GORDON’S MUSIC LEARNING THEORY 1

General Music Methods 1

73.420.201

普通音乐方法 1 73.420.201

Music Learning Theory:

音乐学习理论:

Edwin E. Gordon’s Research on Music Learning in the Classroom

埃德温·戈登关于课堂音乐学习的研究
GORDON’S MUSIC LEARNING THEORY 2

by: Jacob Hajjar

作者:雅各布·哈贾尔

Instructor: Dr. Gena Greher

讲师:吉纳·格雷博士

The University of Massachusetts Lowell

16 December 2013

麻省大学洛厄尔分校 2013 年 12 月 16 日
GORDON’S MUSIC LEARNING THEORY 3

Music Learning Theory:

音乐学习理论:

Edwin E. Gordon’s Research on Music Learning in the Classroom

埃德温·戈登关于课堂音乐学习的研究

The first thing that should be said about Edwin E. Gordon’s music learning theory

is that it should not be considered a “method” of music education. It does not fulfill the

same purpose as the standard music education methods of Zoltán Kodály, Carl Orff, or

others. music learning theory differs because it “is primarily an explanation of how

students of all ages learn music; it is not intended to explain how they should be taught

music.” (Mark, 1996, p. 169). What Gordon has dedicated his research interests to has

uncovered a wealth of insights into how children experience learning, and he compiled

this into his music learning theory. Using this theory, teachers can then develop their

own lesson plans and educational approaches to implement the concepts of the theory,

and to teach so that students have the best learning environment. Gordon does

emphasize the learning process over the teaching process, and that the end result of

teaching should be to impart students with the tools needed to continue engaging with

music in meaningful ways for the rest of their lives. It is with this philosophy in mind that

all other aspects of music learning theory are built.

关于埃德温·戈登的音乐学习理论，首先应该说的是，它不应该被认为是音乐教

育的“方法”。它没有实现与卡尔·奥尔夫佐尔坦·科达里或其他人的标准音乐教育方

法相同的目的。音乐学习理论之所以不同，是因为它“主要是对各个年龄段的学生如何

学习音乐的解释，而不是解释应该如何教他们音乐。”(马克，1996 年，第 169 页)。戈

登致力于他的研究兴趣，已经发现了儿童如何体验学习的丰富见解，他将这些编入了他

的音乐学习理论。利用这一理论，教师可以制定自己的教案和教育方法，以实施该理论
GORDON’S MUSIC LEARNING THEORY 4
的概念，并进行教学，使学生拥有最佳的学习环境。戈登确实强调学习过程而不是教学

过程，教学的最终结果应该是给学生提供必要的工具，让他们在余生中继续以有意义的

方式参与音乐。正是考虑到这一哲学，音乐学习理论的所有其他方面都得以建立。

Edwin E. Gordon is currently a research professor at the University of South

埃德温·戈登目前是南方大学的研究教授

Carolina, where he is still researching and compounding on his theory. He began

developing music learning theory in the mid 1950s, when he was asked to teach a

music methods class to undergraduate students at the University of Iowa in Iowa city. It

was in the planning for teaching this class that Gordon realized that no one really

understood just how children learned when learning music. So, over the next ten years

卡罗莱纳州，他仍在研究和复合他的理论。他在 20 世纪 50 年代中期开始发展音乐学习

理论，当时他被要求在爱荷华市的爱荷华大学为本科生教授音乐方法课程。正是在教授

这门课的计划中，戈登意识到没有人真正理解孩子们在学习音乐时是如何学习的。所

以，在接下来的十年里
GORDON’S MUSIC LEARNING THEORY 5

of teaching this class, Gordon and his students began to develop an idea of how

children learned. Throughout this time, Gordon began researching in the public schools,

and did this concurrently while teaching the methods course. The music learning theory

was born out of a need for information and research on how children learn. Gordon

went further to define the importance of process versus product. He emphasizes that

students have individual musical differences, and therefore a teacher should focus on

the process of their learning, and not expect all students to arrive at the same product

(Gordon, 1997, pp. xiiixv)

在教授这门课的过程中，戈登和他的学生开始形成了一种关于孩子如何学习的想法。在

此期间，戈登开始在公立学校进行研究，并在教授方法课程的同时进行研究。音乐学习

理论诞生于对儿童如何学习的信息和研究的需求。戈登进一步定义了过程相对于产品的

重要性。他强调学生在音乐上有个体差异，因此老师应该关注他们的学习过程，而不是

期望所有的学生都达到同样的效果(Gordon，1997，第十三页)

