“音乐理解领域:一个流动的、情境的和特定情境的模型”的有效性和有效性

Joanne Rutkowski, Lauren K. Kooistra
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引用次数: 0

摘要

本文的目的是提出一个流动的、情境的、特定情境的音乐理解发展模型,并研究该模型的有效性。该模型是通过在教学中观察、观看幼儿在互动音乐环境中的录像、分析其他音乐理解发展的模型和理论、以及对我们自己和他人实践的讨论和反思而发展起来的。在本文中,我们将介绍该模型,并将其与Gordon的预备听析和听析理论以及Voyajolu和Ockelford的Sounds of Intent模型进行比较和对比。为了对该模型进行初步验证,两位幼儿音乐研究人员独立观察了一段视频,记录了一名3岁儿童在60分钟的学前班音乐课上的音乐反应和开始,以及似乎缺乏音乐参与的时期。我们酌情将每个响应与模型关联起来。通过这项研究,我们能够通过模型的镜头来解释孩子的参与;很明显,流体模型的假设得到了支持。建议对该模型进行改进,使其更易于使用,并在其他情况和背景下对儿童进行观察。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The validity and efficacy of ‘Spheres of Musical Understanding: A Fluid, Situational and Context-Specific Model’
The purpose of this article is to propose a model for the development of musical understanding that is fluid, situational and context-specific and to investigate the model’s validity. The model was developed through observations while teaching, viewing video recordings of young children in interactive music environments, analysing other models and theories of development of musical understanding, and discussion and reflection on our own practice and that of others. In this article, we present the model, comparing and contrasting it primarily with Gordon’s theories of Preparatory Audiation and Audiation and Voyajolu and Ockelford’s Sounds of Intent model. For this initial validation of the model, two early childhood music researchers independently observed a video recording of one 3-year-old child during a 60-minute preschool music class, documenting his musical responses and initiations as well as periods where there was seemingly a lack of musical engagement. We labelled each response in association with the model, as appropriate. Through this study, we were able to explain the child’s engagements through the lens of the model; it was clear the hypothesis of a fluid model was supported. Refinements to the model for easier use were recommended as well as conducting observations of children in other situations and contexts.
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