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奥尔夫音乐教育理论与实践系统、全面地介绍了奥尔夫音乐教育原理以及本土化音乐教学实践方法

作译者：吴迪

出版时间：2023-01 千字数：0 版次：1-01 页数：188

开本：16开装帧： I S B N ：9787121450013

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第一章 奥尔夫音乐教育概述 ······································································· 1 
第一节 认识卡尔·奥尔夫 ·········································································· 3 
一、幼儿时期的奥尔夫 ········································································· 3 
二、少年时期的创作家 ········································································· 4 
三、青年时期的作曲家 ········································································· 4 
四、致力于教学改革的音乐创作家与音乐教育家 ········································ 5 
第二节 奥尔夫音乐教育思想概述 ································································ 7 
一、奥尔夫音乐教育的特点 ··································································· 8 
二、奥尔夫音乐教育体系概括 ······························································· 12 
三、奥尔夫音乐教育思想述评 ······························································· 14 
第三节 奥尔夫音乐教育理念在中国的传播与应用 ·········································· 18 
一、奥尔夫音乐教育在中国的传播与发展 ················································ 19 
二、奥尔夫音乐教育对中国音乐教育的启示与影响 ···································· 21 
三、学习和借鉴奥尔夫音乐教育教法的基本原则 ······································· 23 
四、学习与研究奥尔夫音乐教育教学法常用的方法 ···································· 25 
第二章 奥尔夫音乐教育中的语言与歌唱训练 ······································· 30 
第一节 奥尔夫音乐教育中的语言教学 ························································· 31 
一、奥尔夫音乐教育中语言教学的内容要素 ············································· 33 
二、奥尔夫音乐教育中语言教学的特征 ··················································· 33 
三、奥尔夫音乐教育中语言教学的应用 ··················································· 34 
第二节 节奏在音乐中的运用······································································ 40 
一、节奏的定义 ················································································· 40 
二、节奏教学的目的及作用 ·································································· 40 
三、节奏训练的分类了解 ····································································· 40 
四、节奏的训练方法 ··········································································· 41 
第三节 奥尔夫音乐教育中的歌唱训练 ························································· 52 
一、歌唱训练的定义 ··········································································· 52 
二、歌唱的气息训练 ··········································································· 53 
三、歌唱的吐字发声训练 ····································································· 55 
四、单声部歌唱训练要素 ····································································· 56 
五、多声部歌唱训练要素 ····································································· 61 
六、合唱教学中的歌唱训练 ·································································· 63 
第三章 奥尔夫音乐教育中的肢体动作训练 ·········································· 68 
第一节 肢体动作造型的基本认识 ······························································· 69 
一、肢体动作造型的内涵与目的 ···························································· 69 
二、肢体动作造型训练的目的 ······························································· 71 
第二节 肢体动作的初步练习······································································ 72 
一、培养良好的听觉习惯 ····································································· 72 
二、敏锐的音乐要素感知能力 ······························································· 73 
第三节 声势动作节奏训练 ········································································· 74 
一、古典声势动作的基本形式与方法 ······················································ 75 
二、手脚配合基础练习 ········································································ 76 
三、身体声势协调训练 ········································································ 76 
四、古典声势动作的活动方式 ······························································· 76 
第四节 简易舞蹈动作训练 ········································································· 78 
一、舞蹈基础小知识 ··········································································· 78 
二、幼儿儿歌简易舞蹈动作练习 ···························································· 80 
第五节 音乐律动游戏动作训练 ·································································· 93 
一、音乐律动游戏动作的开展原理与音乐选择 ·········································· 94 
二、音乐律动创作常用动作、队形及设计要领 ·········································· 94 
三、儿歌音乐律动游戏动作训练 ···························································· 95 
第四章 奥尔夫器乐造型训练 ·························································· 100 
第一节 器乐造型概述 ············································································· 103 
一、器乐造型的内涵 ········································································· 103 
二、器乐造型的目的 ········································································· 103 
三、器乐造型的教学类型 ··································································· 104 
四、器乐造型素材 ············································································ 108 
第二节 音条乐器训练 ············································································· 110 
一、伴奏训练 ·················································································· 111 
二、演奏训练 ·················································································· 114 
第三节 无音高打击乐器训练···································································· 118 
一、伴奏训练 ·················································································· 119 
二、演奏训练 ·················································································· 123 
第四节 其他乐器训练 ············································································· 128 
一、弦乐器 ····················································································· 128 
二、管乐器 ····················································································· 132 
第五章 奥尔夫音乐教育综合训练····················································· 141 
第一节 固定音型教学与实践···································································· 142 
一、固定音型的定义 ········································································· 144 
二、固定音型伴奏类型 ······································································ 144 
三、固定音型的选择和编配原则 ·························································· 145 
四、固定音型在院校音乐教学中的应用价值 ··········································· 146 
五、固定音型训练 ············································································ 147 
第二节 卡农训练与教学 ·········································································· 150 
一、卡农的定义 ··············································································· 152 
二、卡农训练的类型 ········································································· 152 
三、卡农训练的要领 ········································································· 153 
四、卡农在奥尔夫音乐教育教学中的训练意义 ········································ 154 
五、卡农训练 ·················································································· 154 
第三节 回旋曲训练与教学 ······································································· 157 
一、回旋曲的定义 ············································································ 158 
二、回旋曲的特点 ············································································ 158 
三、回旋曲训练的类型 ······································································ 159 
四、回旋曲在音乐教学中的训练价值 ···················································· 159 
五、回旋曲训练 ··············································································· 160 
第四节 小组曲训练与教学 ······································································· 169 
一、小组曲的定义 ············································································ 171 
二、小组曲的特点 ············································································ 171 
三、小组曲建构的要领 ······································································ 171 
四、小组曲在音乐教学训练中的意义 ···················································· 172 
参考文献 ····················································································· 178