Central to music learning theory is the concept of “audiation,” which is a now-

popular term that Gordon coined himself. Simply put: “audiation is to music what

thought is to language” (Gordon, 1999). In other words, audition is the ability to hear

music in one’s head. Gordon describes the importance of this ability by equating the

process of learning music to the process of learning language. Infants spend the first

months of their lives unable to speak, but able to listen. They hear all of the words being

spoken to them from all around, and even though they do not understand these words

yet, they are still building a vocabulary that becomes accessible to them when they

learn how to speak. Next, the larynx drops and the infant begins to speak, attempting to

make real the words that they have been hearing their whole life up until then. After a

while the child even begins to improvise by throwing familiar words together in
GORDON’S MUSIC LEARNING THEORY 6
unfamiliar ways to form new questions and statements. Only then, once the child has

developed the ability to speak comfortably, does the child begin to learn how to read.

音乐学习理论的核心是“听觉化”的概念，这是戈登自己创造的一个现在很流行

的术语。简单地说:“听觉对于音乐就像思想对于语言一样”(戈登，1999)。换句话说，

试听是在头脑中听到音乐的能力。戈登通过将学习音乐的过程等同于学习语言的过程来

描述这种能力的重要性。婴儿在生命的头几个月里不会说话，但能听。他们听到周围所

有人对他们说的话，即使他们还不明白这些话，他们仍然在建立一个词汇，当他们学会

如何说话时，他们就可以使用这个词汇。接下来，喉头下降，婴儿开始说话，试图把他

们一生中听到的话变成现实。过了一会儿，孩子甚至开始即兴发挥，用不熟悉的方式把

熟悉的单词组合在一起，形成新的问题和陈述。只有到那时，一旦孩子发展了舒适地说

话的能力，孩子才开始学习如何阅读。

This is where Gordon argues that most forms of music education today have it
这也是戈登认为当今大多数音乐教育形式都有的地方
GORDON’S MUSIC LEARNING THEORY 7

backwards. Many music programs in public schools are teaching reading or

standardized notation before students have developed a vocabulary in musical

understanding. Gordon continues the metaphor in the final step of language learning,

which is the theoretical structure and grammar of language. This is the step that comes

last in learning language, but often comes far too early in music education. If students

are learning notation and theory before they are comfortable with the musical ideas,

then the notation and theory are being taught out of context and those skills will be

useless to the students. This is why Gordon emphasizes the development of audiation

above and before all other musical skills (Gordon, 1999).

向后。许多公立学校的音乐课程在学生发展出音乐理解的词汇之前，就开始教授阅读或

标准化乐谱。戈登在语言学习的最后一步，即语言的理论结构和语法中继续了隐喻。这

是学习语言的最后一步，但在音乐教育中往往来得太早。如果学生在熟悉音乐概念之前

就在学习记谱法和理论，那么记谱法和理论是在脱离上下文的情况下教授的，这些技能

对学生来说是无用的。这就是为什么戈登强调听觉的发展高于所有其他音乐技能(戈

登，1999)。

Another crucial part of understanding music learning theory are the ideas of

music aptitude and music achievement. These terms are often considered

interchangeable, but Gordon (2011, p. 9) insists that there is absolute difference

between the two: “music aptitude is potential to learn music. Music achievement is

music learned.” This difference is so important because he claims that people can only

increase music aptitude before the age of nine. After this age, Gordon believes that

while learning in music can still take place, the highest potential of how much someone

can achieve in music is determined by musical experiences before the age of nine

(Gordon 1999). He also says that children are born with different levels of innate music
GORDON’S MUSIC LEARNING THEORY 8
aptitude that are then affected by by their environment. In this way, as in many other

cases of human development, neither nature nor nurture is a dominating force in music

aptitude. All children are born with some level of music aptitude, and it is those first nine

years of life that will determine the child’s potential for music achievement for the rest of

理解音乐学习理论的另一个关键部分是音乐才能和音乐成就的概念。这些术语通

常被认为是可以互换的，但 Gordon (2011，第 9 页)坚持认为两者之间有绝对的区

别:“音乐才能是学习音乐的潜力。音乐成就是学来的音乐。”这种差异之所以如此重

要，是因为他声称人只有在九岁之前才能提高音乐才能。在这个年龄之后，戈登认为，

虽然学习音乐仍然可以发生，但一个人在音乐上能取得多大成就的最高潜力是由九岁之

前的音乐经历决定的(戈登 1999)。他还说，孩子天生就有不同程度的音乐天赋，然后会

受到环境的影响。这样，就像人类发展的许多其他情况一样，先天和后天都不是音乐才

能的主导力量。所有的孩子生来就有一定程度的音乐天赋，而正是生命的前九年将决定

孩子在接下来的时间里音乐成就的潜力
GORDON’S MUSIC LEARNING THEORY 9

their life (Gordon, 1997, p. 42).

