学前创新音乐课程外文翻译资料

学前创新音乐课程

原文作者 Stella Wai Man Lam amp; Susan Wright

单位 Hong Kong Institute of Education;

National Institute of Education, Singapore

摘要：本文探讨了学前音乐教育多方面的性质。包括学前音乐教学中教师与管理者的信念与实践。它的重点在于研究创新性音乐课程进行的一般过程（特别适用于音乐教育），教室音乐环境的设置及其如何影响音乐教育者的方法。介绍了音乐教育的教与学；解释了音乐课程结构；鼓励儿童音乐思维进行高层次的发展。文章建议提供定期创造性音乐课程的正式训练机会，在训练中可提供教师必要的技能，再将技能融入他们的音乐，提高当前课程与提高教育质量。

关键词：音乐教育； 音乐创新； 学前教育；音乐课程

介绍

在一个迅速变化的社会，如香港的信息与计算机技术给了我们一个独特的知识机会。打开这个机会的关键就是教育，我们可以通过教育抓住这个机会。大规模的教育研究中涌现了多项发现，这些研究旨在评估公众当前的教育状态和教育情况。我们需要国家对教育的重视和对教育发展的重视。学生的思维能力需要发展，需要发展到更高的层次。在学生的思维能力方面，古德莱德进行了深入的研究（古德莱德，1984；baloche，1994）。十多年前斯腾伯格（1985，第194页）评论：“可能历史上以前从来没有在教育实践中对孩子的批判性思维有过有一个更大的推动，去教孩子如何进行批判性思考”。

许多教育工作者认识到涉及学生综合实力的非常重要的技巧之一就是批判性思维，鼓励学生进行批判性思维，并他们的研究和理论已经很大程度上接近了这个问题的本质。可以通过通过活动和教学策略，鼓励非语言符号域（视觉、空间、运动、和听觉的创造力发展通过这些领域，学生的批判性思维可以得到很好的发展。其中包括艺术，舞蹈，戏剧和音乐学科的创新促进在早年教育中尤为重要。

音乐作为一门课程，在儿童早期教育的历史上有着悠久的历史。总的来说，历史上的音乐教育是儿童道德发展的重要课题，这一观点在中国文化中早已被人们所认识。人类学家Alan P. Merriam（1964）提出了许多音乐对社会、与个体可能产生的作用：音乐有助于社会的交流和融合，并在音乐儿童参与的价值，如他们的情感表达，发展审美享受、娱乐、交流、符号表示，物理反应，符合社会规范的执行，与社会制度和宗教仪式的验证等方面论证了他的观点。然而，在香港，带有创新成份的音乐教学在教学情境中却并不常见，主要有一下三个原因：

1.教师缺乏与音乐相关的专业知识和音乐背景；

2.在实施音乐课程活动所面临的诸多问题；

1. 音乐教师对于音乐之了解的局限性。

这些问题将在这篇文章中得到解决。

教师缺乏专业知识和音乐背景

目前来讲，关于学前教师的教育，一般有两种模式：在职培训与职前培训（香港教育学院幼儿教育课程结构，1996）。合格的幼儿教育课程是一个初始的在职培训计划，它允许未经培训的员工获得合格幼稚园教师的地位。

QKT的毕业生可能拿到幼稚园教育证书。这是一个在职课程，提供了一个机会，为毕业生提高他们的教学资格证书水平和扩大他们的专业发展。在这门课程中，音乐、艺术和体育课有两个必修模块：“增强自我表达”（音乐成分为八小时）和“幼儿教育的进一步研究”（音乐成分为12小时）。此外，学生可以选择一个价值三学分的音乐模块作为他们的主题学习之一。

香港教育学院最近开发出一种教育学士（幼儿教育）荣誉学位，B.Ed.（ECE），与多伦多大学、南京师范大学和安大略研究院教育相结合。本课程沿袭的是研究生和地方专业化发展的路径，并将此提供给香港幼教人员。在这门课程中，学生必须学习一个名为“增强创造力和审美发展”的必修模块。

由于目前致力于艺术创作的主体相对少一些，香港学前教师普遍没有在必要的开发新课程的方法和日常教学的方法方面，建立自己的知识和技能的专业的刺激（铜，1992年，55页）。学前教师需要深入了解他们的音乐使命、是否获取了足够的知识以及音乐教育的目的，现阶段他们的知识是有限的，他们缺乏对世界其他地方的音乐教育的了解和熟悉。此外，香港学前教师对儿童音乐素养的培育相对缺乏，个人的音乐体验，和有限的资源和支持，致力于音乐极大地影响他们使用音乐作为一种创新形式的教学能力。逐渐地，人们开始认为教育的质量的提高也包括音乐教育的内容。如果香港想要成功地战胜未来的挑战，那么它的教育必须得到改进。

