آموزش موسيقی به کودکان – 2 Children’s Music

آموزش موسيقی به کودکان – 2 Children’s Music

 

تاثیر موسیقی موتزارت بر روی رشد فکری و خلاقیت کودکان

امروزه در تمام دنیا مساله تعلیم و تربیت کودکان در اولویت قرار دارد ، با تحقیقات فراوانی که درباره ی شکوفایی و شناخت استعداد های نهفته از دوران بارداری مادر و تولد نوزاد صورت گرفته و همواره در حال تکمیل و نوآوری های فراوان است مطمئن باشید که کودک شما دارای نوعی استعداد خاص است ، چگونه میتوان به او کمک کرد تا استعداد های درخشان خود را بروز دهد . با روش های تحقیقاتی متعددی ثابت شده که یک کودک از بدو تولد آمادگی لازم پذیرش آموزش های مختلف را دارد ، بطور مثال یک کودک از سن 3 سالگی تا 5 سالگی قادر است به دو یا سه زبان بجز زبان مادری تکلم و روخوانی نماید.
یکی از مهمترین و ساده ترین روش ها که باعث بروز استعداد و پرورش هوش کودک می شود روشی است كه بوسيله آقاي دان كمپبلDon  Campbell ابداع شده و اين روش به صورت زير مي باشد :

دکتر کمپبل با تحقیقاتی که در مورد موتزارت ، نابغه موسیقی بعمل آورده به این نتیجه رسیده که مادر وی در دوران بارداری دائما در معرض شنیدن موسیقی که توسط شوهرش نواخته می شده قرار داشته وی پس از تحقیقات زیاد بر روی کودکان خردسال به این نتیجه رسید که گوش دادن به آهنگ های ساخته شده توسط موتزارت باعث باهوشی و شادابی آن ها می شود بطوریکه کودکانی که تحت تاثیر موسیقی موتزارت قرار گرفته اند، بگفته والدینشان از دیگر همکلاسی هایشان در زمینه ریاضیات ، حفظیات ،نواختن ساز ، آهنگسازی ، سرودن شعر و دیگر مهارت ها با هوش تر بودند.

در اوایل دهه 1990 در دانشگاه Irvine کالیفرنیا تحقیقاتی انجام شد که نشان می دهند گوش کردن به موسیقی موتزارت ده دقیقه قبل از شروع امتحان باعث افزایش فراوان حافظه و هوش می شود . به علاوه کودکانی که دوره مقدماتی موسیقی گذرانده اند بسیار با هوش تر از کودکانی هستند که دوره آموزشی کامپیوتر گذرانده اند هستند.

این مجموعه حاوی سه قسمت می باشد : 

1.        رشد فکری و خلاقیت

2.         تخیل آزاد و تجسم

3.        جنب و جوش و انگیزش


قسمت اول : رشد فکری و خلاقیت

1- Rondo From Eine Kleine Nachtmusik K.525

یکی از دلپذیرترین ملودی هایی است که تا کنون نوشته شده است . نوارندگان این اثر روش جالبی به کار برده اند تا نیروی طراوت و تازگی ملودیهای موتزارت را به کودکان ارائه نمایند . Rondo یک قطعه جذاب و پر نشاط است که براحتی توجه کودک را به خود جلب میکند . این موسیقی مغز و بدن را هوشیار می سازد اکسیژن دهی به مغز را تسریع می بخشد و ساعات خوبی را برای مطالعه مهیا می سازد .

 

2- Allegro moderato , Violin Concerto No.2 In D Major , K.211

دکتر آلفرد توماتیس Alfred Tomatis طی 40 سال پژوهش ، کشف کرد که صدای با فرکانس بالا که از ویلون و ساز های زهی در می آید مغز را به تمرین و فعالیت وا می دارد . این کنسرتو ویلون برای هزاران کودک در بیش از 200 مرکز شنوایی در اقصی نقاط جهان اجرا شده است . این موسیقی فکر شما را آماده می سازد تا مهارت هایی را که به تمرکز نیاز دارند ، بهتر انجام دهید دکتر توماتیس پیشنهاد می کند که این قطعه را در حالی که گوش راست خود را به سمت بلندگو متمرکز کردید گوش دهید و در واقع قبل از شروع به کار های روزمره گوش را به فعالیت وا دارید و مغز را تحریک کنید.

 

3-Variations , Sinfonia In E-flat Major , K 297b

این مجموعه جذاب از واریاسیون ها ، اهمیت سازماندهی مغز را باعث می شود . یکی از بهترین راه های شناخته شده برای یادگیری اطلاعات ، تکرار و بازگویی است . وقتی ما اطلاعات یا ملودی های موسیقی را به روش های مختلف تکرار می کنیم ، به همین ترتیب مغز و گوش نیز شروع به شنیدن می کنند . به این قطعه به گونه دیگری گوش کنید ببینید آیا میتوانید بگویید که کدام ملودی در طول سراسر قطعه تکرار شده است . اگر احساس خواب آلودگی میکنید ، انبساط خاطر داشته باشید و به آرامی موسیقی را گوش کنید تا ذهن و بدن شما برای مطالعه و تمرکز آماده شود.

 

4- Andante , Symphony No.17 in G Major , K.129

پل مادوال  Paul Madauleاز مرکزشنوایی تورنتو تمریناتی را که وی Earobics ( نرمش های شنوایی) نامیده بکار می برد. این قطعه مناسب برای گوش دادن قبل از مطالعه است اگر شما قبلا انرژی کسب کرده اید . فرکانس بالا و ضرب آهنگ آهسته به شما اجازه می دهد که در عین حالی که هیجان زده هستید ، آرامش داشته باشید .

 

5- Andantino , Symphony No.24 in B-flat Major , K.182

یکی از کاملترین قطعات موتزارت است که زبان را به موسیقی وارد کرده است . چشمانتان را ببندید و به این قطعه گوش کنید و ببینید که چطور یک داستان تعریف می شود . ساز های زهی و فلوت به وضوح ملودی و جمله های موسیقی را تکرار می کنند . ویلون ها و فلوت به صورت واضح و بی واسطه با شما صحبت می کنند.

می توانید احساس کنید که چگونه موسیقی یک ایده را بیان می کند . حتی سوال هایی را نیز مطرح میکندو سپس به شما اجازه میدهد که تجزیه وتحلیل کنید . اینیکی از بهترین راه هاییاست که یاد بگیریم چگونه مقاله بنویسیم و یا چطور سخنرانی کنیم .

 

6- Five Variations on Twinkle , Twinkle little Star , K.265

یادگیری مطالعه چنانچه همراه با تنوع و نشاط باشد بسیار مهم است . بهتر این است که هر روز با یک برنامهع منظم کار های روزانه اتان را با ذهنی پر نشاط شروع کنید . این قطعه بر اساس یک موسیقی محلی فرانسوی در عصر موتزارت است . بسیاری از کودکان الفبا را به کمک این آهنگ حفظ می کنند . ببینید می توانید واریاسیون های متنوعی که موتزارت روی این ملودی ساده خلق کرده خلق کرده بشنوید و بر آن متمرکز شوید . شاید این روش به شما در یادگیری الفبا کمک کند.

 

7-Allegro aperto , Violin Concerto No.5 in A Major , K.219

این Allegro روشن کننده و انرژی بخش است . به گفته دکتر توماتیس این موسیقی مغز را تقویت می کند . این قطعه پر تحرک و قوی برای گوش و مغز تمرین بسیار مناسبی می باشد . قبل از ساعات مطالعه خود 10 دقیقه به آن گوش کنید تا گوش وبدن خود را فعال سازید . تصور کنید شما یک ارکستر را رهبری می کنید ، و یا تصور کنید ویلون را خودتان می نوازید . ده دقیقه موسیقی را با فعالیت و تحرک سپری کنید.

 

8- Andante , Symphony No . 15 in G Major , K.124

 

موتزارت این قطعه را در سنین جوانی نوشت ، یک نمونه شگفت انگیزی برای شروع یک کار سخت می باشد . صدای موسیقی را پایین بیاورید وگوش بسپارید ، بگذارید به روشی که فقط موتزارت می داند رشد فکری و خلاقیت شما افزایش یابد .

