整合性音樂基礎訓練面面觀

A Study of the Aspects of Comprehensive Musicianship

卓甫見(Fu- Chien Cho)

《藝術學報》 93期 (2013/10) Pp. 237-262

摘要

音感是人人都具備的對於聲音之感受性。對於一個學習音樂的人或從事音樂工作的專家，音感的訓練及培養絕對是有必要的。整合性音樂基礎訓練（Comprehensive Musicianship，以下簡稱CM教學），對抗傳統上被動且不自然的學習（例如刻意設計的四部和聲練習題目），它不拘於西方嚴肅音樂，對於每一個時期的作品，從真正的曲目中學習音樂理論，從美國爵士樂到各國民族音樂，均以同等重要的觀點研究及學習。CM教學重視創作與即興的訓練，有助於學生自行統整個人的音樂綜合能力。CM教學讓學生沉浸在聲音的環境中悠游自得，使音樂的學習有趣且真實。最重要的概念是，每一項所教授的內容課題必須有關連性，環環相扣交互進行。筆者願就此領域，將歷經二十五年的歲月所得到許多的教學心得，歸納重點，分享出來，並祈各位先進不吝給予指教。

關鍵字

整合性音樂基礎訓練 ； 教學目標 ； 音感訓練 ； 唱名法

並列摘要

The present study explores the contents of ”Comprehensive Musicianship” including the training of composition, performance, and listening. Comprehensive Musicianship regards music of different historical periods with equal importance. Not limited by any genres of music, it encourages musicians learning Western serious music as well as Jazz and music of other nations. Comprehensive Musicianship takes examples from virtual repertoire rather than simulated practices. Musicians are required to be sensitive and analytical to various elements of music. They are soaked into a whole world of music with all kinds of compositions. Comprehensive Musicianship helps the music learners develop a strong ability in listening which is definitely a necessity for competent musicians. With twenty-five years of teaching experiences. Comprehensive Musicianship will be discussed in depth while some suggestions will be provided in this paper.

並列關鍵字

music education ； musicianship ； comprehensive musicianship ； sight-singing and ear-training

參考文獻

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