2) The sight singing and ear-training practice
视唱练耳练习
1.
The sight singing and ear-training practice is the basis of the objectives of professional music lessons which aim at systematically developing the music hearing ability.
对这两个阶段的练习形式进行研究,一方面有助于我们关注音乐学习的过程,尤其聚焦于音乐知识导入及延伸两个阶段的教学现象,从而进一步探讨听觉认知发展的规律;另一方面在这两个环节中渗透“有意识的教学”相关理论,可以为视唱练耳练习的设计提供方法论依据。
3) solfeggio
[英][sɔl'fedʒiəu] [美][sɑl'fɛdʒo]
视唱练耳
1.
Flexibility in Teaching Solfeggio;
谈谈视唱练耳课的灵活性教学
2.
Reflections on Teaching Solfeggio at Teachers Colleges;
对高师视唱练耳教学的几点认识
3.
Comment on Solfeggio Teaching in Teachers College;
高师视唱练耳课教学刍议
4) solfeggio and ear training
视唱练耳
1.
The solfeggio and ear training is a required course for all the music students in different subjects.
视唱练耳是音乐学院各专业方向学生的必修课,在目前高校扩招,"精英教育"向"大众教育"的转轨阶段,如何有效地组织教学,真正做到因材施教,提高学生的视唱练耳水平,是我们面临的迫切课题。
2.
As a new require for the education situatiQAon in the recent years, Subjuets-crossing is very significant for the innovation of Solfeggio and ear training, and is also the inevitable development trend of the solfeggio & ear training in high normal college.
学科渗透是近年来教育形势的新要求,对视唱练耳教学的改革意义重大,也是高师视唱练耳课程发展的必然趋势。
3.
In the context of the national reform in elementary music teaching, the Guide to Teaching the Course for majors by Teachers Education of Music at University, and the post-modernism perspective of teaching, the Solfeggio and Ear Training course s characteristics were analyzed academically, and its historical limitations as a Basic Subject of Music Theory were also pointed out.
本文在国内基础音乐教育课程改革、高师音乐教育专业《课程指导方案》和后现代主义课程观三者组成的“语境”中，对高师视唱练耳的课程属性作了学理层面的探讨，指出了作为“基本乐科”课程属性的历史局限性，着重论述了课程属性的三维转向，以促进该课程的可持续发展，更好地回应基础音乐教育。
5) solfeggio & ear training
视唱练耳
1.
The essay has studied three textbooks of solfeggio & ear training which have been employed by music major in normal universities since 1980.
以20世纪80年代以来高等师范音乐专业使用的三部视唱练耳教材《视唱教程》、《视唱练耳——卫星电视教育音乐教材(一～四)》和《基本乐科教程视唱卷、练耳卷》为研究对象,运用教材论,采用了文献检索法、访谈法、逻辑法、对比分析法等调查研究方法,对这三部处于不同历史时期的教材在编写原理、编写结构和编写方式等方面进行比较,并对高师视唱练耳教材以培养首调音感为主,发展一定的固定音感,补充弹唱教材,推行视唱练耳教学分级制的发展趋势进行了展望。
2.
This paper discusses the important role of value tropism in the process of solfeggio & ear training course form the philosophy concept of value and tropism of value.
本文从价值、价值取向等哲学概念入手,提出视唱练耳学科发展中对于视唱练耳课程价值取向认识的重要作用,论证了现代视唱练耳课程价值观,并由此提出基于现代视唱练耳课程价值取向的课程设计构想。
3.
The essay has studied three textbooks of solfeggio & ear training which have been employed by music major in higher normal universities since 1980.
纵观高师视唱练耳学科理论研究的现状,从视唱练耳教学法,教学改革等角度出发进行探讨的文章数量甚多,其中不乏真知灼见。
6) sightsinging and ear training
视唱练耳
1.
Solmisation has both the academic and practical meaning in curricular teaching of the sightsinging and ear training.
唱名法在视唱练耳中具有理论和实践意义。
2.
In the teaching practice of sightsinging and ear training, music reading training is an important part.
在视唱练耳课的教学实践中,读谱训练是其中重要的一个环节。
补充资料：练耳
即听觉训练，目的在于培养并发展对音乐的听辨能力和记忆能力，从而丰富和提高其内在听觉，加深对乐谱的实际理解和音响效果的想象力。在音乐院校中，它和视唱成为必修的一门基础课程。
练耳的训练方法有:①听唱(模唱);②节奏敲击；③听觉分析；④听写等。这几方面的训练必须与乐理、和声、复调、曲式等音乐理论知识结合进行，以达到对音乐的音程、节奏、曲调、调式、调性、节拍、和弦连接、多声部织体、乐曲结构等的正确判断和记写。
练耳可与视唱同时结合进行，也可各自单独进行。所有的音乐实践活动，特别是重奏、重唱、合唱、乐队排练、记录民歌等，对听觉能力的提高，大有裨益。
练耳的训练方法有:①听唱(模唱);②节奏敲击；③听觉分析；④听写等。这几方面的训练必须与乐理、和声、复调、曲式等音乐理论知识结合进行，以达到对音乐的音程、节奏、曲调、调式、调性、节拍、和弦连接、多声部织体、乐曲结构等的正确判断和记写。
练耳可与视唱同时结合进行，也可各自单独进行。所有的音乐实践活动，特别是重奏、重唱、合唱、乐队排练、记录民歌等，对听觉能力的提高，大有裨益。
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条