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Òåìà: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 08.12.2010 15:17 |
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Íà âàø âçãëÿä, êàê ìîæíî ðàçâèòü ìóçûêàëüíî-ðèòìè÷åñêèé ñëóõ ó ëþäåé, êîòîðûå íèêîãäà íå çàíèìàëèñü ìóçûêîé, íî ðàáîòàþò ïîä ìóçûêó? Êàêèå ìåòîäû, ñðåäñòâà ðàçâèòèÿ ìîæíî èñïîëüçîâàòü çà êàðîòêîå âðåìÿ, íàïðèìåð â îáúåìå 8, 16 èëè 32 ÷àñîâ? Êàê èíäèâèäóàëüíî òàê è â ãðóïïàõ. |
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Òåìà: Re: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 08.12.2010 15:18 |
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 ÷àñòíîñòè, åñòü òàêàÿ ïðîáëåììà, èíñòðóêòîðà â ôèòíåñ êëóáàõ âåäóò çàíÿòèÿ, à ïîêàç óïðàæíåíèÿ íå ñîîòâåòñòâóåò ìóçûêàëüíîìó ñîïðîâîæäåíèþ. Íàïðèìåð, çâó÷èò áûñòðàÿ ìóçûêà è èäåò îòðàáîòêà óäàðîâ ðóêàìè â âîäå. Äàëåå ìóçûêà îñòàåòñÿ òàêîé æå áûñòðîé, à óïðàæíåíèå óæå ìåäëåííîå ïðîïëûâ. Ïî èäåå äîëæíà áûòü ìåäëåííàÿ ìóçûêà, ñïîñîáñòâóþùàÿ äàííîìó óïðàæíåíèþ è òîëüêî ïîñëå ìèíóòû ïðîïëûâà ìóçûêà ìåíÿåòñÿ íà ìåäëåííóþ. Ò.å. èíñòðóêòîð íå ñëóøàåò ìóçûêó(ïðîñòî íå óìååò), íåò åäèíîé êàðòèíêè â ïîêàçå óïðàæíåíèé è ñîîòâåòñòâèÿ ìóçûêàëüíîìó ñîïðîâîæäåíèþ. |
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Òåìà: Re: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 09.12.2010 18:10 |
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Òåîðåòèêè, ÷òî íèêàêèõ ìûñëåé íåò? À íó, ê îòâåòó! 
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Òåìà: Re: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 09.12.2010 19:51 |
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>Íà âàø âçãëÿä, êàê ìîæíî ðàçâèòü ìóçûêàëüíî-ðèòìè÷åñêèé ñëóõ ó ëþäåé, êîòîðûå íèêîãäà íå çàíèìàëèñü ìóçûêîé, íî ðàáîòàþò ïîä ìóçûêó? >Êàêèå ìåòîäû, ñðåäñòâà ðàçâèòèÿ ìîæíî èñïîëüçîâàòü çà êàðîòêîå âðåìÿ, íàïðèìåð â îáúåìå 8, 16 èëè 32 ÷àñîâ? Êàê èíäèâèäóàëüíî òàê è â ãðóïïàõ. - Ýé ,óõíåì! |
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Íå Ðèãà
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Òåìà: Re: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 09.12.2010 22:09 |
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Íå Ðèãà
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Òåìà: Re: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 09.12.2010 23:48 |
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Ñïàñèáî, èäåè èíòåðåñíûå. Èìåííî òàê ÿ ïðîâîäèëà çàíÿòèÿ. Ïîíðàâèëîñü ñ ìÿ÷èêîâ, êàê ðàç äëÿ ôèçðóêîâ õîðîøî, íàäî âíåäðèòü))) Æäó åùå õîä ìûñëåé, åñëè îíè åñòü
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Òåìà: Re: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 09.12.2010 23:55 |
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> ðàçâèòü ìóçûêàëüíî-ðèòìè÷åñêèé ñëóõ ó ëþäåé, îçíà÷àåò ðàçâèòü ìóçûêàëüíî ðèòìè÷åñêîå òåëî- ýòî äðåâíÿÿ àôðèêàíñêàÿ òðàäèöèÿ ,î êîòîðîé ðîññèéñêîå ïðîôìóç îáðàçîâàíèå íå èìåëî (íàâåðíî è ñåé÷àñ òîæå) ïîíÿòèÿ. ß áû äîáàâèë ê ýòîìó ðèòìèçèðîâàííûé òåêñò - òèïà àðìåéñêîãî ïîõîäíîãî.ßçûê âñåãäà âëàäååò ðèòìîì ëó÷øå,÷åì êîíå÷íîñòè... |
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Íå Ðèãà
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Òåìà: Re: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 10.12.2010 21:39 |
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>îçíà÷àåò ðàçâèòü ìóçûêàëüíî ðèòìè÷åñêîå òåëî- ýòî äðåâíÿÿ àôðèêàíñêàÿ òðàäèöèÿ ,î êîòîðîé ðîññèéñêîå ïðîôìóç îáðàçîâàíèå íå èìåëî (íàâåðíî è ñåé÷àñ òîæå) ïîíÿòèÿ. ÿ íå ñëûøàëà ïðî ýòî. ×òî ëåæèò â îñíîâå ýòîãî ìåòîäà? Åñòü ãäå-íèáóäü îïèñàíèå, ÷òîá ïî÷èòàòü |
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Òåìà: Re: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 11.12.2010 04:57 |
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>>îçíà÷àåò ðàçâèòü ìóçûêàëüíî ðèòìè÷åñêîå òåëî- ýòî äðåâíÿÿ àôðèêàíñêàÿ òðàäèöèÿ ,î êîòîðîé ðîññèéñêîå ïðîôìóç îáðàçîâàíèå íå èìåëî (íàâåðíî è ñåé÷àñ òîæå) ïîíÿòèÿ. >ÿ íå ñëûøàëà ïðî ýòî. >×òî ëåæèò â îñíîâå ýòîãî ìåòîäà? Åñòü ãäå-íèáóäü îïèñàíèå, ÷òîá ïî÷èòàòü "Musical training" in African societies begins at birth with cradle songs, and continues on the backs of relatives both at work and at festivals and other social events. The sounding of three beats against two is experienced in everyday life and helps develop "a two-dimensional attitude to rhythm". Throughout western and central Africa child's play includes games that develop a feeling for multiple rhythms.