《五线谱》教学 建议 采用《首调唱名法》

mayasun

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
我人甚至任何人
任何一句話
等而下下之人

您老狗嘴裡長不出象牙來
你老連是否文言文都還不會分呢
抄幾段英文
就能冒充黑白買這雜種了麼!

字母譜與首調
何嘗就有任何絕對關聯性呀?
何須要有首調
才有字母譜呀?
盡是外行話

連<律學>p113所載
曾侯以編鐘是四聲體系都不知道
只看了幾頁三分損益法
只懂得五個階名......
就懂律學了麼?
還大言不慚一脫肛就賣弄律學呢!

連"調"與"律"無關都不知道的外行人
-----大小"調"豈必屬於什麼"律"呀?
連何謂首調?何謂固定調?都不知道的外行人
連工尺譜與民樂原是多是固定調都不知道的外行人
連七工尺字調源自28調都不知道的外行人
連古樂為四聲音階都不知道的外行人
連音樂術語多為拉丁文都還不知道的外行人
-----還英文呢!
連調與調式有何區別?音階與調式有何區別?都還不知道的外行人
誤以為有五聲音階就有五聲調式的外行人
連理論是否正確?只和與事實是否相符?有關
與多少人相信?什麼人相信?相信多久?盡皆無關的外行人......
有什麼條件
來跟人家討論什麼基本樂理呀?

連宋大叔的標題
您老都硬要汙辱他"狠毒"呢?
無論多"狠毒"
有閣下滿腹髒水的千萬分之一麼?

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！

mayasun

>这个帖是我叫
>懂英文的人，帮发的，

什麼!不懂英文也就罷了!
連英文帖也須要懂英文的人帮发麼?
連上網翻譯都不會麼?

既連看都沒看過
也就難怪文不對題了

>你不懂流动唱名法，
>又不懂五度相生法，
>还想做调式大师，

什麼!
你懂流动唱名法?
若然何以又多次硬說
12 b345b6b71竟是固定調呢?
怎麼個"固定"法呀?

僅看了<律學>頭幾頁的五度相生法，
就能作大师了麼?

若然閣下何以又滿腹髒水
滿腹髒水又何須
隨時隨地脫肛而出呢?

就算繼續外行裝個內行
也強過一脫肛而出
就自暴醜態麼!

我不奢望您老真"懂"律學
你只要能用一句話講出
五度律與純律有何不同?
我都願算你"看"過<律學>!

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。

chengm

哈哈，孙新财的大本营音乐理论小调:http://www.guanglingsan.com/thread-193-1.html

sonymusicman

学校学习了，感谢分享

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.