing thoughts and emotions is an instinctive desire of human beings, which is naturally expressed through language, singing (including playing musical instruments) and dancing. This is the innate ability of human beings, the original situation of human beings, and the closest to human hearts. Only through the original comprehensive art of singing, walking, moving and speaking can students find the most direct and vivid way for human beings to express their feelings, thus moving people's hearts.
In Orff's music teaching, children should be combined with reading, dancing, movements, games and other activities while singing and playing, so that students can devote themselves to music learning. At the same time, this comprehensive teaching process not only cultivates students' musical ability (timbre recognition, melody memory, musical instrument performance, musical form cognition and so on). ), but also enhance students' emotional experience of music.
2. Pay attention to improvisation and creativity.
Children's life experience has not been shaped by too many social influences. Improvisation is a natural nature and an instinctive reaction that radiates the soul. Therefore, Orff stressed that children should be actively guided to play this natural creativity in music. After seeing a picture, they can express it in music according to their own understanding and improvise through simple musical instruments. When there are no musical instruments, they can play with their hands, feet, chopsticks and newspapers instead of music, which fully reflects their creativity in musical instruments.
Therefore, Orff's teaching method is not a fixed and closed "rule" here. His overall content and methods encourage and inspire people to create and arrange themselves. It is not recommended to indoctrinate children with what they have. But through guidance and inspiration, children can exert their imagination and creativity.
3. Emphasize practicality.
Orff believes that primitive music education is "music that people must participate in themselves, and people participate in it not as listeners, but as performers." Therefore, he emphasized that students should realize aesthetic feelings and psychological experiences such as association, imagination and emotional feelings through personal music activities in the process of music learning. Really achieve the correspondence and communication between music and heart.
4. Emphasize localization.
In Orff's music education, he advocates starting from the localized environment such as language, culture and art that students are familiar with, and drawing materials from the life that students are most familiar with. This can increase students' interest in learning, help students learn and grow, and make music education achieve good results. At the same time, the national culture has been well inherited and developed.
One of the important reasons why Orff's educational thought is widely recognized is that Orff emphasizes starting from local culture and respecting the existence of various cultural forms.
5, for everyone
Orff's music teaching is not only for children, but also for everyone. Everyone should receive music education, and Orff's teaching method is suitable for everyone.
The Application of Orff s Music Education Practice in China;
The Application of Language in Music Teaching —— Starting with Recitation
The Application of Action in Music Teaching —— Combination Action
The Application of orff instruments in Teaching —— Instrumental Music Teaching
(1) Introducing language into music teaching is Orff's great contribution to school music teaching. Language is the first and necessary ability for everyone to learn after birth. Learning music by language fully embodies an important principle of children's education, that is, starting with the environment and things that children are familiar with. At the same time, Orff advocates music education based on local culture, and integrates national and local culture, that is, "mother tongue culture", into music education.
The content and methods of language in music teaching;
1. On prosodic recitation teaching from words and names.
Example: Wang, Jingjing, Wang, Jingjing.
2, idioms, proverbs to do the practice of rhythm short sentence teaching.
3. Reciting rhymes of nursery rhymes.
Examples of nursery rhymes and nursery rhymes:
Little mouse, go up to the lampstand and steal oil to eat. If you can't come down, call grandma. If grandma doesn't come, chatter and get down.
Little tadpoles with small tails swim around looking for their mother. "Mom, mom, where are you?" "Come, come, I am coming." Here comes a big frog.
An ant came to carry rice, but he couldn't afford it. Two ants came to carry rice and dangled it around. Three ants came to carry the rice and gently carried it into the hole.
Take a flower cup in your hand, take a sip of water, look up, shut up and grunt and spit out the water.
The application of action in music teaching--combined action.
The purpose of action teaching:
1, balanced development of body and mind.
2. Cultivate keen listening, attention and reaction ability.
3. Develop creativity.
4. Rhythm training.
5. Develop basic music education.
The application of orff instruments in teaching-instrumental music teaching.
Classification and characteristics of orff instruments;
The first category: percussion instruments without fixed pitch series, which is what we usually call percussion instruments.
The second category: musical instruments with pitch are generally classified according to their raw materials and timbre characteristics. Here mainly refers to musical instruments.
1, percussion instrument:
(1) Leather: drums. Commonly used, such as tambourine, tambourine, tambourine, big and small drums, snare drum, drum set, paigu, timpani and so on.
Musical Instrument Features: As ordinary drums are made of leather wrapped on drums with resonance bodies, the biggest feature is that the resonance sound is strong, loud and deep, which is the same as bass, giving people a sense of stability in a strong beat.
(2) Wood: made of bamboo and wood, such as single-sounding drums, double-sounding drums, frog boxes (castanets), bangzi (wooden sticks), wooden fish, etc.
Musical instrument features: the sound is crisp, bright, short and discontinuous, with strong graininess. Therefore, in teaching, the rhythm type with complex rhythm and fast speed is often used as the "melody part", and the rhythm is clear and clean.
(3) Metal: made of copper and other metals. Such as triangle iron, bell, gong and cymbal (single-sided, double-sided).
Musical instrument features: long sound, bright sound and strong penetration. Gong and cymbals are loud, so be careful when ensemble. They are usually used as characteristic musical instruments. Triangle iron and jingle bells are widely used in class, but the volume is generally small, so it is not suitable for strong shooting. Because of the lingering sound and unclear particles, it is difficult to play a rhythm with many notes and fast speed, so as not to be mixed in the sound.
(4) Scattered sound: This kind of musical instruments are mainly named according to their pronunciation characteristics, such as metal bell, Sist (made by shaking many small iron pieces), tambourine (another use is to shake the drum to make the small iron pieces on its ring rattle), and various sand hammers made of bamboo and wood (now plastic and coconut shells).
Musical Instrument Features: The volume is small, the sound is fine, and it is difficult to control the rhythm when playing, so it is generally not suitable for strong beats and fast and complicated rhythm types. However, because its sound length is controlled by Tik Tok, it is suitable for playing long notes, and it is an ideal percussion instrument for feeling the sound length.
2. Musical instruments
Zhong Qin, metal harp, xylophone.