Central Conservatory of Music
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中央音乐学院
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Professor XIE Jia-Xing is the Professor and the Director of Music Research Institute of China Conservatory, with a Master Degree in Composing Theory (1988) and a PH.D. of Music Aesthetic (2004). He is also the leading figure in music education discipline in China Conservatory, the associate director of the Education Committee of the Chinese Musicians Association , the president of the Music Education Commission of CMA, the director of the Music Education Academic Committee of CEC, the director of the Music Aesthetic Committee of CMA, the director of the Music Psychology Society, the director of Chinese Association of Music Communication, the member of International Society of Music Education, Committeeman of CPCEMM(COMMISSION ON MUSIC IN CULTURAL, EDUCATIONAL, AND MASS MEDIA POLICIES) of ISME, the adviser of APSMER. He is the part-time professor of Xian Conservatory, the part-time professor of Tianjin Conservatory, the specially hired professor of Art Institute of Henan University and the member of Exterior Examination Committee Member of the Education Institute of Hong kong.
谢嘉幸,中国音乐学院音乐研究所所长、教授、学院学术委员会委员, 1988 年毕业於中国音乐学院作曲系,获作曲理论硕士学位; 2004 年在中央音乐学院获音乐美学方向博士学位;中国音乐家协会教育委员会主任助理;中国音乐家协会音乐教育学学会会长;中国教育学会音乐教育专业委员会理事、音乐教育学学术委员会主任;中国音乐家协会音乐美学学会理事;中国音乐家协会音乐心理学学会理事;中国音乐家协会音乐传播学会理事;北京音乐家协会理事;国际音乐教育学会会员、文化教育与大众传媒政策委员会委员;亚太音乐教育研究会顾问;亚太艺术教育学报编委;国家教委教育科学"八五""九五"规划重点课题负责人;西安音乐学院兼职教授,天津音乐学院兼职教授,河南大学艺术学院特聘教授,香港教育学院院外考试委员。
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The thesis probes into Schoenberg' thinkings about music history, music nationalism, music education, music criticism, and music creation, respectively. There are some important viewpoints in Schoenberg's music thought: Firstly, Schoenberg's ideas of music history, he believes relationship of tradition and revolution in art is dialectical in nature, and argues that evolution in music was determined by natural law, obviously influenced by Hegel's philosophical history idea. Secondly, the thesis sums up his viewpoints of music nationalism, such as "lay stress on art music, look down on folk music","lay stress on western European music, look down on non- western European music" by Schoenberg's account about the reasons of the formation of national art, the dominant of national art and nationality in music; in fact, this viewpoint of western cultural centricity is one of his i mportant viewpoints throughout his life; Thirdly, Schoenberg's concept of music education: in his thought a composing teacher should teach the students how to master "the tool of art", train them for their ability of "one major and various kinds of techniques", try his best to nourish the student's personality; Fourthly, Schoenberg set forth some opinions about modern music critics and the method of music criticism: a music critic must be equipped with the quality of a music expert, and render composer's idea to the public by his art imagination, but not his personal opinion,and Schoenberg stress the areas of music criticism on style and idea ; Lastly, Schoenberg's concept of music creation: Expressionism and organism are two important issues in Schoenberg's thinking about music creation.
本文通过对勋伯格各类论文、书信、演讲、专著等文稿的评述,分别探讨了作为音乐思想家的勋柏格的音乐历史观、民族主义音乐观、音乐教育观、音乐批评观与音乐刨作观,并在此基础上总结了折射在勋柏格音乐思想中的几个重要观点:一,勋柏格对于音乐历史的认识:通过德奥音乐界前辈给予他的创作启示,以及勋伯格对自己几个创作阶段的发展历程的总结,阐述了他对于艺术中的传统与革新之间的关系的辩证认识,并通过这些问题总结出音乐的演进与黑格尔倡导的&历史发展必然性&哲学观念之间存在着必然联系;二,勋柏格的民族主义音乐观:通过勋柏格对于形成民族艺术特征的根本原因、民族艺术中的支配现象、民间音乐与艺术音乐之间的比较、音乐刨作中的&民族性&问题的意识等方面问题的剖析与认识,总结了他的&重艺术音乐,轻民间音乐&、&重西欧音乐,轻非西欧音乐&的观点,从而突出了他的精神领域中的根深蒂固的&德奥音乐中心论&,这是一个浸润着浓厚的西欧文化中心论色彩的观点,也是贯串他毕生的音乐思想的重要观点之一;三,勋柏格对音乐教育问题的见解:勋柏格认为作曲教师应该教会学生掌握&艺术的工具&、在教学中努力做到&一专多能&、注重个性培养;四,勋柏格对当代音乐批评家与音乐批评方法提出的要求:音乐批评家必须具备作为一名音乐家的专业修养,要以真实、客观的态度对待音乐批评这门神圣的职业,充分运用内心的艺术联想向公众再现作曲家的意图,而不是将个人见解强加于受众;同时,批评家需要对艺术的过去与未来拥有全面的了解与较准确的预测,在音乐批评的具体范畴中,应将重心角度置于探讨音乐作品的风格与思想之间的关系方面。
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In the process of John Blacking's research, he observed on the incline while children were learning complex music as a whole, consequently, it challenged the concept of "the order never made mistake"; and through his observation on the music perform of children in Venda, he made sure the importance of the relationship between body and mental (basically the understanding of music), provided several methods for teachers to develop students' sense of music – the harmonious cooperate of ears, brain and body; through his researching on ethnodanceology and considering the inseparable relation between music and dance, he further proved the methods of education which considering the action and the body reaction as the essential component of music understanding; through his observation of the music of Venda children in his early years, he became interested in the biology basic of music education; and also he advocated that school needed to set up a world music class. In the View of Ethnomusicology, John Blacking made a new recognition of the music education, and it also bring us a reflection question, could our Chinese music education walk out of the traditional view and get some influence or inspiration from his ideas of education?
约翰·布莱金在研究过程中通过对儿童从整体上学习复杂音乐的倾向的观察,从而挑战了"完全正确的程序"的观念;通过对文达儿童音乐表演的观察,确定了身心关系的重要性,提供给教师发展学生音乐性的手段,即使耳、脑和身体的互相融合;通过对舞蹈人类学的研究以及音乐与舞蹈之间不可分割的联系,进一步证明了以动作和肢体反应作为音乐理解主要成分的教育学方法;通过他早期对文达儿童音乐的观察而建立了他对音乐教育生物学研究的基础;以及他对在学校中世界音乐课程设立的倡导等,约翰·布莱金从音乐人类学的视野出发对音乐教育的重新认识,也促使我们思考,是否我们的音乐教育也可以从中国的视野中走出来并受到他的教育思想的启发?
- 更多网络解释 与Central Conservatory of Music相关的网络解释 [注:此内容来源于网络,仅供参考]
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Central Radio and TV University:中央广播电视大学
* 中南大学铁道学院 Central South University Railway Campus | * 中央广播电视大学 Central Radio and TV University | * 中央音乐学院 Central Conservatory of Music
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The Bel Canto Music Society:(华声音乐团)
The Allegro Singers (明仪合唱团) | The Bel Canto Music Society (华声音乐团) | The Central Conservatory of Music (Hong Kong) Foundation Limited (中央音乐学院
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Boston Conservatory:波士顿音乐学院
在瑞士上完高二、高三后,1995年廖俐伶转到美国波士顿音乐学院(Boston Conservatory),4年后本科毕业,又在新英格兰音乐学院(New England Conservatory)获得小提琴硕士.