“夫乐者，乐也。”夫乐者，指音乐本身；乐也，指快乐、欢乐。“乐者，天地之和也”意思是乐所表现的是天地间的和谐。音乐是快乐、欢乐之情的表现，万物则因为和谐才能化育生长。这两句话出自《礼记·乐记》。音乐在漫长的历史长河里给人类带来了美的享受和精神上的愉悦。纵观音乐教育史，在人类社会发展的不同时期、不同地域都出现过与社会状况相适应的音乐教育理念、方法、方式。20 世纪以来，欧洲大陆形成了著名的三大音乐教育流派：柯达伊音乐教育体系、达尔克罗兹音乐教育体系、奥尔夫音乐教育体系。这些流派一经形成便以其先进的音乐教育理念和方法风靡诸多国家和地区，并对当代音乐教育产生了重要影响。 
其中，奥尔夫音乐教学法在我国改革开放和经济迅速发展的背景下，逐渐被越来越多的国人所接触和认同。奥尔夫音乐教学法逐步走进了各级、各类学校的音乐课堂，尤其在幼儿园教育中被广泛采用。奥尔夫曾经说：“我所有关于原本性的音乐教育理念，并不是什么新的东西。我的任务和职责仅仅是从今天的角度，将古老的、不朽的观念重新提出来，并致力于实现它。” 
“原本性”是奥尔夫音乐教育所追寻的方向。原本性的音乐是语言、音乐、动作紧密结合在一起的；是人人都能参与演奏的；是接近土壤的、自然的、机体的、能为每个人学会和体验的、最适合儿童的。 
基于此，我们组织相关教师编写了这本适用于学前教育专业和学前教育工作者使用的教材。本书通过深入浅出、通俗易懂的讲解，以及易学易用、新颖丰富的教学案例，加上趣味性的教学模式，激发学生的主动性、创造性和积极性，使学生在循序渐进地掌握音乐理论知识的同时，更加热爱音乐，积极参与音乐活动，并能轻松、快速地掌握奥尔夫音乐教学法的特点和方法。 
本书主要内容：探索奥尔夫音乐教育思想观念的产生、形成、发展的趋势，理解奥尔夫“整体的艺术”观念的内涵，掌握奥尔夫“原本性”音乐的实质，以及对本土化音乐教学的启示；探索奥尔夫音乐教育实践过程中素材的丰富、形式的多样，教法的灵活性等特色，并从嗓音造型、动作造型和器乐造型，以及综合实践等方面的课程内容入手，进行课例实操训练，提高师资的音乐素养及音乐教学能力。教师可根据课堂教学条件和教学对象的不同，调整教学目标和教学计划，并对教学内容进行扩充或删减；可根据学生的实际水平和课堂教学中师生互动的情景灵活选用相应的教学形式，引导学生进行充分的体验式学习。 
本书由吴迪担任主编，刘杨、王雅璠、马思琪担任副主编，丁萧妍、田雪参与编写。具体分工为：第一章至第五章由吴迪构思并编撰目录初稿，在此基础上，由王雅璠、马思琪、刘杨分别对第二章、第三章、第四章进行初稿编撰，吴迪完成对各章节内容的补充、修改、完善工作；全书的统稿工作由吴迪总负责，丁萧妍、田雪协助。 
由于编写时间仓促，加之编者水平有限，书中难免存在疏漏、错误与不当之处，敬请各位专家、广大读者不吝指正。

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奥尔夫音乐教育理论与实践 系统、全面地介绍了奥尔夫音乐教育原理以及本土化音乐教学实践方法

奥尔夫音乐教育理论与实践系统、全面地介绍了奥尔夫音乐教育原理以及本土化音乐教学实践方法