他们的生活》(戈登，1997，第 42 页)。

I believe that these findings should have a huge impact on music education. If

Gordon’s theory is true, it means that the music educator’s role in the life of a child

below the age of nine is immense. If the music program for the child is lacking or even

nonexistent, it means that the child might be robbed of the chance to be a musician

later in life. This puts a large responsibility on education to provide children with the

opportunity to develop music aptitude before it is too late for them. Music aptitude is

also something that should cause music teachers of older students to take action for the

elementary school programs, because if a school system has a weak music program at

the elementary level, it means that the middle and high schools will be getting students

with low music aptitude, and the entire systemwide music program could suffer because

of it. It is up to parents and educators of children below the age of nine to provide them

with this music aptitude, so that they have the potential to pursue music achievements

of their own choice later in life.

我相信这些发现应该会对音乐教育产生巨大的影响。如果戈登的理论是真的，这

意味着音乐教育家在九岁以下儿童生活中的作用是巨大的。如果孩子的音乐节目缺乏甚

至不存在，这意味着孩子以后可能会被剥夺成为音乐家的机会。这给教育带来了很大的

责任，要在为时未晚之前为孩子们提供发展音乐才能的机会。音乐天资也是应该促使大

龄学生的音乐老师为小学课程采取行动的东西，因为如果一个学校系统在小学阶段有一

个薄弱的音乐课程，这意味着中学和高中将会得到低音乐天资的学生，整个系统的音乐

课程可能会因此受到影响。9 岁以下儿童的父母和教育工作者有责任向他们提供这种音乐

才能，使他们有潜力在以后的生活中追求自己选择的音乐成就。

Music aptitude is also Gordon’s foundation for encouraging differential learning in

GORDON’S MUSIC LEARNING THEORY 10
音乐才能也是戈登鼓励差异学习的基础

the music classroom. Because not every student has the same baseline music aptitude,

not every student will obtain the same music achievements in any one class. This

means that teachers must be prepared to teach to all levels of students at the same

time. Gordon (1997, p. 41) provides an insightful quote from Plato: “there is nothing

more devastating and unequal than the equal treatment of students with unequal

aptitudes.” It is important to strike a balance in the classroom that does not leave

students with low music aptitude overwhelmed, nor students with high music aptitude

音乐教室。因为不是每个学生都有相同的基础音乐才能，不是每个学生在任何一个班级

都会获得相同的音乐成绩。这意味着教师必须准备好同时向所有水平的学生授课。戈登

(1997 年，第 41 页)引用了柏拉图的一句颇有见地的话:“没有什么比平等对待能力不平

等的学生更具破坏性和不平等的了。”重要的是在课堂上保持平衡，不要让音乐天赋低

的学生不知所措，也不要让音乐天赋高的学生不知所措
GORDON’S MUSIC LEARNING THEORY 11

bored. For this purpose, Gordon has created a series of music aptitude tests that can

assist the teacher in gauging the level of the students in order to create a differential

learning environment. Though these tests can and should be used to aid the teacher in

getting a good read on their students to develop appropriate lesson plans, it is also

important to keep in mind that the tests are not perfect. It is highly possible that a

student was just having a bad day, or some other outside influence caused them to get

a poor score. This can be easily fixed by an observant teacher realizing that the student

is not being challenged by the activities created for their level of aptitude. Luckily, it is

unlikely that a student with a high aptitude score got a false score, so the teacher can

then infer that if this student is doing poorly, it is less likely because of their aptitude

score and more likely due to some other factor (Taggart, 2005, p. 129). There are

several ways that lessons using music learning theory can teach to multiple aptitude

levels, including following the Gordon learning sequence activities (described below), or

by layering lessons giving easier parts to lower aptitude students and more challenging

parts to higher aptitude students, rather than teaching all parts of a lesson to all

students. Throughout all lessons, it is vital to ensure that the teacher is not defining

students by their musical aptitude score. The aptitude score is a guideline and an

approximation, and a student should never be held back from trying something more

challenging because their aptitude score says they can’t (pp. 136137).

