和声感知觉与钢琴教学  

Upon the Harmonic Perception and Piano-teaching

作　　者：徐志斌[1] 

机构地区：[1]宁波大学艺术学院,浙江宁波315211

出　　处：《宁波大学学报（教育科学版）》2009年第6期131-134,共4页Journal of Ningbo University(Educational Science Edition)

摘　　要：由于音乐文化背景的不同,听觉习惯与审美心理倾向的差异,使许多中国钢琴学生,缺乏必要的和声感知觉,出现了学习困难,不适应钢琴演奏的现象。本文从审美心理学的角度,通过对钢琴演奏中的听知觉、视知觉、运动知觉的心理机制进行理论描述和经验分析,提出通过针对这三种知觉的综合训练,培养学生的音乐和声感知觉,提高钢琴教学效率和教学水平。Differences between the East and the West in auditory habits and aesthetic psychology out of different cultural backgrounds of music result in Chinese piano-playing learners＇ inadequate harmonic perception, which further hurdles their learning and adaptability. The article, based on theoretical description and practical analysis of psychological mechanisms of auditory, visual perception and kinesthesia in piano-playing, correspondingly puts forwards specific steps to foster students＇ harmonic perceptions from the perspective of aesthetic psychology and improve instructional efficiency and oroficiencv.

关 键 词：音乐审美心理学 和声感知觉 听、视、运动知觉 

分 类 号：G642.421[文化科学—高等教育学]