小学音乐课堂和声启蒙教学探析

目的:和声能够直接体现音乐的情感色彩和作曲家的个性,在音乐审美教育中具有重要作用,音乐课堂不应忽视和声的启蒙教学。和声的启蒙教学应利用儿童的听觉与情绪感知能力,充分调动其感官。文章探寻在儿童听力和情感发展的关键期建立和声音感,避免枯燥且脱离和声音响的理论式教学模式的弊端,以提高小学生的音乐综合能力。方法:通过调查国内和声教学现状,分析和声启蒙滞后的原因。并借鉴母语的学习规律,在新课标四大核心素养理念的指导下,阐述先进行听觉训练后进行理论构建的和声教学更适合小学生身心发展规律的理念。结果:借鉴母语学习规律,以“听—唱—辨—用”的顺序进行和声启蒙,使和声教学更适用于小学音乐课堂。教学内容紧扣小学音乐教材,使学生能用立体的音乐思维感受音乐,在潜移默化、寓教于乐中将和声渗透到音乐课堂中。结论:和声教学不局限于高等院校专业音乐学习阶段,也适用于普及音乐教育的小学音乐课堂。和声听觉的建立有助于审美感知能力的提升,唱和声让艺术表现更有深度,从和声的听辨中还能促进文化理解,和声的运用为创意实践提供灵感,将和声渗透到小学音乐课堂中是提高小学生音乐综合能力的有效手段。

Pedagogically, There Is No Room for a Native Speaker.

The current review study challenges the pedagogical role of native English-speaking teacher along with his/her role as a teaching model. The language （English） that about 500 years ago was just spoken by five to seven million speakers living in the British Isles, currently is globally taught, learned, and used by at least one and a half billion speakers living in different countries of the world （Crystal, 2003）. Therefore, one may find native speakers of varieties of Englishes, namely, American, Australian, Canadian, Indian, or British English... rather than the native speaker of pure English. Definitely, the Englishes used by these speakers globally are partially different from one another in terms of lexicon, pronunciation, and even grammar. Accordingly, the aim of this study is to convince the English teachers that there should not be any sensitivity to teaching just one type of English or taking any speakers of these varieties of Englishes as a teaching model. Preferably, in this study, it has been tried to acknowledge teaching interanational （formal） English which might be understandable to English speakers of the world. All in all, the findings of this review study indicated that English teachers all around the world should adopt the language （English） and adapt it based on the cultural norms of the learners and try to help them gain the mastery of language to use it locally and internationally when needed.