《五线谱》教学 建议 采用《首调唱名法》

人人能唱

mayasun 发表于 2016-9-24 18:15

何又謂之什麼"字母譜"呢?
"字母谱"是流动唱名法麼?

首調與固定調是一體的兩面
沒有人不是兩者皆會的
西洋的和聲學就必採首調

為什麼要发明了流动唱名法，
才能设计出《字母谱》呢?

是什麼"人"?
何時?
發明首調
發明"字母譜"的呢?


上等老饭桶孙新财，你认得吗？你音乐大师啊！看完了给我说，是什么资料？

Many Western-trained musicians are familiar with the historical development of staff notation. However, as Scholes (1963, p.696) points out, “our present universal notation has ‘grown up’ rather than been designed, and that, moreover, its main features were fixed at a period when music was merely melodic and in other respects enormously simpler than at present. Musicians generally are so accustomed to it that they do note stop to reflect upon its defects…”. It is the serendipitous nature of its evolution that has created many problems for the teaching and learning of staff notation. The spatial representation of the two principle dimensions of music—rhythm and pitch—requires a complex system of symbols firstly to represent rhythm on the horizontal plane and secondly use of the same symbols on the vertical plane to indicate absolute pitch. In addition, there are other aspects of notation—dynamics, tempo, accentuation, etc.—that result in a highly complex visual representation of music which, particularly for the young learner, makes the acquiring of music literacy a long and often arduous process. Moreover, there is a need to have an understanding of the theory of music—scale construction, key signatures, time signatures, etc.—in order to decipher the meaning of many additional symbols that relate to the tonal and rhythmic characteristics of a musical work. Scholes (1963, p.696) points out that there have been many “bold attempts…made to reform the staff notation but they have invariably failed and probably always will do so until a change in the whole musical system brings about an unavoidable corresponding change in the methods of representing music on paper”. Nevertheless he concludes with the comment that “The only reformed notations that up to the present have ever established themselves have been certain notations for choral music. The chief of these [is]…Tonic Sol-fa.” (p.697).

From a contemporary perspective, Curwen notation has several inherent advantages over staff notation for choral singing. Firstly, both the pitch and the rhythmic dimensions of melody are contained within a “single cell” as opposed to staff notation where two dimensions—vertical and horizontal—are required for the representation of melody. Although it may be argued that the vertical representation of pitch is a useful way of visualising its relate pitch position, its addition to the left to right horizontal progression of rhythm (which is common to both staff and Tonic Sol-fa)—particularly with leger lines—often makes the notational “spread” too wide for immediate visual perception. Another advantage, particularly in certain developing countries, is alluded to by Jorgensen (1994)—in countries where the written language is based on the Roman alphabet (which is also the means for representing pitch in the Curwen method), people are already familiar with alphabetical letters. This also represents a distinct advantage over the two-dimensional system of staff lines and spaces for pitch and of note and rest shapes for rhythm. Moreover, Curwen notation does not require any significant knowledge of music theory—once an understanding of pitch and rhythmic notation is achieved, no other “interpretive” information (such as a knowledge of time or key signatures) is required for realising the notation.

