高等学校课外活动形式——以乌拉尔音乐学院乐理系工作为例

V. I. Vyalukhina, M. V. Gorodilova, A. G. Korobova, Elena E. Polotskaya
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摘要

本文考察了乌拉尔国立穆索尔斯基音乐学院二十多年来学生课外活动的形式。在这种情况下,“课外形式”不仅被解释为最重要的教育手段,而且还被解释为旨在形成未来专家的专业知识、能力和技能综合体的活动。这是掌握音乐理论学科循环的不可或缺的组成部分,在音乐理论系为所有学科和方向的学生准备的课程中都有。三种主要的课外活动以一致的方式进行说明,即那些接近学术活动的活动(专题讨论会、圆桌会议、辩论俱乐部、图书馆和档案馆的工作等);所谓“日历-仪式”的多样性,标志着学生生活的各个阶段;一个特殊的小组,与由系内教师开发的实验性综合音乐理论课程的内容和组合有关。在学习这门课程的过程中,相当多的注意力特别集中在实践形式的教学上,它在许多方面将研究的重点从“理论化”转移到对历史文化风格的实际掌握上,通过各种形式的音乐创作、歌唱、创造性工作、乐谱分析等,通过以语调为基础的沉浸到每一种历史文化风格中。所描述的活动在形式上是课外活动,其目的是在课程中对某一历史时期音乐存在的生活“语境”模式进行再创造。如“音乐比赛”(在钢琴上即兴演奏文艺复兴时期的舞蹈风格),“键盘演奏家比赛”(演奏数字符号并演示根据给定示例编写的赞美诗前奏曲),“五月游戏”(掌握各种技术,写作手段和对20世纪和21世纪初音乐的理解的学生进行的特殊表演)。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Extracurricular Forms of Activity in Institutions of Higher Education: From the Experience of the Work of the Music Theory Department at the Urals Conservatory
The article examines the extracurricular forms of students’ activities realized at the Urals State M. P. Mussorgsky Conservatory during the course of over two decades. The “extracurricular forms” are interpreted in this case not only as the most important means of upbringing, but also as activities directed towards the formation of a complex of the professional knowledge, abilities and skills of a future specialist. This indispensable constituent in mastering the cycle of music theory disciplines is present at the courses read at the Music Theory Department for students of all disciplines and directions of preparation. Three main groups of extracurricular events are illuminated in a consistent manner, – namely, those approaching the activities of scholarly profile (symposiums, round tables, debating clubs, work in libraries and archives, etc.); the so-called “calendar-ritual” variety, marking various stages of student life; a special group connected with the content and assemblage of an experimental integrated music theory course developed by the faculty members of the department. When this course is taken, considerable attention is focused particularly to the practical forms of teaching, which in many ways “shifts the accentuation” of the studies from “theorizing” to a practical mastery of historical and cultural styles by means of intonation-based immersion into each of them by means of various forms of music-making, singing, creative work, analysis of musical scores, etc. The described activities, being extra-curricular in their form, are directed in the recreation of living “contextual” models of existence of music in a certain historical period the theoretic familiarization of with which is taking place in the courses. Such are the “Musical Tournament” (improvising on the piano in the vein of dance of the Renaissance era), “Contest of Clavier Performers” (playing figured notation and demonstration of a chorale prelude composed on a given example), “Maytime Games” (a peculiar performance carried out by students who master various techniques, means of writing and perceptions of 20th and early 21st century music).
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