The Study On The Mother-tongue Musical Teaching With Languages, Movements And Music As The Trinity

The"original nature"——the core concept of Orff's musical education theoryhas something in common with the origin,and comprehensiveness demonstrated inour traditional musical culture in the spiritual temperament. Based on application ofthe thoughts and practice of Orff's musical education, this paper puts forward amother-tongue musical teaching theory with languages, movements and music as thetrinity and tries to pursue the meeting point among the modern musical educationalsystems, traditional Chinese musical culture and children's culture so as to promotethe construction of musical educational systems using Chinese culture as itsmother-tongue.Thispapercanbedividedintothefollowingfiveparts:In the first part, the author first reviews the studymade in the past decade on themusical education using Chinese culture as its mother-tongue, finds its limitation, onthe basis of the existing means, the performance factors of music as well as Orff'smusical education theory. preliminarily illustrates the basic outlines of the paper anddefinesthemother-tonguemusicandteachingobjectsThe second part discusses the similarities between the original musical conceptof Orff and cognitive style of Chinese musical culture——"yuebenti"from the threelayers of shape, consciousness, and behavior, illustrates and explains in details thehumanismeducationthoughtofOrffandChineselife-typemusicculture.In the third part, the author describes the relationship between sound state andmusic symbols; between Chinese music and languages, analyses the current teachingsongs from the combination relationship between words and music, discusses the useoflanguagesinChinesemusicauralTraininganditsrhythmtraining.The fourth part illustrates the theoretical basis of physical moves used in themother-tongue musical teaching from the relationship between posture and voice andthe physical nature of Chinese musical practice, preliminarily explores the basicoutlines of physical rhythm theories with Chinese characteristics based on theapplicationoftheDalcrozephysicalrhythmtheories,theanalysisofdifferentsenseofmusic rhythm, and the differences of dance posture between the Chinese and the westerners.In the fifth Part, the author, from musical psychology, analyses the necessityofchildren's instrumental learning, pointes out that the technique is the"stumblingblock"in instrumental learning, analyzes its causes, concludes several attitudestowards technique in instrumental learning ;discusses measures to solve the technicalproblems in Orff's instruments teaching, introduces Orff'instrument configuration,and discusses with examples how to use Orff's instruments in mother-tongue musicteaching.