人人能唱

mayasun 发表于 2016-9-24 18:23
中人以下不可與言
何況無論:國文  音樂  邏輯  人品
都等而下下之聽不懂

高级老饭桶孙新财，你英文不懂就不懂吧，这个帖是我叫人帮发的，懂英文人发的，你不要假充内行了，

你不懂流动唱名法，又不懂五度相生法，还想做调式大师，你是梦里卖牛！

人人能唱

发在这里，懂英语的朋友作个参考。西方《字母谱》的资料。
Tonic Sol-fa--now referred to as the Curwen method—was developed by the Methodist minister the Reverend John Curwen (1816-1880) from the 1840s using several English and Continental sources including Sarah Glover’s Norwich Sol-fa method.  The bases of the method were two nmemonic (memory-aid) methods—one for performing pitch (solmisation or, as it is more commoly known, sol-fa) and the other for performing rhythm (time names).   These, together with the Modulator chart, the pitch hand signs, rhythm finger signs and a system of "letter" notation enabled students to become musically literate and to become competent sight singers.  Although Curwen originally used his method as a means of teaching music reading from staff notation, by the 1872 edition of The Standard Course, staff notation was dispensed with altogether in favour of letter notation.
The motto of the Tonic Sol-fa movement—"Easy, Cheap and True"—was adopted by Curwen during the 1860s.  This motto aptly describes firstly the relative ease of teaching music literacy through the Curwen method as compared with other contemporary approaches, secondly the fact that standard printing press characters could be used for Tonic Sol-fa notation instead of the special characters and printing processes required for staff notation, and finally the underlying logic of the system’s theoretical and notational principles.
The Curwen Method Today
My initial interest in the Curwen method was as a music education historian. In its heyday during the late nineteenth century, this method was the means through which working class people in Britain and many indigenous people in its colonies and elsewhere were able to become musically literate and participate in choral music. Jorgensen (2001, p.344) suggests that the Tonic Sol-fa is one example of a music teaching method that has had "its own time and place" and is now obsolete. For my own part, I had assumed that the method had simply given way to the Kodály Method and to the New Curwen Method (see below), and was no longer used. However, on a visit to South Africa in 1997, I discovered that the Curwen method and its notation were very much "alive and well" in black community and church choirs. I then discovered the same situation in Fiji and since then, I have found that the Curwen method is used in other countries--chiefly developing nations in Africa and Asia--where it is used to good effect.

人人能唱

The "New Curwen Method", which was developed for use in British primary and secondary schools, is a re-working of Tonic Sol-fa principles but applied to the teaching of staff notation. The "New Curwen Method" was developed under the auspices of Curwen Institute which in turn is maintained by the John Curwen Society. Established in 1974, the Curwen Institute has embarked on a program of curriculum material development and teacher professional development—for example, see Swinburne, W.H., The New Curwen Method, Book One: Tonic Sol-fa in Class (London: The Curwen Institute, 1980). This book and others in the series as well as a new publication which is ideal for lower primary school levels, Simply Sing and Sign Sol-fa (consisting of a song book, audio CD, video tape and flash cards), are available from the Honorary secretary, John Curwen Society, 56 Creffield Road, Colchester, Essex CO3 3HY, UNITED KINGDOM, Fax 024 7641 3564;

《字母谱》的资料国内较少，是一个马来西亚的老师帮我找来的。

人人能唱

字母谱的资料国内极少，在外面网上找到的又都是英文，欢迎大家来研究。是一个马来西亚老师帮我找的。

John Curwen and Tonic Sol-fa—An Historical Overview

The Tonic Sol-fa method of teaching vocal music was codified by an English Congregational minister, the Reverend John Curwen (1816-1880) who drew upon a number of earlier European and English music teaching systems including an indigenous English music teaching method known as Norwich Sol-fa (Rainbow, 1967, pp.150-151).  The Norwich method had been devised by Sarah Glover (1785-1867) of Norwich in the English county of Norfolk who, until recently, had remained largely unrecognised for her significant contribution to the development of the moveable do music reading system (Bennett, 1984, p.64).

As a young minister in his first pastorate, Curwen recognised the moral and religious value of hymn singing for his Sunday school children and, having experienced considerable difficulty himself with music reading music from staff notation, he became interested in Glover's method.  Her method utilized movable solmisation syllables as an aid to sight reading and also a sol-fa notation which she had devised as a stepping stone to reading music from the staff.

人人能唱

Sarah Glover (1785-1867)

In 1841 Curwen received a commission from a conference of Sunday school teachers to discover and promote the simplest way of teaching music for use in Sunday school singing.   Curwen made several modifications to Glover's sol-fa notation and finally decided upon a pitch representation system which utilised the first letter (in lower case) of each of the solmisation tones (doh, ray, me fah, soh, lah, te) and a rhythmic notation system which utilised bar lines, half bar lines and semicolons prefixing strong beats, medium beats and weak beats respectively in each measure.  For marking the subdivisions of beats he used a full stop for half divisions and a comma for quarter divisions, and for continuation of a tone from one beat to the next he employed a dash.  As he originally conceived it, Curwen aimed to develop music literacy in three successive phases: firstly reading from sol-fa notation, secondly reading from staff notation in conjunction with sol-fa notation below (see Figure 1), and thirdly reading from staff notation alone.
  

人人能唱

He also made use of Glover's Sol-fa Ladder which he adapted into what he called The Tonic Sol-fa Modulator.   Later still, Curwen incorporated French time names (adapted from Aime Paris's Langue de durees) into his method (Rainbow, 1974, p.151) and devised the pitch hand signs (see Figure 2) which, in a slightly modified form, are familiar to most contemporary music educators as part of the currently-popular Kodály method.

