二胡教学过程中对于音准训练的思考

• 作 者: 卜晓妹
• 机 构: 北京师范大学,
• 出 处: 明日风尚
• 发表日期: 2016年23期
• 关键词: 把位 音乐表演 指距 指板 学习小组 视唱练耳课程 换把 二胡演奏 专业教学过程 监控作用

音准,音乐的三大要素之首,其在音乐表演中所处于的重要地位不言而喻。而二胡作为一件既没有可视音品,也没有琴弦指板的乐器而言,其音准的把握性是非常难以掌握的演奏技巧。因此在实际的教学中,对于学生音准把握性的建立是一个非常重要的教学难点。在多年的二胡专业教学过程中,本人发现影响二胡学习者音准把握性建立的问题,主要存在于以下几个方面:一、良好音高听觉概念的缺失;二、把位概念和指距关系的不明确;三、演奏中

Pitch, music, the three major elements of the first, its important position in the musical performance is self-evident. The erhu as a neither a visual product, there is no instrument of the strings fingerboard, the tone of the grasp of the standard is very difficult to master the playing skills. Therefore, in the actual teaching, it is a very important teaching difficulty to establish the mastery of the student’s pitch. During many years of erhu professional teaching process, I found that the problems affecting ergonomics of erhu learners are mainly in the following aspects: First, the lack of the concept of good pitch and hearing; Second, Not clear; three, playing