ソルフェージュ教育において＜複合的＞な音楽構造を捉えることの意義 : Jeanne Bambergerの認知の理論に基づいて

The Significance of Compound Musical Structures in Solfège Education: Based on Jeanne Bamberger's Cognitive Theory

岡田 陽子

広島大学大学院人間社会科学研究科紀要. 教育学研究

Bulletin of the Graduate School of Humanities and Social Sciences, Hiroshima University. Studies in education

[ISSN] 2436-0333

[NCID] AA12909086

In a solfège class at a music university, I encountered a student who had difficulty playing cadences without the aid of notation. She could play them from score, but could not without it. She was playing simply by responding to the visual information given in the score, with hardly any understanding of the structure of the music. To help her in solving this problem, I conducted an interview with her to find out the cause of the problem, and then guided her with a training method which I thought useful for her case. The training I chose was the one based on The Musician’s Ear － Comprehensive Training in Musicianship － a training method that is in accordance with the ideas that Jeanne Bamberger (1924-) proposed in her cognitive theory of music. The purpose of this study is to clarify one of the prime requirements of solfège education, through an analysis of the process involved in the student’s improvement regarding the problem, and considerations of its result. The analysis revealed that the main cause of the student’s problem was that she did not grasp each cadence as a reasonable ‘chunk’, a structural unit, that which, according to Bamberger, is a ‘highly aggregated, structurally meaningful entity’. This instance strongly suggests the importance of training that leads students to grasp musically-meaningful entities (i.e., ‘structural chunks’) in the overall context of the music, rather than teaching discrete musical elements.

solfège

J. Bamberger

cadence

‘chunk’ (structural unit)

ソルフェージュ

J. バンバーガー

カデンツ

「チャンク」（音楽構造単位）

日本語

広島大学大学院人間社会科学研究科

Copyright (c) 2020 人間社会科学研究科

[ISSN] 2436-0333

[NCID] AA12909086