将民间音乐融入小学音乐课程外文翻译资料

将民间音乐融入小学音乐课程

Barbara Sicherl-Kafol

摘要：这是斯洛文尼亚一所小学的音乐教学实例，说明了一种以斯洛文尼亚民间音乐为核心的综合教学方法的典型做法。目前正在推广这一方法，以促进在斯洛文尼亚学校传播新的思想和方法。通过跨文化的方法，它也促进了文化多样性的机会。

关键词：民间音乐； 小学音乐； 综合教学；传播文化

斯洛文尼亚的音乐教育遵循整体和互动的音乐学习原则。课程内容包括来自不同时代和文化的音乐，特别强调斯洛文尼亚民间音乐，以培养学生对民族音乐遗产和文化认同的敏感和积极态度。由于教师是学校课程实施的关键主体，民族音乐在教学过程中的作用就取决于教师。在这一点上我们遇到了一个问题:斯洛文尼亚的教师往往忽视民族音乐和舞蹈，因为他们对民族音乐和舞蹈不够熟悉，也没有足够的知识来教他们。这也是由于，在大学教师培训方案(在小学教学中，民间音乐通常是一门可选科目)或在职教师培训方案中都没有给予足够的重视。与此同时，民间传统正在从日常生活中消失。因此，我们可以得出结论，学生发展他们的文化认同的机会越来越少，尤其是在一个日益全球化的世界里。

本例提出了一种通过听、做、跳三种活动的互动，主动学习的有效方法。它是在四个多星期的音乐课上逐渐发展起来的。本作品由一名小学三班(8岁儿童)班主任设计并授课。

举例：

内容与标题音乐童话“牧羊人和公主”基于来自不同地区的民间音乐(PomurjeScaron;tajerska)的斯洛文尼亚和Rezija(意大利东北部斯洛文尼亚少数民族)。民间音乐从Pomurje包括:“Majoscaron;ka”、“Akacuscaron;ut”,“Drmač”,和“圣čarno Točila红酒”;“Mascaron;arjanka”(来自Scaron;tajerska);和“Rezijanska viža”(来自Rezija)。在他们的创造性的对音乐的反应,孩子们自发地使用了一些斯洛文尼亚民间舞蹈的元素(例如旋转和介入那块“Rezijanska viža”)或适应斯洛文尼亚民间舞蹈(比如Mascaron;arjankaScaron;picpolka)。他们将音乐语言内化，并通过自发的动作表达出来。

音乐的目的是发展:

·认真聆听斯洛文尼亚民族音乐作品;

·通过创造性的动作和舞蹈，对音乐的性格和音乐元素做出富有表现力的反应。

研究的目的与心理运动和情感领域有关，旨在开发:

·空间意识;

·协调;

·沟通技巧;

·人际关系及自主学习。

首先，学生们听童话故事。然后，他们一边听斯洛文尼亚民间音乐，一边通过创造性的动作表达故事中的部分事件和人物。他们被分成小组，为故事的一部分创作共同的运动。在这个创作过程之后，小组展示了他们的作品，并通过回答诸如“你感觉如何?”你对什么感到满意?你还有什么其他建议吗?可以做些什么改变?通过自我评价过程，提出改进建议，并将其纳入自己的陈述中。最后，他们将故事的所有部分连接到共同的小组报告中。他们在音乐伴奏和老师讲故事的同时上演了这个童话故事。表演结束后，学生们还邀请了他们的父母，并向他们展示了他们的作品。他们也在一些邻近的小学和卢布尔雅那大学教育学院演出。

评论：

在表演中，学生们对动作和随着民间音乐跳舞表现出极大的兴趣和乐趣。

“我在收音机里听到的音乐和我跟巫婆跳舞时听到的音乐是一样的。当我在童话里跳舞的时候，我玩得很开心。

(小学生表演完毕，25/01/08)

“不错的性能。你很快会做类似的东西吗?孩子们熟悉民间音乐是对的。在家里，我们几乎从不听它。我被感动了。就好像我在那个年轻的年纪看着自己一样。古老的民间音乐是如此简单和丰富'

(家长表演后，25/01/08)。

传统、现代、现代与“原始”的有趣结合。那真的很吸引学生!很明显他们玩得很开心。最重要的是，班上所有的孩子都参加了，他们都感受到了斯洛文尼亚民间音乐的结构。(hellip;)超级想法。我对学生们如何使用民间音乐和舞蹈的反应感到兴奋。就好像他们永远认识一样'