 

 

+ نوشته شده در  چهارشنبه نوزدهم آبان ۱۳۸۹ساعت 10:37  توسط Kimia Moazzen  |  5 نظر 

موتزارت ، كودكي نابغه

ترجمه: کیمیا موذن


موتزارت يكي از بزرگترين كودكان نابغه اي ست كه دنيا تا به حال به خود ديده است. او به سراسر اروپا سفر كرد و موسيقي نواخت ، زماني كه تنها 5 سال بيش تر نداشت. سرانجام به موجب اين سفرهاي متعدد و پيوسته ، او توانست صحبت كردن به بيش از 20 زبان مختلف دنيا را فرا گيرد. درحالي كه امروزه اغلب افراد اگر مجبور به يادگيري فقط 2 زبان باشند ، شكايت مي كنند!

موتزارت پيش از تولد 5 سالگي اش ، سوناتي براي پيانو ساخت و زماني كه 12 ساله شد ، اپراهاي كامل مي ساخت. و اين در زماني بود كه هنوز ضبط صوت و كامپيوتر اختراع نشده بود. او حتي از مداد و پاك كن هم براي ساخت آثارش كمك نمي گرفت. اين در حالي ست كه در 4 سالگي اغلب ما ، هم چنان در حال تلاش براي آموختن اين هستيم كه چگونه اسم خودمان را بنويسيم!

موتزارت در حال خوردن كلم پخته و جگر ، يا حتي دندان درد هم مي توانست آهنگسازي كند!

يكي از معروف ترين آثار موتزارت وارياسيون براي اثر “چشمك بزن ، چشمك بزن ستاره كوچولو” هست.

غريبه اي كه لباسي خاكستري رنگ به تن داشت ، به خانهء موتزارت آمد. و بابت ساخت مرثيه اي براي سوگواري به او دستمزد داد. تا زماني كه موتزارت زنده بود اين مرثيه آهنگي بود كه در مراسم تدفين از آن استفاده مي شد. موتزارت به شدت خرافاتي بود و مرد غريبه اصرار داشت كه او حتماً ساخت اين موسيقي را به پايان برساند. موتزارت از قبل بيمار بود و به ديگران گفته بود هنگامي كه ساخت اين مرثيه را به پايان برساند ، از آن در مراسم تدفين خود او استفاده خواهد شد! آيا گفتهء او در اين باره درست بود؟

هيچ آهنگسازي تا به حال قادر نبوده است آنچه را كه موتزارت توانست به سهولت انجام دهد ، به انجام رساند. او توانست قطعات فوق العاده اي را در بخش هاي مختلف موسيقي (شامل : آواز ، كنسرتو ، سمفوني ، اپرا و سونات) خلق كند.

ولفگانگ و آمادئوس جزء اسم واقعي موتزارت نيستند. نامي كه در هنگام تولد به او داده شد ، يوهانس كريستوموس ولفگانگس تئوفيلوس موتزارت بود. پدرش براي اختصار ، قسمت سوم اسم او را به ولفگانگ تبديل كرد و آمادئوس را كه لغتي لاتين براي تئوفيلوس هست ، جايگزين آن نمود.

امروزه مطالعاتي معتبر كه توسط دانشمندان صورت گرفته ، وجود دارد كه نشان مي دهد گوش دادن به آثار موتزارت مي تواند به بسياري از افراد در پاسخ گويي به برخي تست ها كمك كند. اين نتيجه گيري براي بسياري از انواع ديگر موسيقي نيز صادق است. ولي به نظر مي رسد تا به حال ، شنوندگان آثار موتزارت در صدر اين گروه قرار دارند.


منبع: http://www.thekidswindow.co.uk

+ نوشته شده در  دوشنبه پنجم مهر ۱۳۸۹ساعت 20:19  توسط Kimia Moazzen  |  یک نظر 

آموزش موسيقی به کودکان

ترجمه : کیمیا مؤذن______________________________________________________________________________

آموزش موسيقي به كودك ، شامل يك برنامهء آموزشي ست كه در آن موسيقي ، آواز ، سخنراني و بازي هاي متحرك بدني ، با شيوه اي مفرح و سرگرم كننده به كودك ارائه مي شود.تدريس موسيقي به كودكان ، يكي از مهم ترين شاخه هاي آموزش موسيقي ميباشد. در اين زمينه كلاس هايي براي گروه هاي سني مختلف وجود دارد كه آغاز آن از 3 ماهگي ( تربيت شنوايي نوزاد مد نظر است) است . تجربه نشان مي دهد كودكاني كه قبل از 7 سالگي با موسيقي آشنا مي شوند  در امتحانات SAT تا بيش از 200 امتياز بالاتر از ساير دانش آموزان نمره كسب كرده، و در آينده در محيط كار ، چندين برابر موفق تر خواهند بود . هم چنين كودكاني كه پيش از 7 سالگي آموزش پيانو را آغاز مي كنند ، تمايل بيش تري به رعايت بهداشت عمومي ( مانند : مسواك زدن دندان ها ، دوش گرفتن مرتب ، و استفادهء مداوم از خشبو كننده ها) در طول زندگي خود خواهند داشت.

هدف :

شروع فراگيري موسيقي از سنين پايين ، مي تواند براي تمام افراد منفعت بزرگي به همراه داشته باشد. تجربه نشان مي دهد امروزه وقتي دانش آموزان پا به مقاطع بالاتر در تحصيل موسيقي مي گذارند ، از دانش موسيقايي بالايي برخوردارند. بسياري از چهره هاي شاخص در موسيقي ، با موسيقي بزرگ شده و پرورش يافته اند ( مانند : موزارت ، مايكل جكسون ، بريتني اسپيرز ، كريستينا آگيلرا ) . در نتيجه بهترين سن براي شروع موسيقي ، از سنين خردسالي مي باشد.

موسيقي علاوه بر اين ها مي تواند از جنبه ء روان درماني نيز در كودكان و بزرگسالان مورد برسي قرار گيرد.

آموزش موسيقي در بيش تر مدارس موضوعي فراموش شده است . موسيقي مفيد ترين مقوله اي است كه مي تواند در سال هاي پيش از دبستان براي آموزش به كودك انتخاب كرد . با اين احوال مي بينيم اولين مبحثي است كه در سال هاي دبستان از برنامهء آموزشي دانش آموزان حذف مي گردد . هنگامي كه مدارس با كسري بودجه مواجه مي شوند ، اولين اقدامي كه مي كنند حذف چنين برنامه هايي از سيستم آموزشي مدرسه است . وقتي به اين موضوع توجه مي كنيم خواهيم ديد كه موسيقي مي تواند براي پيشرفت كودكان در درس رياضي و ساير علوم ، بسيار مؤثر باشد.كودكان از طريق موسيقي ، برنامه ريزي و زمان بندي را ياد مي گيرند . آن ها با شناخت و نظارت بر توانايي هاي خويش ، مي آموزند كه چگونه كارهاي خود را در طي شبانه روز تقسيم و تنظيم كنند. اگر تنها تعداد بيش تري از افراد جامعه ، با مطالعات و حقايق موجود دربارهء موسيقي آشنا شوند ، آن گاه مشاهده مي كنند كه تا چه ميزان ، موسيقي مي تواند براي كودكان ( تا قبل از سنين دبستان ) مفيد واقع شود.

روش ها و فعاليت ها:

آموزش موسيقي به كودكان ، توسط مؤسسه و نهادهاي مختلفي از قبيل مدارس موسيقي و برخي گروه هاي نوازندگي ( گروه هاي با سازهاي بادي برنجي و گروه هايي براي اجراي موسيقي محلي) ارائه مي شوند. در كشور آلمان معمولاً هفته اي يك جلسه با مدت زمان 45 دقيقه ، براي دانش آموزان در مدرسه ، كلاس موسيقي برگزار مي كنند. دانش آموزان شركت كننده در اين كلاس ها ، كارهايي از قبيل خواندن آواز و ترانه ، نواختن و آشنايي با سازهاي موسيقي ، و انجام حركات موزون را تجربه مي كنند. جوْ اين كلاس ها معمولاً غير جدي و مفرح است.

فعاليت ها:

1.گوش دادن: آزمون هايي همراه با نوار و سي دي.براي مثال حدس زدن صداها و اصوات ، و يا تشخيص صداي سازهاي مختلف در يك اركستر.

2.حركات موزون: انجام رقص هاي آزاد همراه با موسيقي ، و نيز رقص هاي رسمي تر مانند رقص لهستاني ، رقص هاي زنجيره اي و دايره شكل ، و رقص دو نفره.

3.مهارت هاي ديناميك: بازي هاي انگشتي ، ورزش هاي پا (پنجه ، پاشنه و…) ، ورزش مچ دست.

4.آشنايي با سازها: شامل نگاه كردن و شناسايي ساز ، اطلاع از مواد سازندهء هر ساز ، تشخيص صداي انواع سازها ،تجربهء نواختن هر ساز به تنهايي ، و آشنايي با سازهاي مخصوص كودكان.