实施音乐课程的几个问题

课程原则的成功实施取决于学前教育者的专业知识、他们的态度、他们的实施技巧，以及有准备的学习环境和设施的可用性。香港指南的学前课程（教育部，1996）规定，活动日程安排应与学校的工作结合，灵活设计，确保双方的时间和空间的有效利用，以及不同年龄组的发展需要。课程纲要规定，音乐活动的设计应以这样一种方式，即儿童可以以自己独特的方式自由地表达自己，并且不带有任何压力，并在这个过程中获得音乐的元素，如节奏，旋律，音调和节拍的知识。音乐教学的一部分目的应该是增强幼儿的创造力。在创意领域，例如，创造性的儿童可能会产生自己的歌曲和主题，而不是只使用熟悉的例子。此外，孩子们可能会面临挑战，发现有多少不同的声音打击乐乐器或有多少器物工具可能会被用来作为打乐器。

这种创造性的经验可以提高儿童的音乐智能（加德纳，1983，1993），其中涉及了声音的控制和声音运动的时间，以及有组织的色调和音调组合。音乐智能利用音乐记忆、对声音的敏感度、对声音序列和结构的响应，以及音高和节奏的元素对听觉表达的结构成分的中心的理解。例如，作曲的过程包括音调和节奏的过程；一个整体的形式和运动的感觉有关旋律，节奏，或谐波重复；意识的情绪可以通过音乐传达（赖特，2003）。

音乐智能的内涵由创造力构成。其中包含了音乐的问题解决。香港的教学大纲主要侧重于音乐知识和音乐技能的获取的单方面传达。学前音乐教学中心一般按照预先设计的课程展开，而不是建立一个以孩子为中心，创新为基础的环境，在孩子们的音乐技能和理解可以有意识的发展。

外文文献出处：Contemporary Issues in Early Childhood

附外文文献原文

Contemporary Issues in Early Childhood, Volume 5, Number 2, 2004

The Creative Music Curriculum for Pre-primary Schools

STELLA WAI MAN LAM

Hong Kong Institute of Education

SUSAN WRIGHT

National Institute of Education, Singapore

ABSTRACT This article examines the multifaceted nature of pre-primary music teachersrsquo; and supervisorsrsquo; beliefs and practices in music education. It focuses on the general process of creativity (particularly as applied to music education); the classroom setting and how it influences the way music educators approach teaching and learning; and the structuring of music curricula to encourage higher levels of musical thinking in children. The article recommends that regular formal training opportunities in a creative music curriculum should be made available to equip teachers with the skills necessary to integrate music into their current curricula and to improve the quality of education.

Introduction

In a rapidly changing society such as Hong Kong, information and computing technology has given us a unique opportunity for knowledge. The key to

unlocking this opportunity is through education. Findings from a number of large-scale studies, which have aimed to assess the current state of public education, have focused national attention on the need to develop higher order thinking skills in students (Goodlad, 1984; Baloche, 1994). More than a decade ago Sternberg (1985, p. 194) commented: lsquo;Probably never before in the history of educational practice has there been a greater push to teach children to think criticallyrsquo;.

Many educators have recognised the importance of involving students in skills that encourage critical thinking, and have approached this concern through the inclusion of activities and strategies which encourage creativity in non-verbal, symbolic domains (visual, spatial, kinaesthetic, and aural) (Gardner, 1983, 1993). The promotion of creativity through these domains, which encompass the disciplines of art, dance, drama, and music (Wright, 1995, 1997,

2003), is of particular importance in the early years of education.

Music as a curriculum subject in pre-primary schools has a long history. In general, music education has long been recognised in Chinese culture as an important subject for the moral development of children. The anthropologist Alan P. Merriam (1964) outlined the many ways in which music contributes to the integration of society, and the value of childrenrsquo;s involvement in music, such as their development of emotional expression, aesthetic enjoyment, entertainment, communication, symbolic representation, physical response, enforcement of conformity to social norms, and validation of social institutions and religious rituals. In Hong Kong, however, the creative component of music education is not commonly promoted in teaching contexts for three main reasons:

.

the teachersrsquo; lack of expertise and musical background;

.

the problems of implementing a music curriculum;

.

the limitations facing music teachers.

