舞蹈动觉训练及素质培养

舞蹈是通过形体运动表达情感的一门艺术;是时间和空间紧密结合的一门动的视觉艺术。从条件上讲:舞蹈必须借助人体为工具;必须是在自然和社会中进行。其次从人的功能上说:是人类智力的高级游戏;是情感世界的宣泄和体验。培养新一代的舞蹈学生应以培养德、智、体、美、劳全面发展为总目标,以全面舞蹈素质教育为根本,以素质教育为培养目标,使舞蹈在其教学中发挥其独有的育人功能。

Profiles of hippocampal neuron activity during auditory discrimination cognition in guinea pigs

Objective: To clarify the firing characteristics of the hippocampal pyramidal cells and in-terneurons in the auditory discrimination cognition. Methods: Thirteen guinea pigs were studied by the paired (active cognition group. n=10) or unpaired (passive cognition group. n = 3) training with 1 kHz (CS+)and 500 Hz tones (CS- ) and the air puff (US) applied 250 ms after the CS+ onset. Results: In active group. 32 pyramidal cells showed exciting response to the CS+ tone. 16 cells inhibited response and 4 cells revealed no response to the high frequency tone and 18 interneurons almost unchanged. In passive group, the pyramidal cells responded to the tone casually and 10 out of the 13 interneurons remained invariably. Conclusion: The result suggests that the pyramidal cells play a major role in coding auditory information by the networks, and the interneuons may modulate it via forward and feedback.

从认知观点剖析文人琴娱己的表现力——给音乐下新定义(下)

动觉、听觉与琴曲创作古琴减字谱指法以动作为主,古人创作琴曲时,是否也以指法动作为本?一般公认,古今中外作曲家创新曲以听觉为本,用五线谱或简谱注音高和时值。古代琴人创新曲时,除考虑听觉外,是否也考虑动觉?减字谱指法对听者来说是音乐谱,但是对弹者来说不也是舞蹈谱吗?以下一段亲睹的琴人轶事对这个问题给出了启示。

从认知观点剖析文人琴娱己的表现力——给音乐下新定义(上)

十多二十年前,文人娱己琴乐的问题引起许多讨论,无论是批评或辩护文人娱己琴乐,文章的先决前提是把焦点放在听觉上,即是把娱己琴乐放置于音乐厅舞台上与娱人音乐作同等的考虑与评论。这当然无可厚非,但是忽略了文人娱己把弹者听者融于一身的独特性。文章从认知观点剖析娱己琴乐,建议如要全面认识评论娱己琴乐,必须跳出听觉框框,而考虑广面的认知,包括视觉、动觉和触觉,也即是给娱己琴乐下新的定义。