基督教传教士与西国乐法东渐——从傅兰雅的教学实践看“主音嗖乏”教学法在晚清的传播

Christian Missionaries and the Popularization of Western Music in China—Observing the dissemination of the Tonic Sol-Fa method in the late Qing Dynasty through John Fryer’s teaching practice

"主音嗖乏"教学法是19世纪经由基督教传教士传入华土的诸音乐教学法中流传甚广的一种。国内学界对此教学法在清末民初的传播情况虽有提及,但大多语焉不详、缺乏史实。本文以1861年即到香港教书,后又转往北京、上海的英籍传教士傅兰雅为例,分三节对"主音嗖乏"体系在中国各地的传播与应用做一描述。第一节综述傅兰雅本人,通过简介其人在华三十余年所做之事,来凸显新教传教士在中国近代发展史上之功过。第二节以傅氏于19世界60年代在香港和北京两地运用"主音嗖乏"体系教授中国学童之史实为实例,管窥来华传教士音乐教育之内容及形式。第三节简述"主音嗖乏"法在晚清的流传情况。

The Tonic Sol-Fa is one of the most popularized teaching methods of music in China in the late 19th Century brought in by the Christian missionaries.This survey examines the teaching practice of the British missionary John Fryer(1839~1928)who started teaching in Hong Kong in 1861 and later moved on to Beijing and Shanghai.The three chapters are: 1) Biography of John Fryer;2) Observation of the form and content used in teaching music by the missionaries through John Fryer’s teaching practice;3) A brief description of the dissemination of the Tonic So-Fa method in China in the late Qing Dynasty.