Each of these iss

剩余内容已隐藏，支付完成后下载完整资料

Contemporary Issues in Early Childhood, Volume 5, Number 2, 2004

The Creative Music Curriculum for Pre-primary Schools

STELLA WAI MAN LAMHong Kong Institute of EducationSUSAN WRIGHT

National Institute of Education, Singapore

ABSTRACT This article examines the multifaceted nature of pre-primary musicteachersrsquo; and supervisorsrsquo; beliefs and practices in music education. It focuses on the general process of creativity (particularly as applied to music education); the classroom setting and how it influences the way music educators approach teaching and learning; and the structuring of music curricula to encourage higherlevels of musical thinking in children. The article recommends that regularformal training opportunities in a creative music curriculum should be madeavailable to equip teachers with the skills necessary to integrate music into theircurrent curricula and to improve the quality of education.

Introduction

In a rapidly changing society such as Hong Kong, information and computingtechnology has given us a unique opportunity for knowledge. The key to unlocking this opportunity is through education. Findings from a number of large-scale studies, which have aimed to assess the current state of public education, have focused national attention on the need to develop higher order thinking skills in students (Goodlad, 1984; Baloche, 1994). More than a decade ago Sternberg (1985, p. 194) commented: lsquo;Probably never before in the history of educational practice has there been a greater push to teach children to think criticallyrsquo;.

Many educators have recognised the importance of involving students in skills that encourage critical thinking, and have approached this concern through the inclusion of activities and strategies which encourage creativity innon-verbal, symbolic domains (visual, spatial, kinaesthetic, and aural) (Gardner,1983, 1993). The promotion of creativity through these domains, which

207

Stella Wai Man Lam amp; Susan Wright

encompass the disciplines of art, dance, drama, and music (Wright, 1995, 1997,2003), is of particular importance in the early years of education.

Music as a curriculum subject in pre-primary schools has a long history.In general, music education has long been recognised in Chinese culture as animportant subject for the moral development of children. The anthropologistAlan P. Merriam (1964) outlined the many ways in which music contributes tothe integration of society, and the value of childrenrsquo;s involvement in music,such as their development of emotional expression, aesthetic enjoyment, entertainment, communication, symbolic representation, physical response, enforcement of conformity to social norms, and validation of social institutions and religious rituals. In Hong Kong, however, the creative component of music education is not commonly promoted in teaching contexts for three main reasons:

bull; the teachersrsquo; lack of expertise and musical background; bull; the problems of implementing a music curriculum; bull; the limitations facing music teachers.

Each of these issues will be addressed in this article.

The Teachersrsquo; Lack of Expertise and Musical Background

With regard to pre-primary teacher education, there are two modes of training:in-service and pre-service (Hong Kong Institute of Education Early ChildhoodEducation Course Structure, 1996). The Qualified Kindergarten Education course(QKT) is an initial in-service training programme, which allows untrained staffto gain qualified kindergarten teacher status.

QKT graduates may progress to the Certificate in Kindergarten Education (C.E.[Kg]). This is an in-service course that provides an opportunity for graduates to upgrade their teaching qualification to certificate level and to broaden their professional development. Within this course there are two compulsory modules for music, art, and physical education entitled lsquo;Enhancing Self-Expressionrsquo; (the music component is eight hours) and lsquo;Further Studies inEarly Childhood Educationrsquo; (the music component is 12 hours). In addition, students may elect to take a music module worth three credit points as one of their lsquo;Subject Studiesrsquo;.

The Hong Kong Institute of Education has recently developed a Bachelorof Education (Early Childhood Education) honours degree, B.Ed.(ECE), inconjunction with Nanjing Normal University and the Ontario Institute for Studies in Education at the University of Toronto. This course makes a graduate status and local professional development path available to Hong Kong preschool staff. Within this course, students are required to study a compulsory module entitled lsquo;Enhancing Creativity and Aesthetic Developmentrsquo;.

As a result of the relatively low number of hours devoted to creative artssubjects, Hong Kong pre-primary teachers generally do not receive the

208

THE CREATIVE MUSIC CURRICULUM

professional stimulus necessary to build their own knowledge and skills interms of developing new curricula and teaching approaches (Opper, 1992a,p. 55). While pre-primary teachers need a thorough understanding of theirmusical missions and adequate knowledge about the purpose of musiceducation, their knowledge is restricted by their lack of familiarity with howmusic education is currently practiced in other parts of the world. Additionally, Hong Kong pre-primary teachersrsquo; relative lack of childhood training, personal musical experience, and the limited resources and support dedicated to music greatly affect their ability to utilise music as a creative form of teaching. It is generally recognised that the quality of education, including the discipline of music, must be improved if Hong Kong is to face the challenges of the future successfully.

The Problems of Implementing a Music Curriculum

The successful implementation of curricular principles depends on the professional knowledge of pre-primary educators, their attitudes, their

剩余内容已隐藏，支付完成后下载完整资料

资料编号：[284373]，资料为PDF文档或Word文档，PDF文档可免费转换为Word