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題 名 | 達克羅士教學法在藝術與人文課程中之運用=The Employment of Dalcroze Eurhythmics in Arts and Humanity Education |
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作 者 | 謝鴻鳴; | 書刊名 | 音樂藝術學刊 |
卷 期 | 3 民93.09 |
頁 次 | 頁77-114 |
分類號 | 903 |
關鍵詞 | 達克羅士; 聽力-節奏-動作; 音惑訓練; 即興; 音樂欣賞; 創作; 立即反應; 手臂指揮; 卡農; 聞樂起舞; 時間-空間-精力; Dalcroze; Eurhythmics; Solfège; Improvisation; Appreciation; Creativity; Quick reaction; Arm-beat; Canon; Plastique animee; Time-space-energy; |
語 文 | 中文(Chinese) |
中文摘要 | 艾彌爾.傑克-達克羅士(Emile Jaques-Dalcroze, 1865-1950)於一九○五年在瑞士作家聯盟座談會中,將其結合訓練音樂內耳(inner-ear)聆聽和音準能力的「音感訓練」(Ear-training、solfge),訓練智能與肢體動作知行合一地來表現音樂的「聽力-節奏-動作」(Eurhythmics)及在鋼琴上即席作曲的「鋼琴即興」(Piano Improvisation)三種課程之音樂教學法公諸於世,在廣泛認同下,風靡整個歐洲,並在一九一五年前後進入美、澳、日等國家。其教學法講求親身體驗,以身體經驗形成音樂意識(謝鴻鳴,民83)。 在歐美,達克羅士教學法經常被使用在學校及私人音樂教室。而在不同地域與民情的學校教學中,常因場地的限制或班級人數過多,學生音樂能力分佈不均等因素,不一定能完全達成教學成效或學習目的。此時,達克羅士教學法的老師就需因應實際狀況適時地調整教學技巧或內容,來完成一堂成功的達克羅士教學課程,讓學生能充分領略、體會並享受音樂。 研究者在一九九三年回國後,便不斷地嘗試運用達克羅士教學法於團體將人學生及小學、大學音樂系學生身上,亦發現了上述的問題,在因應現狀修整下,這些年結合「藝術與人文」領域中之視覺與表演藝術概念,運用「角色扮演」與「音樂」兩種教學模式來深入音樂語彙,藉有趣的遊戲、研究、欣賞、表演及創作等過程達成學童完整的音樂素養之培育。 |
英文摘要 | The Swiss music educator, Emile Jaques-Dalcroze (1865-1950) combined three disciplines, “Ear-training (Solfege)”, “Eurhythmics” and “Improvisation:”, together to form the Dalcroze Approach, which was then introduced to the world of music education in the Conference of Swiss Composers’ Association, 1905. This approach then swept Europe due to extensive recognition and acceptance, and entered the USA, Australia and Japan around 1915. Dalcroze Approach emphasized the nature of the Eurhythmics experience, which involves the whole body, mind and emotions for the developing musical awareness, skills and understanding. In Europe and America, Dalcroze approach was frequently practiced in schools or private studios. Those lectures given in school sometimes not as successful as expected, and the reasons might be due to the limited space, over crowed classes or diversified musical ability in the same class. Dalcroze teachers should modify the manner on how to giver the lecture based on the real conditions of the class. After the return to Taiwan in 1993, the author kept trying the Dalcroze approach in private studios for pupils as well as college students. The problems mentioned above also occurred. Under such conditions, some modifications were carried out and series of concepts derived from arts and humanity areas were also adopted. Two lecturing models, “Role Playing” and Musical Paintings”, were thus developed to enhance the learning of the musical essence. And through games, studying, appreciation, performing and creating processes, the purpose of music cultivating was achieved. This paper will concentrate on elaborating these two education models, and on how the association between “music learning” and “visual sensing and performing” supported the Dalcroze approach. |
本系統中英文摘要資訊取自各篇刊載內容。