5.ريتم: تمرين كف زدن بصورت ريتميك ، انجام تقليد با دست و پا و ساير اعضاي بدن.

6.عكس العمل: شروع يا توقف حركت ، با توجه به علائم مختلف.

7.مديتيشن: رعايت سكوت ، گوش دادن ، زمزمه كردن و حركات دهان.

8.برخورد اجتماعي: ارائه روش هايي جهت پيشرفت و بهبود روابط با ديگران ، واكنش نشان دادن نسبت به رفتار هاي ديگران ، انجام فعاليت هاي گروهي ، و پرورش خلاقيت و نوآوري كودك در كنار ساير كودكان. 

9.ژانرهاي موسيقي: آشنايي با ژانرهاي مختلف در موسيقي ، و هم چنين آشنايي با موسيقي ساير ملل و سازهاي بومي هر منطقه ، تنظيم موسيقي بر روي داستان ها توسط سازها و اصوات گوناگون.

10.برنامهء تفريحي و گردش: بازديد از اُرگ كليسا ، بازديد و آشنايي با سازندگان سازهاي زهي ، سازهاي بادي برنجي ، پيانو ، و هم چنين بازديد از فروشگاه هاي موسيقي و استوديو هاي ضبط.

شيوه هاي سازمان يافته براي آموزش موسيقي از سنين پايين :

امروزه سازمان هاي بين المللي متعددي وجود دارند كه به ترويج شيوه هاي خاص در تعليم موسيقي به كودكان مي پردازند. از شناخته شده ترين نهادها و مؤسسات فعال در حوزهء موسيقي كودك مي توان به موارد ذيل اشاره كرد:

 The Suzuki Method , Musikgarten , Music-in-the-Box , Music Together , KinderMusik 

سيستم آموزشي KinderMusik شامل يك دوره كلاس هاي “موسيقي و حركات موزون”  است كه در آن كودك از بدو تولد تا 7 سالگي ، تحت آموزش قرار مي گيرد.

 مؤسسه ء Music Together نيز كلاس هايي براي “موسيقي و حركات موزون” در برنامهء آموزشي خود دارد.

 هم چنين Musikgarten يك برنامهء جامع و مدوّن ، براي رشد موسيقايي كودك از بدو تولد تا 9 سالگي ارائه مي دهد.

Music-in-the-Box  جهت پيشرفت زبان و روخواني كودك ، از موسيقي _ كه شامل كار با كتب مصوّر ، و كلاس هاي موسيقي و حركات موزون _ كمك مي گيرد.

اما برنامه ء The Suzuki Method بطور محسوسي با ساير روش ها فرق مي كند. The Suzuki Method بر يادگيري يك ساز ويژه (مانند ويولون) تمركز دارد و بدين وسيله به پرورش استعداد هاي موسيقايي كودك مي پردازد. اين روش متمركز بر كودك و وابسته به مثلث والدين/معلم/كودك ، به منظور ايجاد درك درونيِ زود هنگام موسيقي است. آن ها در ابتدا با روش گوشي شروع كرده و سپس با روخواني از روي نت ، تكنيك نوازندگي را در كودك ارتقاء مي دهند.

منبع : http://en.wikipedia.org/

+ نوشته شده در  سه شنبه بیست و یکم اردیبهشت ۱۳۸۹ساعت 14:26  توسط Kimia Moazzen  |  2 نظر 

اُرفِ ایرانی؟ (نگاهی به کتاب «از ارف تا چهارگاه» به قلم مهدی آذرسینا) __ قسمت اول 

کتابی برای آموزش موسیقی به کودکان پیش رو است. از نامش بر می‌آید که حاصل مسیری و رهاورد سفری باشد از روش «کارل ارف» تا دنیای موسیقی ایرانی. سفری که گویا برای مسافرش سی سال به درازا کشیده است. هر جلد از این مجموعه‌ی دو جلدی با نوشته‌ی «رضا مهدوی» (که در هر دو تکرار شده) آغاز می‌شود؛ در آن می‌خوانیم «[موسیقی کودک] با توجه به رشد فزاینده‌ی جمعیت در ایران، به زودی به یکی از مهم‌ترین شاخه‌های درخت تناور موسیقی این کشور تبدیل خواهد شد.» جدا از اینکه بپرسیم آیا درخت موسیقی ما اکنون تناور است؟ باید گفت: موسیقی کودک دست‌کم تا آنجا که به آموزش مربوط است و در کمیت، هم اکنون اگر نه مهم‌ترین، یکی از مهم‌ترین شاخه‌ها در درخت تناور اقتصاد آموزشگاه‌های خصوصی و کودکستان‌های ایران است.

متن کتاب از همین ابتدا تا پایان جلد دوم، میان کارکردهای دوگانه پیچ و تاب می‌خورد. رضا مهدوی در نوشته‌ی آغازینش چاپ آن را «…به قصد مطرح شدن مطالب آن در بین متخصصان فن و افراد با تجربه در این رشته…» دانسته است.

اما نگاه به طراحی تصویری کتاب و گاه تمرین‌های نوشته شده در متن (که حتماً باید آنها را بچه‌ها پر کنند) این امر را به ذهن می‌آورد که کتاب یک کتاب آموزشی برای بچه‌ها هم هست. خود نویسنده نیز در متن هر دو کارکرد را با هم در نظر داشته و جا‌به‌جا میان یک متن روش تدریس و بیانیه‌ی نوعی روش آموزشی (یا برداشت شخصی از روشی قبلاً تثبیت شده) برای آموزگاران و یک کتابچه‌ی آموزشی که برای بچه‌ها نوشته شده نوسان می‌کند.

شاید نبود امکان چاپ یک کتاب برای بچه‌ها و یکی هم برای آموزگاران باعث این کارکردهای گونه‌گون شده است. به نظر می‌رسد که این امر در بعضی موارد باعث شده که نویسنده نتواند توضیحات کامل و جامعی برای آموزگاران بنگارد.

پس از این مقدمه دو نوشته از «مهدی آذرسینا» (مولف کتاب) آمده: «آموزش موسیقی برای چیست؟» و «ملودی‌های ناب موسیقی ایرانی». این دو نوشته خطوط کلی تفکر هنری و آموزشی او را نشان داده و بیان می‌دارد که دغدغه‌ی مولف چیست و چه عواملی منجر به آفرینش چنین اثری شده است. ترکیبی از این دو متن کوتاه می‌توانست تبدیل به مقاله‌ای شود که جایش در پرونده‌ی موسیقی کودک است.

درست همان دغدغه‌ها و مشکلاتی که از چندی پیش در آنجا مطرح می‌شود در متنی جدا و از راهی جدا راه یافته است و این بار به قلم یکی از کسانی که تجربه‌ای دراز در آموزش موسیقی به کودکان دارد. او می‌گوید: «[آموزش دست و پا شکسته‌ی روش اروپایی ارف] ممکن است کودکان را به حدی با موسیقی جدی و موسیقی اصیل خودشان بیگانه کند که نتوان به سادگی تاثیر آن را از بین برد.» این یکی از همان نگرانی‌هایی است که ما را هم به نوشتن آن مجموعه مقالات واداشت.

روش کار برای ایجاد این خوانش جدید یا ایرانی شده از روش «کارل ارف» در گفته‌های «مهدی آذرسینا» (البته در ابتدای جلد دوم) به این صورت آمده است: «با استفاده از متد ارف و تمام تاثیرهای آموزشی آن در حد زیادی استفاده می‌کنیم و ارکان اصلی را بر مبنای اصول ارف قرار می‌دهیم. با استفاده از متد ارف، سادگی و روانی ملودی‌ها را با ظرفیت و فراگیری و فهم کودکان تنظیم می‌کنیم و برای شروع از همان فواصل و ترکیب‌هایی که ارف به کار برده است بهره می‌گیریم، ولی در فرصت مناسب، از ملودی‌های ناب و ایرانی استفاده می‌کنیم؛ البته حساب شده و مدون و به دست موسیقی‌دان صاحب صلاحیت.» این جملات که خط مشی این روش آموزشی را مشخص می‌کند کمی دیر و از نیمه‌ی راه به خواننده گفته می‌شود (شاید هم فرض بر این بوده که خوانندگان حتماً هر دو جلد را در اختیار دارند.)

