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长期以来,我国的器乐教学(特别是管乐器),沿袭着一种原始的口传心记的教学方法,这种一对一的师傅带徒弟式的技艺传授,使实践与理论的关系极不平衡。如此造就的演奏家,充其量只是个匠人。在科学技术高度发展的今天,这种单轨迹的演奏艺术的进步,可以说是畸形的。着眼我国的管乐事业,繁多的外国管乐文献、优秀作品需要选择翻译、借鉴运用和介绍推广;管乐器史学理论空白需要填补;管乐器教学的自身特点和客观规律需要总结。 1984年10月,由文化部教育局牵头,全国20所艺术院校和文艺团体在上海召开了大管教学经验交流会。会议除举
For a long time, instrumental music teaching in our country (especially wind instruments) followed a primitive teaching method of oral tradition. This one-on-one master taught with apprenticeship skills, making the relationship between practice and theory extremely unbalanced. The performer thus created is, at best, a craftsman. In today’s highly developed science and technology, the progress of this single-track performance art can be described as deformity. Focusing on the cause of windworks in our country, a great number of foreign windworks and excellent works need to be translated, borrowed, and promoted; the blank of wind instrument theory needs to be filled in; the characteristics and objective laws of wind instrument teaching need to be summarized. In October 1984, led by the Education Bureau of Ministry of Culture, 20 arts schools and art groups across China held a seminar on the exchange of experience in teaching management in Shanghai. Except for the meeting