(表演结束后，14/03/08)。

“有趣的方法——从教学的角度来看，民族音乐更接近孩子，也更受欣赏。”(hellip;hellip;)这么有趣和多样的音乐!hellip;hellip;童话与舞蹈的结合是跨学科联系的良好起点”

(师生观演感想，21/03/08)

主要结果是学生:

·认真听民间音乐，区分快与慢，大与小，重复的想法，结构的对比部分;

·通过创意动作表达音乐元素;

·欣赏和使用民间音乐;

·发展协调能力;

·探索、选择和组织运动理念;

·在空间中运用动作技巧和方向;

·培养了他们的自尊、自信、专注、自主学习、人际关系和沟通能力。

这个例子让我们深入了解斯洛文尼亚的音乐教育和文化。它鼓励教师在教学过程中加入民族音乐，因为每种文化的学生都应该感受和了解他们的音乐“根”。通过民族音乐的内化，学生们发展了自己的文化认同，并逐步意识到全球化世界中的文化多样性。他们可以开放自己的丰富的音乐语言和发展自己的身份。它还对民族音乐遗产在音乐课程中的作用提出了问题，并反映了学生对民族音乐相对于其他音乐的兴趣。

这个例子说明了斯洛文尼亚音乐教育中对民族音乐重视不足的一种可能的补偿方式。它提供了通过在职教师培训方案将其推广到日常教学实践的可能性。自2006/2007学年起，该模式已在卢布尔雅那教育大学教师在职培训音乐课程中展示。在主题“斯洛文尼亚民歌与舞蹈”的框架下，教师熟悉了一系列斯洛文尼亚民歌与舞蹈。在其他文化背景下，通过多文化方法进行传播也面临挑战。

外文文献出处：

http://menet.mdw.ac.at/menetsite/english/t_content3_5_2_h.html

附外文文献原文：

Integrating folk music into the primary music curriculum

I. Abstract

II. Introduction

III. The Example

IV. Commentary

V. Contact

I. Abstract

This example of music teaching in a primary school in Slovenia illustrates typical practice focusing on an integrated approach, using Slovenian folk music. This approach is being promoted to stimulate new ideas and methods for dissemination in Slovenian schools. By means of an intercultural approach it also promotes opportunities for cultural diversity.

II. Introduction

Music education in Slovenia follows the principles of holistic and interactive musical learning. With a range of music from different times and cultures, the curriculum gives an important emphasis on Slovenian folk music in order to develop pupilsrsquo; sensibilities and a positive attitude towards national musical heritage and their cultural identity. As teachers are the key agents in the delivery of the curriculum in schools, the role of folk music in the teaching-learning process depends on them. At this point we run into a problem: Slovenian teachers often neglect folk music and dance because they are not familiar enough with them and do not have enough knowledge to teach them. This is also due to the fact that folk music is not given adequate emphasis either in university teacher training programs (where it is usually an optional subject for primary teaching) or in programmes of in-service teacher training. At the same time, the folk tradition is disappearing from everyday life. So we can conclude that pupils have less and less opportunity to develop their cultural identity particularly in an ever more globalised world.

The example presents an effective approach based on active learning through the interaction of listening, creative movement and dance activities. It was developed gradually in music lessons over four weeks. The work was devised and taught by a class teacher in the 3rd class of primary school (children aged 8).

III. The Example

The content is a music fairytale with the title “Shepherd and Bewitched Princess” based on folk music from different regions (Pomurje, Scaron;tajerska) of Slovenia and from Rezija (Slovenian ethnic minority in Northeastern Italy). Folk music from Pomurje included: “Majoscaron;ka”, “Akacuscaron;ut”, “Drmač”, and “Točila san čarno vino”; “Mascaron;arjanka” (from Scaron;tajerska); and “Rezijanska viža” (from Rezija ). In their creative responses to the music, children spontaneously used some elements of Slovenian folk dances (for example twirling and stepping in the piece “Rezijanska viža”) or adapting Slovenian folk dances (such as the Mascaron;arjanka and Scaron;picpolka). They internalised musical language and expressed it through spontaneous movements.

The musical aims were to develop:

· attentive listening of Slovenian folk music pieces;

· expressive responses to the character of the music and the musical elements through creative movement and dance.

The aims, related to psychomotor and affective areas, were to develop:

· spatial awareness;

· coordination;

· communication skills;

· interpersonal relationships and

· independent learning.