کلاس با معرفی بچه‌ها آغاز می‌شود. این معرفی موسیقایی که از دیدگاه ملودی بر بنیاد فاصله‌ی سوم قرار دارد، تاکیدش را بر وزن نام بچه‌های کلاس گذاشته است. البته این برای بیشتر مربیان موسیقی کودک (به‌خصوص آنها که در کودکستان‌ها کار می‌کنند و معمولاً دانش موسیقایی کمتری دارند) دشوار است که در هر لحظه بتوانند بر اساس تعداد هجاهای موجود در نام هریک از بچه‌ها، یکی از الگوهای پیشنهاد شده را برگزینند.

به جز یک مورد که در این بخش از فاصله‌ی دوم به دلیل طولانی بودن نام علی‌رضا (و نیاز به طولانی کردن الگوی اجرایی) استفاده شده، بقیه‌ی نام‌ها بر ترکیبی از یک فاصله‌ی سوم خوانده می‌شود. هر چند آذرسینا در جایی از کتاب گفته که این فاصله در طبیعت هم (آواز پرندگان و …) موجود است و کودکان آن را به راحتی می‌خوانند اما مشخص نیست که اگر هدف، آموزش موسیقی ایرانی به کودکان بوده چرا از همان ابتدا با فاصله‌ی دوم که در موسیقی ایرانی بیشتر دیده می‌شود شروع نشده؟ آیا مشکل توان اجرایی سازها بوده یا مبتنی بر یک آزمایش و تجربه با کودکان است؟

اگر مورد اول باعث این انتخاب شده باید گفت که گاه آن آمد که شجاعت به خرج دهیم و آنچه را لازم داریم با دستان خودمان بسازیم. اگر این سازها برای روشمان کافی نیست باید یافت یا ساخت. اما دلیل دوم تفاوت می‌کند؛ در هر صورت بهتر بود دلایل برای اهل فن روشن می‌شد تا آنان هم بتوانند دست به آزمایش بزنند.

منبع : مجله فرهنگ و آهنگ شماره‌ی 26

+ نوشته شده در  دوشنبه ششم اردیبهشت ۱۳۸۹ساعت 13:58  توسط Kimia Moazzen  |  7 نظر 

چهره هاي موسيقي كودك _ سودابه سالم

 نزدیك به 30 سال است كه موسیقی كودكان به شكل دیگری آموزش داده می‌شود.

 تا پیش از این هر نوازنده، فرزندش را به عنوان جانشین خود، آموزش می‌داد؛ آموزشی كه به شكل شفاهی بود و تنها یك‌سری تمرین قطعات خشك برای تقویت دست و مهارت یافتن در نواختن نغمه‌ها و آهنگ‌ها، محدود می‌شد.

 با گسترش كلاس‌های آموزش موسیقی نیز همان شیوه‌های قدیمی ‌كه برای تدریس به بزرگسالان كاربرد داشت برای كودكان هم به‌كار گرفته شد.اما چندی است كه موسیقی كودك به عنوان یك علم، جهت رشد خلاقیت كودكان، مطرح می‌شود؛ علمی‌ كه هنر هم هست.

 علم یا هنری كه روان‌شناسان معتقدند، می‌تواند در یادگیری سایر علوم نیز به كودكان كمك كند؛ به شرط آن‌كه كارشناسان و صاحب‌نظران موسیقی بتوانند از این علم به‌درستی استفاده كنند. در این صورت موسیقی می‌تواند حتی در درمان بیماران، تربیت كودكان استثنایی، بالا بردن توانایی‌ها و هوش كودكان مؤثر واقع شود.یكی از كسانی كه سال‌هاست سعی دارد از موسیقی كودك برای رسیدن به اهداف دیگری غیر از نواختن صرف یك ساز استفاده كند؛ سودابه سالم است.

سودابه سالم اول بهمن ماه 1333 در تهران متولد شد.وي فارغ‌التحصيل هنرستان ملي و دانشكده هنرهاي زيباي دانشگاه تهران در رشته موسيقي است و با همكلاسي خود پشنگ كامكار یکی از سنتور نوازان صاحب سبک معاصر ازدواج کرده است. سودابه سالم در حال حاضر شاخص ترین چهره فعال در موسیقی کودک به شمار می رود که بنای آموزش موسیقی به کودکان ایران زمین را نه الگوهای غربی، بلکه استفاده از عناصر موسیقی بومی گذاشته است.

او بر خلاف مربیان امروز كه بر آموزش موسیقی با تكیه بر نت تاكید دارند ،  سعی می‌كند ابتدا گوش كودك را برای شنیدن موسیقی آماده كند و پس از آن به آموزش بپردازد. اهمیت این نوع آموزش موسیقی به كودكان برای سودابه سالم تا حدی است كه ‌هر از گاهی نوازندگانی را جهت مربی‌گری موسیقی به كودكان آموزش می‌دهد.

او در سال هاي 1370 و 1373 در سمينار جهاني آموزش موسيقي شركت داشته و دوره هايي را نيز در زمينه موسيقي درماني ، خلاقيت و آموزش موسيقي در اتريش گذرانده است. وي كارش را در ايران با كانون پرورش فكري كودكان و نوجوانان آغاز كرد و سپس دامنه تدريسش گسترده تر شد.

وي تا كنون مقالات بسياري را در مورد موسيقي كودك و نقش زنان در آموزش موسيقيايي فرهنگ به كودكان در مطبوعات مختلف مربوط به هنر موسيقي به ويژه در مجله مقام موسيقايي نوشته است. او ضمن همكاري با كانون پرورش فكري كودكان و نوجوانان و فرهنگسراي بهمن ، آموزش موسيقي درماني را نيز انجام مي دهد و در مراكز درماني كودكان استثنايي فعاليت دارد.

از آخرين فعاليت هاي اجرايي اين مدرس و آموزش دهنده پر تلاش ، مي توان به اجراي كنسرت موسيقي توسط بچه هاي بم در تالار وحدت (سال 83) كه بسيار مورد توجه اهالي بم و دست اندر كاران هنر موسيقي قرار گرفت ، و هم چنين اجراي كنسرت كودكان ايران زمين با حضور 100 كودك در سالن آمفي تئاتر مجموعه برج آزادي (سال 87) و كنسرت كمانچه و دف در آموزشگاه ودا (سال 88) اشاره كرد.

از جمله آثار وي ، مي توان به موارد زير اشاره نمود:

نوار و سي دي :

1.سفر به ايران به روايت رستم

2.طوطي و بازرگان

3.ترانه های زمين

4.بازیهای آوازی

5.ترانه های من وما

6.چشم چشم دو ابرو

مقالات :

1.مقدمه ای بر موسیقی کودک

2. آموزش موسيقي و توانايي تصويرسازي ذهني

3. اثر آموزش موسیقی بر تواناییهای هوشی خردسالان

4. موسیقی در شعر کودک

5. موسیقی هوش شما را بیشتر میکند

كتاب ها :

1.بخوان با من، بساز با من (1)

2. بخوان با من بساز با من (2)

3.آموزش موسیقی در مدارس دوره ی ابتدایی


منابع : همشهري آنلاين
سايت آموزشگاه ودا
پايگاه رسمي انتشارات سوره مهرمنابع : همشهري آنلاين
سايت آموزشگاه ودا
پايگاه رسمي انتشارات سوره مهر

منابع : همشهري آنلاين ، وب سايت آموزشگاه ودا ، پايگاه رسمي انتشارات سوره مهر

+ نوشته شده در  سه شنبه سی و یکم فروردین ۱۳۸۹ساعت 13:15  توسط Kimia Moazzen  |  نظر بدهید 

شاملو و ادبيات كودك __ خروس زري ، پيرهن پري

در دورهء معاصر ، سيماي كودك در ادبيات رسمي ايران همواره از سيمايي محو و ناپيدا برخوردار بوده است.در آن سال ها اگر سخني از كودكان است ، سخني ست نه آشكار و نه روشن ؛ بلكه در قالب هايي كوتاه و بلند و همواره بي خريدار. در آثار گذشتگان كم تر خطاب روشن و مستقيمي به كودك ، اين كوچكترين فرد خانواده به چشم مي خورد.

در اين ميان احمد شاملو ، يكي از معدود چهره هاي شاخص و تأثير گذار در اين زمينه بوده است كه چه در زمينهء ترجمه (شازده كوچولو ، اثر آنتوان دو سنت اگزوپري) و چه در زمينهء توليد (خروس زري پيرهن پري ، پريا و قصهء دختراي ننه دريا ، و قصهء مردي كه لب نداشت) حرف هاي تازه اي براي گفتن داشت. 