人人能唱

One of the means Curwen used to propagate his method was the publication of a number of textbooks and songbooks including The Standard Course of Lessons on the Tonic Sol-fa Method of Teaching to Sing which was first published in 1858.   However in the 1872 edition of The Standard Course, Curwen allowed the tonic sol-fa notation to overstep its former function as a mnemonic aid to sight singing from the staff and to become an end in itself.  He took this decisive step by totally excluding the staff system of notation from the tonic sol-fa course, henceforth relying solely on his own notational system in the publication of textbooks, vocal music and even instrumental music (see Figure 3 for an example of Tonic Sol-fa notation).  It was this isolation from the mainstream of music printed in staff notation which was to lead to the eventual decline of tone sol-fa as a choral singing method.

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Nevertheless, it was not until after the turn of the century that any real manifestation of this decline was to become apparent.  Indeed the growth of tonic sol-fa as a choral singing method in Britain surpassed that of any other choral singing method during the nineteenth century.  From modest beginnings and an estimated 2,000 tonic sol-fa-ists in 1853, the movement was able to claim 315,000 followers by 1872 (Curwen and Graham, n.d., pp.21,23) and to spread throughout the British Isles and to far outreaches of the British Empire including the Australian colonies, New Zealand, South Africa and Canada as well as to the United States.  It was also introduced by missionaries to their converts in India, Madagascar, China, Japan and the South Sea Islands.
As a school music teaching method, the tonic sol-fa system was officially recognised by the English Education Department in 1860 and by 1891, two-and-a-half million children in Britain were receiving instruction in tonic sol-fa in elementary schools (Curwen and Graham, n.d., p.33).  The tonic sol-fa method was also officially adopted by educational authorities overseas, one of the earliest to do so being the Council of Education in the Australian colony of New South Wales in 1867 (Stevens, 1980, p.81).

Two of the principle means that Curwen used to dissimate his Tonic Sol-fa method were firstly the Tonic Sol-fa College and secondly J. Curwen and Sons, Music Publishers.  The Tonic Sol-fa College was founded in 1879 as the Tonic Sol-fa School with a building at Forest Gate on the east side of London.  During its early years, the Tonic Sol-fa College instituted a system of certificate and diploma examinations (see Figure 4 for an Elementary Tonic Sol-fa Certiticate).  In 1944 the College moved to Queensborough Terrace, W 2 and took on the name of' the 'Curwen Memorial College'.  More recently the College was reconstituted as the Curwen Institute under the auspices of The John Curwen Society.

人人能唱

Nevertheless, it was not until after the turn of the century that any real manifestation of this decline was to become apparent.  Indeed the growth of tonic sol-fa as a choral singing method in Britain surpassed that of any other choral singing method during the nineteenth century.  From modest beginnings and an estimated 2,000 tonic sol-fa-ists in 1853, the movement was able to claim 315,000 followers by 1872 (Curwen and Graham, n.d., pp.21,23) and to spread throughout the British Isles and to far outreaches of the British Empire including the Australian colonies, New Zealand, South Africa and Canada as well as to the United States.  It was also introduced by missionaries to their converts in India, Madagascar, China, Japan and the South Sea Islands.
As a school music teaching method, the tonic sol-fa system was officially recognised by the English Education Department in 1860 and by 1891, two-and-a-half million children in Britain were receiving instruction in tonic sol-fa in elementary schools (Curwen and Graham, n.d., p.33).  The tonic sol-fa method was also officially adopted by educational authorities overseas, one of the earliest to do so being the Council of Education in the Australian colony of New South Wales in 1867 (Stevens, 1980, p.81).

Two of the principle means that Curwen used to dissimate his Tonic Sol-fa method were firstly the Tonic Sol-fa College and secondly J. Curwen and Sons, Music Publishers.  The Tonic Sol-fa College was founded in 1879 as the Tonic Sol-fa School with a building at Forest Gate on the east side of London.  During its early years, the Tonic Sol-fa College instituted a system of certificate and diploma examinations (see Figure 4 for an Elementary Tonic Sol-fa Certiticate).  In 1944 the College moved to Queensborough Terrace, W 2 and took on the name of' the 'Curwen Memorial College'.  More recently the College was reconstituted as the Curwen Institute under the auspices of The John Curwen Society.