浅论视唱练耳教学中对民族调式独特性的把握

On the Grasp of the Uniqueness of the National Mode in the Teaching of Solfeggio and Ear Training

摘要: 综合现今我国的视唱练耳教学发展情况来看，西洋音乐调式的普及教育已达到了一个日趋成熟的状态，而我国传统民族调式音乐却发展缓慢，在文化多元发展的大背景下，在视唱练耳中更多地纳入民族调式音乐的学习成为广大音乐研究者迫在眉睫的任务。而在广阔的中国民族音乐中，被誉为“国粹”的京剧音乐独树一帜，是民族调式音乐的典型代表，将其纳入视唱练耳教学的研究对于视唱练耳课程本身以及弘扬民族音乐文化方面都有着非凡的意义。京剧音乐中的调式偏音和旋法是京剧音乐中典型的调式特征，将这两个因素进行分别的深入研究是通往视唱练耳教学中对民族调式独特性的把握的新途径。

Abstract: In view of the development of solfeggio teaching in China today, the universal education of western music style has reached a mature state, but the traditional national style music of our country has developed slowly. Under the background of cultural pluralism, it is more integrated into the learning of national style music in the solfeggio. It is an urgent task for the majority of music re-searchers. In the broad Chinese national music, the Beijing opera, which is known as the “quintes-sence” of the Chinese opera music, is a typical representative of the national style music, and it has a special meaning for the solfeggio course itself, to carry forward the culture of national music. The tone and rotation of the Beijing opera music are the typical features of the Beijing opera music. The in-depth study of these two factors is a new way to grasp the uniqueness of the national style in the teaching of solfeggio.