【作者】 郭小利；

【导师】 王耀华；

【作者基本信息】 福建师范大学 ， 音乐学， 2009， 博士

【摘要】 音乐即兴创作作为一种独特的艺术创作方式,已越来越受到国外民族音乐学界和音乐教育界的广泛重视。本研究以中国传统音乐的传承与创新为主线,试图阐释中国传统音乐即兴创作教育的规律,并将其引入中小学音乐教育实践,以培养既热爱和传承中国传统音乐文化,又具有创新意识、创新思维、创新能力的新型创新人才。本研究从梳理国内外即兴创作观点出发,界定了音乐即兴创作概念。根据与原有音乐基础的关系,将中国传统音乐即兴创作分为框格式、自由式、衍展式三种类型,将其过程概括为“传承、变易、创新”三个阶段,即“传承是基础,变易是动力,创新是目标与结果”,并重点分析了中国传统音乐即兴创作中的即兴变易行为过程、引发即兴变易的因素和即兴变易手法。探索中国传统音乐即兴创作教育的理论与现实基础。中国传统音乐即兴创作教育是“音乐创造为核心”的音乐教育哲学观的具体化和实践化,并有机地融合了审美、实践、文化哲学因素;从思维、知识、行为三个维度来阐释音乐即兴创作的心理学基础;从文化角度,阐述中国传统音乐即兴创作教育对于民族文化身份认同、母语音乐文化传承、创新人才培养等方面的重要价值。以波兰尼的缄默认知学习理论和中国传统审美的“观、味、悟”理论为支撑,探讨中国传统音乐即兴创作教育规律,将其概括为“融入·超越·创新”三维模式,即“融入是传承的基础,超越是变易的动力,创新是最终目标和结果”。将中国传统音乐即兴创作引入音乐教育教学实践,探索以传统民歌和器乐曲为教学素材,在原型基础上实施变易的中国传统音乐即兴创作教学规律。在中小学中国传统音乐即兴创作教育实验教学中,以学生作品与创造性倾向测试数据统计为依据,检验了中国传统音乐即兴创作教育的实践可行性与初期效果。对中国传统音乐即兴创作实验教学进行理性分析,总结教学经验,剖析存在问题。本研究采用文献法、田野调查法、实验法、调查问卷法、量化数据统计法等,较为系统地论证了中国传统音乐即兴创作教育的理论基础、教育模式与实践规律。更多还原

【Abstract】 Music improvisation, as a special artistic creation way, has been paid attention to by more and more scholars of ethnomusicology and music education in Europe and America for one century. From the perspective of inheritance and innovation of CTM (Chinese Traditional Music) , this paper attempts to explain music improvisation and its education of CTM and introduces them into schooling setting in order to cultivate the students to love legacy of CTM culture and to have creative consciousness ,thought and ability.Firstly, this paper analyzes some viewpoints on music improvisation at home and abroad in order to redefine concept of music improvisation. Music improvisation of CTM can be divided into three kinds of types: the model style, the free style, the spread style. The process of improvisation of CTM has been summarized as three stages: "inheritance, Variation, innovation", namely "the inheritance is the foundation, the Variation is the power, and the innovation is the ultimate goal and the result". This paper also has analyzed the variation behavior process, the initiation variation factors and the variation techniques in the CTM improvisation. The philosophy and psychology foundation as well as the cultural and education value of CTM improvisation education has been explained. The CTM improvisation education is the particular concretion and practice of "creation-based" philosophy view of music education and fuses the three philosophy views of music education: aesthetics, praxial and cultural. On the basis of the thoughts of Polanni’ tacit knowing and sight-taste-insight of Chinese traditional aesthetics, this paper explores the rules of CTM improvisation education which is summarized as three dimensional patterns: "integration, transcendence, innovation", namely, "integration is the inheritance foundation, transcendence is the Variation power, the innovation is the ultimate objective and the result".This paper explores the CTM improvisation education practice by using folk songs and instrumental music as the teaching material and carrying on the variation in the prototype foundation. Finally, this research introduces CTM improvisation education into schooling context in the elementary schools. The experiment students’ music works has been exhibited and the creative test data has been analyzed. They demonstrated practice feasibility and effect.Adopting to the methods of the documentation, Field work, experiment, questionnaires and quantitative data statistics, the study systematicly demonstrates the theoretical foundations, teaching patterns and practical rules of the CTM improvisationeducation.更多还原