شاملو در سال 1355 برنامه‌ ای رادیویی برای كودكان و نوجوانان تهیه كرد. او در این برنامه، کودکان را به‌ نوشتن و سرودن شعر تشویق كرد و مسابقه‌ای برای انتخاب استعدادهای بهتر ترتیب داد. ضبط صفحه و نوار كاست صدای شاعر ، به كوشش «كانون پرورش فكری كودكان و نوجوانان‌» از تلاش‌های ‌دیگر احمد ‌شاملو برای علاقه‌مند كردن كودكان به ادبیات بود.

همان طور كه اشاره شد يكي از آثار شاملو در اين زمينه ، داستان “خروس زري ، پيرهن پري” است. اين اثر كه در سال 1338 تهيه شده است ، روايت خروسي است كه به دفعات از روباهي گول مي خورد و دوستانش (گربه و طرقه) هر بار به شكلي خروس را نجات مي دهند. اما خروس زري ساده لوح با تكرار اشتباهات ، خود و دوستانش را به دردسر مي اندازد.

 دانلود : خروس زری پیرهن پری اثر احمد شاملو

راوي: مريم معترف
بازيگران: فريدون اسماعيلي، منوچهر آذري، نازي كريم بيك و …
آهنگساز: بابك بيات

+ نوشته شده در  پنجشنبه بیست و ششم فروردین ۱۳۸۹ساعت 11:54  توسط Kimia Moazzen  |  نظر بدهید 

موسيقي كودك __ قسمت دوم

ترجمه : كيميا مؤذن


رشد موسيقي كودك در قرن بيستم :

اواسط قرن بيستم ، با تولد كودكان نسل بعد از جنگ(جنگ جهاني دوم)، يك بازار رو به رشد براي موسيقي كودك _ بصورت حوزه اي مستقل _ فراهم شد. Woodie Guthrie ، پيت سيگر Pete Seeger و الا جنكينز Ella Jenkins در ميان كادري مترقي از نظر سياسي و مجرياني آگاه از لحاظ اجتماعي قرار گرفته بودند كه براي اين گروه آلبوم هايي ساختند. در اين زمان صفحات (گرامافون) نوظهوري مانند “رودولف ، گوزن بيني قرمز” و آثار گروه افسانه اي “سنجاب ها Chipmunks ” ، جزء پرفروش ترين پروژه هاي موسيقي محسوب مي شدند. (آهنگ Chipmunks در سال 1958 ، به عنوان محبوب ترين كار شناخته شد.)

در دههئ 1960 ، هنگامي كه نسل پس از جنگ دوران كودكي را پشت سر گذاشته و از درك و شعور سياسي برخوردار گشتند ، نسبت به ارزش و محتواي موسيقي قومي و ملي ، وقوف بيش تري پيدا كردند. گروه “پيتر ، پل ، و مري” و گروه لايم ليترز Limeliters و تام پكستن Tom Paxton ، به عنوان هنرمنداني قومي كه براي كودكان موسيقي مي ساختند ، به شهرت رسيدند . در سال 1969 گروه كودك تلويزيون امريكا ، يك برنامه ء آموزشي با عنوان “Sesame Street” ساخت كه موسيقي اين برنامه (بيش تر آهنگ هاي آن توسط دو آهنگساز معروف Joe Raposo و جف ماس Jeff Moss خلق شد.) بر جريان موسيقي كودك در آن زمان تأثير عميقي گذاشت. (اجراي اين برنامه ء تلويزيوني ، برندهء يازده جايزهء گرمي شد.)

در دههء 1970 از زماني كه برنامه هاي موزيكالي مانند “مدرسه راك” و “The Original Letter People ” در شبكه هاي تلويزيوني امريكا به نمايش درآمد ، موسيقي كودك جايگاه ويژه اي را در ميان مخاطبان كسب كرد. در اين زمان تلاش ويژه اي براي ساخت موسيقي هاي با ارزشي كه بتواند دانش آموزان را در ياد گيري بهتر دروس خاص مانند رياضي ، تاريخ و زبان انگليسي كمك كند ، انجام گرفت. يكي از برنامه هاي پر مخاطب در آن دوره ، سريال امريكايي “محلهء آقاي راجرز” است ، كه از موسيقي خوش ساختي برخوردار بود. ظهور رافي كاووكيان Raffi Cavoukian (آهنگساز و خوانندهء معروف ارمني-كانادايي) در اواخر دهه 1970 ، مصادف با پيشرفت موسيقي كودك و طرح آن به صورت يك ژانر مستقل در صنعت موسيقي شد.

در اوايل دهه 1990 ، بابي ساسر Bobby Susser تهيه كننده موسيقي و ترانه سرا ، با سرودن ترانه هاي كودكانه _ كه براي يادگيري كودك آسان بودند _ و توليد مجموعهء “ترانه هاي بابي ساسر براي كودكان” كه در آن استفاده از موسيقي كودك جهت آموزش بچه هاي خردسال در مدارس و خانه نشان داده شده بود ، خود را به گونه اي جدي در اين عرصه مطرح كرد. گروه دوئت گرگ و استيو “Greg & Steve” بر واكنش مثبت كودكان نسبت به موسيقي ، متمركز شدند.

در اين دوره والت ديزني با فيلم هاي انيميشن-موزيكال ، دوباره خود را در بازار موسيقي مطرح كرد.اين كمپاني با انيميشن “پري دريايي” (1989) كه براي ترانهء “زير دريا” جايزهء اسكار بهترين ترانه را دريافت نمود، مجدداً شروع به كار كرد. اين موفقيت با انيميشن هاي ديگري مانند : “ديو و دلبر” (1991) ، “علاءالدين” (1992) ، “شير شاه” (1994) _ كه موسيقي آن توسط التون جان و تيم رايس ساخته شده بود _ و “پوكانتس” (1995) ، كه همگي جايزهء بهترين ترانه را كسب كردند ، ادامه يافت.

تاريخچه اخير :

موسيقي هم چنان به عنوان يكي از قطب هاي مهم در صنعت موسيقي تجاري امريكا محسوب مي شود.در اوايا سال 2006 ، موسيقي متن فيلم “دبيرستان موزيكال” ، و موسيقي متن انيميشن “جرج كنجكاو” و آلبوم شمارهء 9 مجموعهء “Kidz Bop” در صدر جدول فروش آلبوم هاي موسيقي در امريكا قرار گرفتند ، كه همگي به حوزهء موسيقي كودك اختصاص داشتند. اغلب آلبوم هاي موسيقي كه با هدف كودك ساخته مي شوند مربوط به موسيقي متن فيلم هاي انيميشني و يا تيزرهاي تبليغاتي مي باشند. (براي مثال: كارهاي گروه Wiggles و يا مجموعهء انيميشني “قصه هاي سبزيجات” )

قرن بيست و يكم هم چنين با روندي رو به رشد در تعداد فعالان حوزهء موسيقي كودك روبرو بوده است؛گروه هايي مانند :The Dirty Sock Funtime Band،  Dan Zane ، Parachute Express    ،       Cathy Bollinger و  Laurie Berkner با برنامه هاي گسترده ويژه كودكان ، بسياري از كانال هاي تلويزيوني كودك را مورد هدف قرار داده اند.در اين ميان گروه “Trout Fishing in America” با دنبال كردن سنت تلفيق موسيقي Folk (محلي) با شعرهاي ساده و غير جدي، توفيق چشمگيري بدست آورده است.هم چنين اخيراً گروه هاي راك شرقي مانند “They Might Be Giant” ، آلبوم هايي را منتشر كرده اند كه به طور ويژه براي كودك ساخته شده اند ؛ آلبوم هايي مانند : “NO!” و “Here Come The ABC’s” . جيمي بافت Jimmy Buffett خواننده و ترانه سراي امريكايي ، با حذف برخي قسمت هاي ترانهء “چيز برگر در بهشت” ، آن را به ترانه اي مخصوص كودكان تبديل كرده و بازسازي نمود. ترانه هاي او داراي ساختاري ساده و غير پيچيده ، همراه با اشعاري كودكانه است.

يكي ديگر از فعاليت هايي كه در اين اواخر انجام گرفته ، تنظيم نسخه هاي ويرايش شدهء ترانه هاي “Earthy Songs” ، مانند ترانهء Big Rock Candy Mountain براي مخاطب نوجوان است.نسخهء 2008 Big Rock Candy Mountain توسط Gil Mc.Lachlan ، داستان را در قالب رؤياي يك كودك روايت مي كند.آخرين بند شعر اين ترانه چنين است :

In the Big Rock Candy Mountains you ‘re going on a holiday

Your birhday comes once a week and it’s Christmas every day

You never have to clean your room or put your toys away

There’s a little white horse you can ride of course

You can jump so high you can touch the sky

In the Big Rock Candy Mountains.

