以中华文化为母语的音乐传承——视唱练耳改革刍议

Chinese Music Inheritance——My Opinion of Solfege Revolution in China

自20世纪30年代陈洪等老一辈音乐理论家、教育家,将西方的视唱练耳学科引入中国的音乐院校以来,其教学观念、课程体系、教学内容似乎未有大的改变,尤其以十二平均律制下的西方大小调为核心内容,始终贯穿在视唱练耳学科的全过程。这与当今人们对世界多元化文化发展趋势的共识是很不一致的。因此,建立我国具有中华文化特征的视唱练耳学科体系已迫在眉睫,这一体系应以中华文化为母语的音乐传承为核心。

Since 1930s when musicologists and educators like Chen Hong introduced solfege courses in the West into Chinese conservatories,no big changes have taken place in terms of ideas,curriculum,and content in Chinese music education.For example,the training of major and minor scales in Western twelve-tone equal temperament still runs through the whole process of solfege education in China as the core,which is not consistent with the global trend of diversified cultural development nowadays.Therefore,it is necessa...