一个粗略的主题,一个雄心勃勃的项目:杰森上小学

L. Bianconi, Silvia Cancedda
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引用次数: 0

摘要

自2007年以来,Silvia Cancedda在小学举办了为期五/六个月的听力研讨会,重点讨论从Cenerentola到Il trovatore的各种歌剧。2017/18学年,她选择了Cicognini和Cavalli(1649)的《Giasone》。这是一部处理尴尬主题的歌剧,因此显然不适合8岁的观众,因为它以一对犯罪夫妇Giasone和Medea为中心,以一对女性Medea和Isifile都是单身母亲的三角恋为中心。文章介绍了研讨会中遵循的协议。讲习班的语言和内容适合目标年龄组,旨在通过审查以下内容,对歌剧进行历史上合理、准确的描述,并充分理解整个作品:(1)文学来源;(2) 情节结构;(3) 人物和声音的星座;(4) 诗歌形式体系(以及度量结构的基本要素);(5) 基本音乐形式体系;(6) 戏剧的框架和动作的分割;(7) 单词/动作/音乐(文字、场景、演唱)的组合。这些活动辅以(尽可能)完整的作品听力观看。简要讨论的其他要点包括:与其他学校科目的联系,首先是语言和历史科目;歌剧流派的起源;神话寓言与歌剧情节的关系;声音系统;关键场景;诗歌度量系统的工具。最后,介绍了对分数的直观解读。所采用的教学过程的有效性记录在学生创作的绘画、照片和视频中。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Un soggetto scabroso, un progetto ambizioso: il “Giasone” va alla Scuola Primaria
Since 2007, Silvia Cancedda has held five/six-month-long listening workshops in primary schools, focusing on various operas, from Cenerentola to Il trovatore . For the 2017/18 school year, she chose Giasone , by Cicognini and Cavalli (1649). This is an opera that deals with embarrassing themes, and hence apparently not suited for an 8-year-old audience, since it centers on a criminal couple, Giasone and Medea, and on a love triangle in which both women, Medea and Isifile, are single mothers. The article describes the protocol followed in the workshop. Through language and content adapted to the target age group, the workshop aims at providing a historically sound, accurate description of the opera, as well as adequate comprehension of the work as a whole, through an examination of: (1) the literary sources; (2) the plot structure; (3) the constellation of characters and voices; (4) the system of poetic forms (and the basic elements of metric structures); (5) the system of basic musical forms; (6) the framework of the drama and segmentation of the action; (7) the combination of word/action/music (text, scene, singing). These activities are complemented by a (inasmuch as possible) complete listening-viewing of the work. Further points that are briefly addressed include: connections with other school subjects, first and foremost linguistic and historical subjects; the origins of the operatic genre; the relationships between the fabula of the myth and the plot of the opera; the system of voices; key scenes; the tools of the poetical metric system. Finally, an intuitive reading of the score is introduced. The effectiveness of the didactic process adopted is documented in the drawings created by the pupils, in photographs and videos.
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