در فوريه سال 2009 ، مجموعه كارهاي موسيقي كودك “Bobby Susser” ، از مرز فروش 5 ميليون نسخه نيز گذشت. اين شاهد بر رشد چشمگير و روز افزون ژانر كودك در صنعت موسيقي مي باشد.
+ نوشته شده در  یکشنبه بیست و دوم فروردین ۱۳۸۹ساعت 11:16  توسط Kimia Moazzen  |  نظر بدهید 

آلبوم پریا قصه دخترای ننه دریا – احمد شاملو

شاملو در این اثر به باز خوانی ادبیات عامیانه می پردازد،بازخوانی ای که حرف و اندیشه ی شاعر در دل اثر اصلی نفوذ کرده است و در حقیقت یک ” نو افسانه” آفریده است .او بیشتر سعی در پایبندی به قصّه دارد و مفهوم ، به عنوان ِیک امر ِ کلّی و به واسطه‌ی شخصیّت‌ها حضور می‌یابد؛ نه به عنوان ِ منطق ِ درون‌متنی ِ آن. در کل خیلی از هواداران شاملو از این شعر به عنوان اولین شعری که باعث شد به دنیای شاملو علاقه مند شوند ، یاد می کنند.

این کتاب در سال 1357 با هنرمندی ضياءالدين جاويد تصویر گری و توسط نشر کتاب های طلایی ( وابسته به انتشارات امیر کبیر) منتشر شد.شعرخواني دو شعر بلند قصهء دختراي ننه دريا و پريا ، با صداي احمد شاملو و آهنگسازي حسين عليزاده بر روي يك سي دي توسط انتشارات ماهور منتشر شده است.

پريا

يكي بود يكي نبود
زيرِ گنبدِ كبود
لُخت و عور تنگِ غروب سه تا پري نشسّه بود.

زار و زار گريه مي كردن پريا
مثِ ابرايِ باهار گريه مي كردن پريا.

گيسِ شون قدِ كمون رنگِ شبق
از كمون ُبلَن تَرَك
از شبق مشكي تَرَك.
روبروشون تو افق شهرِ غلاماي اسير
پشت شون سرد و سيا قلعه افسانه ي پير.

از افق جيرينگ جيرينگ صداي زنجير مي اومد
از عقب از توي برج ناله ي شبگير مي اومد…

« ـ پريا! گشنه تونه؟
پريا! تشنه تونه؟
پريا! خسته شدين؟
مرغ پر بسّه شدين؟
چيه اين هاي هاي تون
گريه تون واي واي تون؟»

پريا هيچ چي نگفتن، زار و زار گريه ميكردن پريا
مث ابراي باهار گريه مي كردن پريا

لينك دانلود : پريا، قصه ی دخترای ننه دریا 

+ نوشته شده در  شنبه چهاردهم فروردین ۱۳۸۹ساعت 12:39  توسط Kimia Moazzen  |  2 نظر 

موسيقي كودك__ قسمت اول

ترجمه : کیمیا مؤذن


مقدمه

موسيقي كودك ، به موسيقي اطلاق مي شود كه آهنگسازي و اجراي آن توسط افراد بزرگسال ، براي كودكان انجام گرفته باشد.در متون معتبر اروپايي مقصود از موسيقي كودك، معمولاً آهنگ هايي ست كه به طور ويژه براي مخاطب نوجوان نوشته شده و آهنگسازان اين قطعات ، از ميان بزرگسالان مي باشند. اگر به تاريخچه موسيقي كودك نگاهي بيندازيم ، مشاهده مي كنيم كه از هر دو جنبه ء آموزشي و سرگرمي به اين مقوله پرداخته شده است. موسيقي ، اغلب به عنوان وسيله اي جالب و مفرح جهت آشنايي كودك با فرهنگ كشور خود و ساير ملل دنيا ، آموزش اخلاق نيك و پسنديده ، و پرورش استعدادها و مهارت هاي نهفته در او به كار مي رود.بسياري از ترانه هاي كودكان ، مربوط به ترانه ها و ملودي هاي قومي آن ملت مي باشد. ولي در سال هاي اخير ، ژانر ويژه اي در حوزه ء موسيقي آموزشي بوجود آمده كه از محبوبيتي فراگير برخوردار شده است .

تاریخچه

اولین موسیقی منتشر شده : 

رشد صنعت موسیقی در ارتباط  با Tin Pan Alley در اواخر قرن 19 و اوایل قرن 20 منجر به خلق مجموعه ای از آثار موسیقی با هدف کودک شد. این آثار شامل : ” ده انگشت کوچک دست و ده انگشت کوچک پا ” ساختهء ایرا شوستر Ira Shuster و ادوارد جی.نلسون Edward G.Nelson ، و ” روزهای مدرسه ” (1907) ساختهء گاس ادواردز Gus Edwards و ویل کوب Will Cobb می باشد.شاید به یادماندنی ترین این کارها ، “گردش تدی بیرز” با آهنگسازی جیمی براتون Jimmy Bratton انگلیسی (1907) و با شعر جیمی کندی Jimmy Kennedy می باشد.

اولین آثار ضبط شده در موسیقی کودک :
تا زمانی که موسیقی کودک، صرفاً نقشی واسطه را در موسیقی ایفا می کرد ، مقولهء ضبط و نشر آن همواره به سایر بخش ها در موسیقی گره خورده بود. “مری یک برهء کوچک داشت” اولین کاماتی بودند که توسط توماس ادیسون Thomas Alva Edison در سال 1877 ضبط شد. در 1888 اولین دسک های ضبط شده با نام “صفحه” برای فروش عرضه شدند. یکی از این کارها “ترانه های غاز مادر” بود. اولین فهرست کارهای ضبط شده توسط بسیاری از ناشران شاخص در صنعت ضبط موسیقی _ مانند : ادیسون Edison ، برلینر Berliner و ویکتور Victor
 _ همگی شامل
 بخش هایی ویژه و مستقل برای موسیقی کودک بودند.
در دهه های 1930 ، 1940 و 1950 کمپانی های ضبط موسیقی ، به نشر آثار ویژهء کودک ادامه دادند. در میان این ناشران، کمپانی های : والت دیزنی Walt Disney ، آر سی ای ویکتور RCA Victor ، دکا رکوردز Decca Records ، کپیتول رکوردز Capitol Records ، برادران وارنر Warner Brothers و کلمبیا رکوردز Columbia Records آثاری را منتشر کردند که بر پایهء کارتون های محبوب و یا ترانه های Nursery Rhymes2 ساخته شده بود.

اغلب این آلبوم ها دارای بروشوری بود که بچه ها می توانستند توسط آن ، ترانه را با خواننده همراهی کنند. بسیاری از چهره های شاخص در تئاتر ، رادیو و انیمیشن _ مانند : بینگ کراسبی Bing Crosby ، هارولد پیری Harold Peary (گیلدر اسلیو بزرگ) ، ارسان ولس Orsan Welles ، دان دولیتل Don Doolitle ، ژانت مک دونالد Jaenette Mc.Donald ، روی راجرز Roy Rogers ، فانی برایس Fanny Brice ، بیل بوید Bill Boyd ، اینگرید برگمن Ingrid Bergman  و فردریک مارچ Fredric March _ در ساخت این آثار حضور داشتند.

نقش مؤثر دیزنی بعد از دههء 1930 در سینمای کودک ، نشان از کسب جایگاهی ویژه نیز در تولید موسیقی کودک داشت. اولین ترانهء محبوب دیزنی ، “Minnie’s Yoo Hoo ” قطعه-آهنگ اصلی موسیقی کارتون میکی ماوس بود (1930). بعد از ساخت اولین فیلم بلند انیمیشن (توسط دیزنی) ، یعنی “سفید برفی و هفت کوتوله” (1937) با موسیقی موفق فرانک چرچیل و لری موری _ که شامل آهنگ های “سوت بزن در حالیکه کار می کنی” ، “روزی شاهزادهء من از راه خواهد رسید” و “آه!” می شد _ قالبی برای ترکیب انیمیشن قصه های جن و پری و ترانه های ویژهء آن ، مشخص شد که در فیلم هایی مانند “پینوکیو” (1940) و “آواز جنوب (1946) _ تا دههء 1970 _ از آن ها استفاده گردید.