[7] Bodwich, an early (circa 1800) European observer, noted that the musicians maintained strict time (i.e. concern for the basic pulse or beat), "and the children will move their heads and limbs, whilst on their mother's backs, in exact unison with the tune which is playing."[8] African dance utilizes the concepts of polyrhythm and total body articulation.[9] Shoulders, chest, pelvis, arms, legs etc., may move with different rhythms in the music. They may also add rhythmic components independent of those in the music. Very complex movements are then possible even though the body does not move through space.[1] Different parts of the body are emphasized by different groups. The upper body is emphasized by the Anto-Ewe and Lobi of Ghana. Subtle accent of the hips is characteristic of the Kalabari of Nigeria. In Agbor strong contraction-release movements of the pelvis and upper torso characterize both male and female dancing. The Akan of Ghana use the feet and hands in specific ways.[10] Dancers are able to switch back and forth between rhythms without missing movements.[11] It is extremely important that the dancers maintain clarity.[12] Dancers in Nigeria commonly combine at least two rhythms in their movement, and the blending of three rhythms can be seen among highly skilled dancers. Articulation of as many as four distinct rhythms is rare.[12] ================================================== ====== Sadly, it was slavery that brought African drums to the Caribbean and, ultimately, to America. The forced importation of African peoples to Puerto Rico and Cuba brought with it a fusion of culture, customs and traditions, among them the music and storytelling tradition accompanied by the playing of the drum. Slaveholders recognized the power of the drum to unite the slaves, so many slave traders and plantation owners banned drumming, fearing that slaves might use drums to organize and rebel. But you can't keep a good drummer down. The slaves kept their African rhythms alive by drumming on their chests, the thighs, knees, and arms and clapping their hands. They created make-shift drums from oil drums, containers, boxes and cans and the African drumming tradition ultimately emerged victorious, adding some blended rhythms picked up along the way. Perhaps because African drums survived the transatlantic slave trade and attempts by slave owners to ban them, African drums are more popular today than ever, worldwide. |
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Òåìà: Re: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 11.12.2010 12:19 |
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ñïàñèáî, ññûëêó íàïèøè ïîæàëóéñòà âèæó, ÷òî îäèí íàñòîÿùèé òåîðåòèê åñòü
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Òåìà: Re: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 11.12.2010 13:35 |
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Íå Ðèãà
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Òåìà: Re: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 11.12.2010 16:39 |
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Ñàíêò-Ïåòåðáóðã Ôîðòåïèàíî, ãèòàðà, âîêàë, ðàçâèòèå ÀÑ è ÎÑ 
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>âèæó, ÷òî îäèí íàñòîÿùèé òåîðåòèê åñòü Ïàëüìèðà, à òû íàñòîÿùèé ïðîâîêàòîð) Íàâåðíÿêà èç òâîèõ óñò íåðåäêî âûëåòàþò ïðîñüáû, íà÷èíàþùèåñÿ ñî ñëîâ:"Òû æ ìóæèê...", à ïîñëå óäà÷íî ïðîâåäåííîé ìàíèïóëÿöèè ñëåäóåò ôðàçà "Ñïàñèáî, òû íàñòîÿùèé ìóæèê!", ÷òî íàâåðíÿêà î-î-î÷åíü òåøèò ñàìîëþáèå èñïîëíèòåëÿ))) |
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Òåìà: Re: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 12.12.2010 19:11 |
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>>âèæó, ÷òî îäèí íàñòîÿùèé òåîðåòèê åñòü > >"Òû æ ìóæèê..." íó íå ñîâñåì ñ òàêèõ ñëîâ, íåìíîãî àêêóðàòíåå, íàïðèìåð "ó òåáÿ ýòî ëó÷øå ïîëó÷àåòñÿ" èëè "ÿ çíàþ, ÷òî òû óìååøü"))) |
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Òåìà: Re: ðàçâèòèå ìóçûêàëüíî-ðèòìè÷åñêîãî ñëóõà ó ëþäåé íå çàíèìàþùèõñÿ ìóçûêîé
Âðåìÿ: 12.12.2010 22:26 |
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Ñàíêò-Ïåòåðáóðã Ôîðòåïèàíî, ãèòàðà, âîêàë, ðàçâèòèå ÀÑ è ÎÑ
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Ðåôðåéìèíã, êîíå÷íî, åãî íèêòî íå îòìåíÿë) | |
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