天职——王范地先生的教学思想与教学实践

The Bounden Duty Mr. Wang Fandi's Teaching Philosophy and Practice

王范地先生从艺从教数十载,在中国音乐文化的沃野上勤勉而艰辛地耕耘播种,不同的领域、不同的阶段都留下了他清晰的足迹。从艺术舞台到音乐学院,从实践到理论,他的人生阅历与音乐实践浓缩了一代人的艺术观和生命价值观。经过数十年多方面的卓有成效的探索,王范地先生终于成为当代中国琵琶专业教学领域具有转折意义的大家。 王先生提倡的“德”育,旨在培养学生一种文化理想和文化精神,一种有所担当的个性品质和有所担当的自觉。 在演奏专业教学的实践中,王范地先生将培养真正德才兼备的学生为教学的最重要目标,始终视“德”为教育的底线。这方面他几乎完全继承了中国传统的人才观。在对人才的社会功能评价方面,他认为:真正有德有才的人是国家的栋梁,是教育最重要的大目标;有德无才的人虽然不能承担最大的责任,但不会危害事业的发展;无德无才的人,一般不会得到重用,因而没有能力、没有机会对事业的发展产生大的负面影响;最可怕的是有才无德的一类人,由于“有才”而可能受到重用,但是由于“无德”的国家、对文化、对艺术是危害极大的。王先生认为,当教育的人必须清醒地认识这一点:学生的才华是有很大差异的,将来在社会上发挥的作用也不同,但教育必须给学生明确指出大目标。

Mr. Wang Fandi has been working as artist and teacher for decades, cultivating diligently in the arena of Chinese musical culture, leaving his traces in various periods and domains. The experience in his life as well as his musical practice, ranging from that on the stage to that on campus in the conservatory of music, from theory to practice, represents the artistic philosophy and the outlook on values of life of a whole generation. The decades of his fruitful exploration in various fields have finally made him a great master of milestone significance in China's contemporary professional education of Pipa. The 'moral' education that Wang initiated is aimed at cultivating a cultural ideal and cultural spirit for students, and a kind of personality and consciousness that can be assumed. In his practice of professional instrumental playing teaching, Wang regards the task of bringing up both morally and intellectually good students as his most important goal of teaching, taking the 'morality' as the bottom line of education. In this aspect, he almost completely adopts the Chinese traditional concept of talents. In evaluating the social function of talents, he remarks that a man really excellent both morally and intellectually is the pillar of the country; this is a major target of utmost importance. While a man who is morally good but intellectually poor is unable to take on the heaviest obligation, he causes no harm to the development of the cause. A man poor both morally and intellectually is seldom placed in major positions, and is thus unable and has no chance to cause negative impact upon the development of the cause. A man intellectually good but morally poor is the most terrible, for being intellectually good, he can be possibly assigned in important positions, but being morally poor, he would cause great harm to the state, the culture and arts. He thinks that teachers must clearly understand this point: students vary from each other in their talents, and will play van-ous roles in the society in the future, while educators must give them explicit direction advice. Only in this manner would the significance of inheriting cultural heritage be thoroughly comprehended and the actual orientation of studying not be missed. An important integrate part of Wang Fandi's teaching philosophy is how to inherit and develop traditional cultures. He repeatedly stressed that''it is far from enough to be just able to play traditional melodies, for this would not help one to take on the burden of its development. But an artist in traditional music who is unable to play well the traditional music is just like a man who cannot speak well his mother tongue.' There are many students who come to him for consultation out of their admiration for Mr. Wang. He accepts all of them, working so hard on the level of 'quantity', with a view to improve the bottom line of teaching quality. But being a real professional teacher, he fully understands that in promoting the development of a cause, the historical role of quality and quantity can never be substituted. Thus, 'quality' is no doubt the most desirable result for his teaching. In the same strict classroom, facing different individuals, he applies different versions of 'teaching bible'. The performing artist Wang Fandi has completed his process of transition from perceptual experience to rational comprehension through his teaching practice. Relevant theoretical thinking possesses high importance in his teaching philosophy. Many years' efforts and exploration have made him a pioneer in contemporary Chinese Pipa education, who exercises teaching theoretical and technical research in scientific manner. Being well established in Chinese Pipa art, he has extended his vision of observation and thinking strategy to various related fields and disci plines.