منبع http://en.wikipedia.org


توضیحات مترجم :

1.یکی از ناشران بزرگ موسیقی در نیویورک  که در اواخر قرن نوزدهم و اوایل قرن بیستم ، قدرت را در بخش موسیقی مردمی در دست گرفت.

2.Nursery Rhymes ، ترانه های سنتی و ویژه کودکان که به زبان انگلیسی سروده شده است.

+ نوشته شده در  چهارشنبه چهارم فروردین ۱۳۸۹ساعت 11:40  توسط Kimia Moazzen  |  نظر بدهید 

. مرگ در آستانه نوروز؛ به‌یاد ثمین باغچه‌بان

ثمین باغچه بان آهنگساز پیشرو ایرانی که همیشه آرزو داشت هر روز نوروز و هر چهارشنبه، چهارشنبه سوری باشد، درست در روز چهارشنبه سوری دو سال پیش (۱۳۸۶) در غربت جانکاه خود در استانبول درگذشت و در نخستین روز نوروز به خاک سپرده شد.  

ما در پائیز همان سال به دیدار او رفته بودیم تا گپ و گفت و گوئی با او داشته باشیم. آن چه می‌خوانید حاصل این گفت و گو و یکی دو گفت و گوی پیش از آن است.

ثمین با غچه بان در سال ۱۳۰۴ خورشیدی در تبریز زاده شد. پدرش جبار باغچه بان، در خانه خود کودکستانی به نام ” باغچه اطفال” بنیاد کرده بود که در آن از بام تا شام سرود خوانده می‌شد. ثمین در همین باغچه و در میانه شعر و سرود چشم به جهان گشود و در کنار کودکان دیگر از روش‌های پرورشی پدر بهره می‌برد.

 

ثمین هنوز خردسال بود که همراه خانواده و به سبب ماموریت پدر رهسپار شیراز شد و در آن جا نیز همه لحظات زندگی‌اش در کودکستان خانگی پدر گذشت. در سال ۱۳۱۱ خانواده باغچه بان بازناگزیر از تغییر محل اقامت شد. این بار نوبت تهران بود که پدر در آن نخستین مدرسه آموزش کر و لال‌ها را به وجود آورد. زندگی پدر سرشار از فقرو فاقه بود. میان مشغله‌های گونه‌گون از شاگرد قنادی گرفته تا آموزگاری، آموزش و پرورش کودکان، به ویژه کودکان کر و لال، بیشترین توان و زمان او را مصروف خود می‌داشت.

 

ثمین به گفته خودش موش آزمایشگاه پدر شده بود. پدر گوش‌هایش را با موم پر می‌کرد و او را وامی‌داشت بدون استفاده از حس شنوائی حرف‌های اورا دریابد. آزمایش‌های پدر به نتیجه رسید و برای نخستین بار در ایران سمعکی را به نام “تلفن گنگ” اختراع کرد و آن را به نام خود به ثبت رسانید.

 

ثمین بدینگونه در فضای آموزش و پرورش کلاس پدر از”ارتباط طبیعی صوت و کلام” آگاهی پیدا کرد و دریافت که هر واژه بار صوتی و احساس موزیکال خود را دارد و این دو را می‌توان جای یکدیگر نشانید. آزمایش‌های پدر از یک سو و آشنایی مادر با موسیقی و تارنوازی از سوی دیگر تاثیری ترکیبی در ثمین بر جای نهاد که راه آینده او را روشن ساخت. ثمین در “باغچه اطفال” خواننده سرودهایی بود که از پیوند شعر پدر و آهنگ مادر پدید می‌آمد.

 

شانس بزرگ

 

ثمین در سال ۱۳۱۷ در هنرستان عالی موسیقی نام نوشت. البته کارها آنگونه که دلشمی‌خواست پیش نرفت. آرزو داشت پیانونواز شود ولی شرط محال نخستین آن بود که پیانویی در خانه داشته باشد.

 

این با زندگی فقیرانه خانواده باغچه بان سازگار نبود. ناگزیر ولی باز هم با شور و شوق ویولن را انتخاب کرد، با این فکر که از ویولنی که مادرش در خانه داشت استفاده کند. ولی شرط غیر عملی دیگر آن بود که جنس ویولن باید ممتاز باشدویولن مادر چنین نبود.

 

ثمین به ناگزیر و بر خلاف میل درون به سازهای بادی روی آورد که آن‌ها را می‌شد از هنرستان بهوام گرفت. در قرعه فال ثمین نام دو ساز ” کر” و ” ابوا” آمده بود. بی رغبتی به سازهای بادی تحمیلی در نهایت به سود ثمین تمام شد. زیرا او را به سوی آهنگسازی سوق داد و در کلاس آرمونی نو بنیاد “پرویز محمود” که تازه از بروکسل بازگشته بود نام نوشت. سازهای بادی نیز به کناری نهاده شد. زیرا به سبب درگیری جنگ دوم جهانی، هنر آموزان خارجی این سازها به کشورهای خود بازگشتند و بیشتر کلاس‌های هنرستان تعطیل شد.

 

ثمین در جمع یکی دو سالی توانست در هنرستان درس بخواند و بتواند به قول خودش ” گام دو ماژور” را با ابوا بنوازد و مبانی اولیه آرمونی را هم بیاموزد. ولی در هنگامه دلسردی‌ها شانس دیگری به او روی آورد.

 

او توانست با استفاده از یک بورس تحصیلی به ترکیه برود و در کنسرواتوار آنکارا در رشته آهنگسازی تحصیل کند.

 

ثمین باغچه بان در همان آنکارا با “اولین” دختری از همدوره‌های خود ازدواج کرد و در سال ۱۳۲۹ با ذهن و اندیشه‌ای پرورده به ایران بازگشت. اولین همیشه یار و مددکار ثمین بود.

 

او که در رشته پیانو و آواز درس خوانده بود، پس از بازگشت به ایران کوشید بیشترین توان خود رابرای تفسیر آفریده‌های همسر خود به کار گیرد. ثمین خود همیشه می‌گفت اگر نامی در میان آهنگسازان ایران یافته به همت اولین بوده است.

 

اولین علاوه بر این، سه گروه آواز جمعی بنیاد کرد. گروه کر هنرستان عالی موسیقی، گروه کر تهران و گروه کر فرح پهلوی. او جدا از سرپرستی گروه‌های آواز جمعی به عضویت سازمان اپرای تهران در آمد وبا صدای گرم خود در تالار رودکی در نقش‌های مختلف اپرائی ظاهر شد.

 

و اما ثمین پس از بازگشت به ایران در همان هنرستانی که فرا گیری موسیقی را آغاز کرده بود، به آموزش موسیقی پرداخت. او هفده سال تمام استاد هارمونی در هنرستان بود.

 

آفریده‌ها

 

با گشایش تالار رودکی در سال ۱۳۴۸ ثمین باغچه بان نیز چون تنی چند از آهنگسازان دیگر به استخدام این سازمان در آمد.

 

زال و رودابه” نام نخستین اثر صحنه‌ای اوست که با الهام از شاهنامه فردوسی، برای اجرا در شب گشایش تالار آفریده شده است. بنیاد گروه‌های آواز جمعی از سوی همسر نیز، او را برانگیخت که با کار روی ترانه‌های بومی ایران، قطعاتی برای آواز و گروه بیافریند.

 

در میان قطعات بازمانده از ثمین در وهله نخست می‌توان از ” بومی وار” او یاد کرد. که خودش به آن دلبستگی بسیار داشت و می‌گفت بیست سال منتظر مانده تا دری به تخته‌ای بخورد و آن را با ارکستر سنفونیک تهران اجرا کند. ” درخت سرو” یکی دیگر از کارهای او در زمینه موسیقی بومی است، که برای ارکستر بزرگ، گروه کر آواز جمعی و تکخوان، نوشته شده و بر محور این دو بیتی معروف می‌گردد.

 

درخت سرو بودم، کنج بیشه

تراشیدن مرا با ضرب تیشه

تراشیدن مرا قلیون بسازن

که آتیش بر سرم باشه همیشه

 

فضا سازی‌های درخشان ثمین از وهم بیشه، انتظار و سوزش آتش، درخت سرو را به یکی از زیباترین قطعات موسیقی پیشرو تبدیل کرده است. “شلیل” و “ویرانه” نیز از قطعات بومی تنظیم شده از سوی ثمین است که ارزش‌های ویژه خود را دارد.