First, pupils listened to the fairytale. Then they exp

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Integrating folk music into the primary music curriculum

I. Abstract

II. Introduction

III. The Example

IV. Commentary

V. Contact

I. Abstract

This example of music teaching in a primary school in Slovenia illustrates typical practice focusing on an integrated approach, using Slovenian folk music. This approach is being promoted to stimulate new ideas and methods for dissemination in Slovenian schools. By means of an intercultural approach it also promotes opportunities for cultural diversity.

II. Introduction

Music education in Slovenia follows the principles of holistic and interactive musical learning. With a range of music from different times and cultures, the curriculum gives an important emphasis on Slovenian folk music in order to develop pupilsrsquo; sensibilities and a positive attitude towards national musical heritage and their cultural identity. As teachers are the key agents in the delivery of the curriculum in schools, the role of folk music in the teaching-learning process depends on them. At this point we run into a problem: Slovenian teachers often neglect folk music and dance because they are not familiar enough with them and do not have enough knowledge to teach them. This is also due to the fact that folk music is not given adequate emphasis either in university teacher training programs (where it is usually an optional subject for primary teaching) or in programmes of in-service teacher training. At the same time, the folk tradition is disappearing from everyday life. So we can conclude that pupils have less and less opportunity to develop their cultural identity particularly in an ever more globalised world.

The example presents an effective approach based on active learning through the interaction of listening, creative movement and dance activities. It was developed gradually in music lessons over four weeks. The work was devised and taught by a class teacher in the 3rd class of primary school (children aged 8).

III. The Example

The content is a music fairytale with the title “Shepherd and Bewitched Princess” based on folk music from different regions (Pomurje, Scaron;tajerska) of Slovenia and from Rezija (Slovenian ethnic minority in Northeastern Italy). Folk music from Pomurje included: “Majoscaron;ka”, “Akacuscaron;ut”, “Drmač”, and “Točila san čarno vino”; “Mascaron;arjanka” (from Scaron;tajerska); and “Rezijanska viža” (from Rezija ). In their creative responses to the music, children spontaneously used some elements of Slovenian folk dances (for example twirling and stepping in the piece “Rezijanska viža”) or adapting Slovenian folk dances (such as the Mascaron;arjanka and Scaron;picpolka). They internalised musical language and expressed it through spontaneous movements.

The musical aims were to develop:

· attentive listening of Slovenian folk music pieces;

· expressive responses to the character of the music and the musical elements through creative movement and dance.

The aims, related to psychomotor and affective areas, were to develop:

· spatial awareness;

· coordination;

· communication skills;

· interpersonal relationships and

· independent learning.

First, pupils listened to the fairytale. Then they expressed parts of the story events and figures through creative movement while listening to Slovenian folk music. They were divided into groups to create common movement for one part of the story. After this creation process the groups presented their work and reflected by answering questions like: how were you feeling? what were you satisfied with? what additional suggestions do you have? what changes could be made? etc. Through the self-evaluation process they made suggestions for improvement and included them in their presentations. Finally, they connected all parts of the story in common group presentations. They staged the fairytale along with music accompaniment and the teacher telling the story (see the attached video-recording ). After the performance in class, pupils also invited their parents and presented their work to them. They gave performances also at some neighbouring primary schools and at the Faculty of Education, University of Ljubljana.

IV. Commentary

During the performance pupils expressed great interest and joy in movement and dancing to folk music.

“Irsquo;ve heard on the radio the same music as that I was dancing to as the witch. (hellip;) I had enjoyed very much while I was dancing in the fairytale”

(pupils after their performance, 25/01/08).

“Nice performance. Will you soon make something similar? (hellip;) It is right that children get familiar with folk music. At our home we almost never listen to it. (hellip;) I was moved. It was as though I was looking at myself at that young age. Old folk music is so simple and so rich”

(parents after the performance, 25/01/08).

“Interesting combination of tradition, present time, up-to-date and “primitivity”. That really attracts pupils! It is obvious how they enjoyed themselves. (hellip;) Most important is that all children from the class participated and that all felt the structure of Slovenian folk music. (hellip;) Super idea. I was excited about the pupilsrsquo; response how they used folk music and dance. As if they had known them forever”

(teachers after the performance, 14/03/08).

“Interesting approach – from didactical view in that way folk music is much closer to the child and more appreciated. (hellip;) So much interesting and diverse music! hellip; Combination of fairytale and dance is excellent starting point for interdisciplinary connections”

(reflections of student teachers after seeing the performance, 21/03/08).

The key outcomes were that pupils:

· listened attentively to the folk music and distinguished faster from slower tempo, louder from softer dynamic, repeated ideas and contrasting parts of the structure;

· expre

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