本文選題：唱名法 + 首調(diào)唱名法�。� 參考：《東北師范大學(xué)》2009年碩士論文

【摘要】： 視唱練耳課作為基本樂(lè)科的重要組成部分,是一門(mén)技術(shù)性、藝術(shù)性和師范性都很強(qiáng)的課程。而視唱在視唱練耳課中又占有中心地位,視唱訓(xùn)練中的唱名法問(wèn)題一直是一個(gè)有爭(zhēng)議的話(huà)題。各種唱名方法的應(yīng)用中究竟孰優(yōu)孰劣,國(guó)內(nèi)音樂(lè)界爭(zhēng)論了幾十年,莫衷一是。本文就唱名法的理論發(fā)展、音樂(lè)教育專(zhuān)業(yè)視唱教學(xué)中采用何種唱名法為宜以及對(duì)各唱名法訓(xùn)練方法的問(wèn)題,通過(guò)具體的教學(xué)實(shí)踐分別進(jìn)行理論的剖析與探討。 本文共分為四章。 第一章,唱名法的由來(lái)以及發(fā)展。這一章主要講唱名法的產(chǎn)生、創(chuàng)建、改革以及發(fā)展,還分別介紹了我國(guó)唱名法的發(fā)展情況和各種唱名法的應(yīng)用現(xiàn)狀。11世紀(jì)初,圭多·達(dá)萊佐的六聲音階理論開(kāi)啟了唱名法的大門(mén)。他把紐姆符號(hào)擺放在4根平行線上,從而明確了音高,后來(lái)在每根線的開(kāi)端標(biāo)上一個(gè)拉丁字母表示線的絕對(duì)音高,這便是如今使用的譜號(hào)的雛形。他以《圣約翰贊美詩(shī)》六句歌詞中每一句的第一個(gè)音節(jié)作為音級(jí)名稱(chēng):ut、re、mi、fa、sol、la,目的是幫助記憶從G或C開(kāi)始的六個(gè)音級(jí)的全音與半音的排列,也就是說(shuō)在C-D-E-F-G-A這樣的排列中,E-F之間為半音,其他均為全音。圣詠記譜定型為四線譜,這是音樂(lè)科學(xué)的偉大成就。唱名法經(jīng)過(guò)多次改進(jìn)終于形成了一直沿用至今的七個(gè)唱名的唱名體系。 第二章,固定唱名法和首調(diào)唱名法的結(jié)合與轉(zhuǎn)換。這一章主要講兩種唱名法結(jié)合與轉(zhuǎn)換時(shí)的原則與方法。 第三章,兩種唱名法在中外教學(xué)中的應(yīng)用。這一章是文章的主體部分,主要介紹題目中所說(shuō)的唱名法的實(shí)踐研究。 第四章,對(duì)新唱名法的探索。這一章是對(duì)目前新興的唱名法的研究。
[Abstract]:As an important part of basic music, solfeggio is a highly technical, artistic and normal course. Solfeggio plays a central role in solfeggio training, and the question of singing name in solfeggio training has always been a controversial topic. The domestic music industry has been arguing for decades about which is better or worse in the application of various singing methods. In this paper, the author analyzes and discusses the theoretical development of the method of singing name, the proper method of singing name in the teaching of music education specialty, and the training methods of each method of singing name, respectively through the specific teaching practice. This paper is divided into four chapters. The first chapter, the origin and development of the name-singing method. This chapter mainly talks about the emergence, creation, reform and development of the roll-name method. It also introduces the development of the roll-name method in China and the current situation of its application in the early 11th century. Guido Dallezzo's six-voice theory opened the door to the name-singing method. He fixed the pitch on four parallel lines, and later marked the beginning of each line with a Latin letter indicating the absolute pitch of the line, which was the embryonic form of the spectral number used today. He used the first syllable of each of the six verses of St. John's hymn as the phonetic name:: utterre mimifa sola, in order to help remember the arrangement of the whole and the semitones of the six scales beginning with G or C, This means that in an arrangement like C-D-E-F-G-A there is a semitone between E-F and the rest is full. It is a great achievement in music science that the hymn is shaped into four lines. The method of singing names has been improved many times to form the system of seven names that have been used until now. Chapter two, the combination and transformation of fixed-name method and first-tone-name method. This chapter mainly talks about the principles and methods of the combination and transformation of the two methods of singing and naming. The third chapter, the application of two kinds of singing method in Chinese and foreign teaching. This chapter is the main part of the article, mainly introduces the title of the name of the practical research. The fourth chapter, the exploration of the new singing method. This chapter is a study of the emerging method of singing names.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類(lèi)號(hào)】：J613.1

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