 

پرستندگان و سپاهیان” برای گروه آواز جمعی و ارکستر، ” که داند که..” و “من عاشقی‌ام” برای آواز جمعی، تکخوان ارکستر، ” متل” برای آواز جمعی، پیانو و سازهای ضربی و ” شعله سه رنگ” از دیگر آثار به یاد ماندنی او به شمار می‌آید.

 

بشنوید : “نوروز تو راهه ” __ از مجموعه ء رنگین کمون

ثمین قطعات برانگیزاننده‌ای نیز برای کودکان ساخته که تعدادی از آن‌ها را موسسه ماهور، زیر عنوان “رنگین کمون” به بازار فرستاده است. ثمین، رنگین کمون را به پدرش اهدا کرده که “اولین شعرها و سروده‌ها را به او یاد داده و برایش دفترچه نقاشی و مدادهای رنگی خریده… و دستش را گرفته تا بتواند تصویر اولین آهو، کشتی، کلاغ، خورشید و آدم‌ها را بکشد…”

 

اجرای قطعات رنگین کمون را شماری از اعضای ارکستر سنفونیک رادیو وین، به رهبری توماس کریستیان داوید” بر عهده داشته‌اند و متن‌ها را بهجت قصری(سوپرانوو اولین باغچه بان( متسو سوپرانو) خوانده‌اند.

 

زندگی نامه ثمین باغچه بان کامل نخواهد بود اگر از کوشش‌های او در زمینه ادبیات سخن به میان نیاوریم. او از نادر موسیقیدانان ایرانی بود که دستی توانا در نوشتن داشت و گزارش و نقد و قصه می‌نوشت.

 

در سفر ترکیه، به ” ناظم حکمت” شاعر چپ گرای ترک علاقمند شد و در بازگشت به ایران، برخی از آثار او را به فارسی برگرداند. بعدها به ترتیب سراغ “عزیز نسین” و “یاشار کمال” رفت و کارهائی از آن دو را نیز به فارسی در آورد.

 

ثمین خود می‌گفت که نخستین معرف شاعران و نویسندگان برجسته ترک به جامعه فرهنگی ایران بوده است. در جمع دوازده جلد کتاب از ثمین به یادگار مانده که غالب آن‌ها به چاپ‌های بعدی رسیده است. دو سه متن دیگر نیز در دوره مهاجرت به ترکیه( از سال ۱۹۸۴ به بعد) فراهم آورده بود و در جستجوی ناشری امین بود که آن‌ها را به دستش بسپارد و چنین نشد.

 

محمود خوشنام

منبع: بی بی سی

Comments

آموزش موسيقی به کودکان – 2 Children’s Music — 4,275 Comments

  1. To understand the inspiration for this story, you have to read the Blog:
    A Rainy Night In Florida. It’s too short to be
    a story, but lays the groundwork for what follows.
    DrDrk

    I was delighted to hear that that little scene had such an effect on you.

    However, that’s not just a fantasy. If I could
    have gotten you to Maryland, and it rained, we would have been out on the deck.

    The thing that pleases me most is that you find
    the idea exciting.

    There are other places where I had, and maybe still, planed to make
    love to you all over that house. Actually, sometimes
    we would be making love, and sometimes we would just
    be fucking!

    God, I’m really glad that you are one of the people that
    not only knows, but also can appreciate the difference between the two.

    (God, I could really use a little hot fucking right now.)

    Yeah, I’ve been looking at your pictures again.

    There’s not only the deck, but also a screened in patio,
    a full basement, large back yard, well, maybe not the
    yard, but I think you get the idea.

    But, if fantasies turn you on, here’s a dream that I’ve had a couple of times
    in varying scenarios. Haven’t figured out why
    yet.

    A Night At The Club

    We’ve gone out to dinner and afterward we go to a club for a few drinks and some dancing.
    All goes well until it gets near closing time for the club.
    The DJ plays a number of slow songs in a row and as we dance a young man comes up and starts
    to rub against you from behind.
    I push him away and tell him that you’re with me and he should back off.

    A couple of the guys he’s with come up and grab me and pull me away from you.

    They overturn one of the tables next to the dance floor and using belts and table cloths, tie
    me to it.
    The guy that had approached you from the back grabbed you and pulled you to him, swaying to the music.
    As he ground himself against you, one of the other guys came up behind you and he too started to grind against you from behind.

    I don’t know why, but I have this crazy image of a life size ice
    cream sandwich as I watch the three of you on the dance
    floor, your soft pale skin highlighted between their dark muscular bodies under the dim glow of the club lights.

    Then, as the guy grinding against you from the front
    starts to run his hands over your thighs and ass, a
    young woman that had been partying with the guys, came
    over, pushed the guy behind you away and took his place pressed
    up against your rear end.
    She reached around you and started groping your breasts.
    As her fingers pinch and twist your hardening nipples, she kisses and
    licks the side of your neck. All the time, watching to see my reaction.
    I can’t help it, but as I watch the scene playing out before me, I have to admit that even though I would kill them if
    I could get free, I’ve got a raging boner going and there is
    an increasingly large wet spot growing on the front of my pants.

    Before long, the skintight red kimono style dress you were wearing has been undone and is lying crumpled on the floor at your feet.
    The red stiletto heels you wear accent the length of your legs and they
    seem to glow in the dim lights of the club.
    Slowly, the two guys lower you to the ground,
    the one that was behind you has come back and is
    now naked, as the three of you sink to the floor,
    I can see him sinking his large black cock into your ass.

    Unprepared and unaccustomed to such a large cock penetrating your ass hole, you
    start to scream but it is cut off by the lips of the woman as she sticks her tongue down your
    throat as she continues to maul your tits.
    With that big cock about half-way into your ass, the first guy
    climbs between your spread legs and starts to push his
    even bigger cock into your dripping pussy. You look at me with a look I’ve never seen on your face
    before. It’s a look of despair and helplessness,
    but also pure wanton lust and as the woman kisses you again, the first guy rams his cock to the hilt into your pussy.
    The f***e of the thrust drives you down onto the
    cock in your ass and it sinks balls deep.
    You throw your head back in pain and ecstasy. The woman straddles your face and begins to grind her pussy all over your face, covering it in her
    juices.
    I watch in amazement as your tongue snakes
    out and laps at her cunt, flicking over her clit and digging deep into her
    flowing pussy, lapping up all the juice you can get.
    Your hands are running over her ass, slapping the cheeks and
    an occasional finger sinking into her ass hole.
    As she comes into your mouth, the two guys have developed
    a rhythm and are vigorously thrusting in and out of your pussy and ass.

    When she is through cumming, she pushes the
    first guys head up, forcing him to stop sucking on your
    tits and actually mounts your chest, pushing your hard nipple and a good portion of one tit into
    her dripping snatch, fucking it like it was a dick.
    After what seems like an eternity, much moaning and groaning and
    many cuss words I’ve never heard before in my life, it
    seems the two guys are cumming simultaneously, filling your stomach and your ass
    with hot cum.
    All the while, the few customers that were still in the club continued
    to either dance around you, watching and groping their dates, or sat at their tables, drinking and watching.

    After a while, the two guys roll away from you. Leaving you and the woman lying
    on the floor, covered in sweat and cum. Slowly, the woman begins to clean you up with her tongue.
    She spends quit a while between your legs, lapping at your pussy and
    ass. Swallowing as much cum as she can lap up.
    She finally reaches your head and after cleaning the
    sweat and her cunt juices from your face, she gives you a long tongue kiss and smiles at you as she gets to her feet and
    fades into the darkness.
    Slowly you get to your feet, pull on your dress and then come to untie me.
    You run your hand over the front of my pants and
    smile at me as you realize that I too, have cum.

    The tell tale stain spreading over the crotch
    of my pants.

    We make our way out of the club and hail a passing taxi.

    As we head home, the look of love and satisfaction on your face is almost angelic.
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    You will come upon them at every and every networking event,
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    The coaching method is open-finished, meaning that
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    exterior resources often they are in the HR Section. In the exact same way as
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    which for quite a few has no end result other than an attendance certificate.
    No just one fails. The only time job coaching is made available to reduce levels
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    as an unavoidable expense in get to mitigate industrial disruption and work appeals.

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    The coaching course of action at Stage 2 is focussed on small business outcomes and is pushed by the mentor.
    This is why a important range of coaching initiatives in firms have failed, and carry
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    A large amount of firms who they say their supervisors have been qualified
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    – What is the Aim?

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    – What is your Intention?

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    The past variety of question is intended to clearly show inclusivity – i.e.
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    Beginning with the salesperson’s agenda is an abdication of the Income Coach’s job in making certain that
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    Income Coaches should really have some practical experience of income.
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    are.

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