无聊。为此，戈登创建了一系列音乐能力测试，可以帮助老师衡量学生的水平，以创造

一个差异化的学习环境。虽然这些测试可以而且应该用来帮助老师更好地了解学生，以

制定适当的教案，但记住这些测试并不完美也很重要。很有可能一个学生只是过了糟糕

的一天，或者其他一些外界的影响导致他们的分数很低。这很容易被善于观察的老师解

决，因为他们意识到学生并没有受到为他们的能力水平而创造的活动的挑战。幸运的
GORDON’S MUSIC LEARNING THEORY 12
是，一个具有高资质分数的学生不太可能得到一个错误的分数，所以老师可以推断，如

果这个学生成绩不好，这不太可能是因为他们的资质分数，而更有可能是因为一些其他

因素(塔加特，2005 年，第 129 页)。使用音乐学习理论的课程可以教授多种能力水平的

多种方法，包括遵循戈登学习序列活动(如下所述)，或者将课程分层，将较容易的部分

交给能力较低的学生，将较具挑战性的部分交给能力较高的学生，而不是将课程的所有

部分都教授给所有学生。在所有课程中，确保老师不以学生的音乐才能评分来定义学生

是至关重要的。能力倾向分数是一个指南和近似值，学生永远不应该因为他们的能力倾

向分数说他们不能尝试更具挑战性的事情而退缩(第 136-137 页)。

To go along with music learning theory, Edwin Gordon also created a hierarchy
为了支持音乐学习理论，埃德温·戈登还创建了一个等级制度

of skills that children should learn and build upon in order. The skill learning sequence is

the primary teaching tool in music learning theory, and starts to provide some practical

孩子们应该学习和发展的技能。技能学习序列是音乐学习理论中的主要教学工具，并开

始提供一些实用性
GORDON’S MUSIC LEARNING THEORY 13

use for the major concepts in the theory. The skill learning sequence is divided into two

parts, differential learning and inference learning. Discrimination learning is teacher

driven and involves the teacher directing the students in activities that build their

musical vocabularies. Inference learning is student driven, allowing students the

freedom to explore within contexts that they want to learn. The entire skill learning

sequence looks like this:

用于理论中的主要概念。技能学习序列分为两部分，差异学习和推理学习。辨别学习是

由老师驱动的，包括老师指导学生进行建立音乐词汇的活动。推理学习是学生驱动的，

允许学生在他们想要学习的环境中自由探索。整个技能学习过程如下所示:

Discrimination learning
Aural/oral
辨别学习听力/口语
Verbal association
Partial synthesis
Symbolic association
Composite synthesis
言语联想部分合成符
号联想合成
Inference Learning
推理学习
Generalization
Creativity/improvisation
Theoretical understanding
概括创造力/即兴创作理论
理解

(Campbell and ScottKassner, 1995, pp. 5859)

(坎贝尔和斯科特·卡斯纳，1995 年，第 58-59 页)

It is structured as a hierarchy, much like Bloom’s Taxonomy, that infers that a student

should be confident in one layer before moving to the next, and should constantly be

reinforcing the lower layers. The above list is read top to bottom, so that aural/oral in
GORDON’S MUSIC LEARNING THEORY 14
discrimination learning is the foundation and most important skill area, and theoretical

understanding in inference learning is the last and least important skill. The sequence

begins with aural/oral, where students are taught melodic and rhythmic patterns on a

neutral syllable and are expected to listen to, audiate, and repeat the patterns. Verbal

association then adds the usage of tonal and rhythmic solfege to the patterns. Partial

它被构造成一个层次，很像布鲁姆的分类法，推断一个学生在进入下一层之前应该对

一层有信心，并且应该不断地加强较低的层。以上列表自上而下阅读，所以辨别学习

中的听说是基础和最重要的技能领域，推理学习中的理论理解是最后也是最不重要的

技能。该序列从听觉/口语开始，学生被教授中性音节上的旋律和节奏模式，并被期望

听、听和重复这些模式。然后，言语联想将音调和节奏的 solfege 的用法添加到模式

中。部分的
GORDON’S MUSIC LEARNING THEORY 15

synthesis is the first assessment stage, where students should be able to aurally identify

familiar melodic and rhythmic patterns. Until this point tonal and rhythmic exercises are

kept completely separate, but at this stage activities can incorporate both. Symbolic

association is an interesting stage where students will be shown the traditional notation

for the patterns they are using, but not taught what it means. I relate this to a child being

read a storybook where they can see and point to the words, but cannot yet read or

write them. Discrimination learning ends with composite synthesis, which is another

assessment stage where students can identify all familiar tonalities and patterns, and

can begin to dictate familiar patterns both verbally and using standard notation for

patterns that have had symbols associated with them (Campbell and ScottKassner).

综合是第一个评估阶段，学生应该能够从听觉上识别熟悉的旋律和节奏模式。在这一点

之前，音调和节奏练习是完全分开的，但是在这个阶段活动可以两者结合。符号联想是

一个有趣的阶段，在这个阶段，学生将被展示他们正在使用的模式的传统符号，但不会

被教授它的含义。我把这和一个孩子正在读一本故事书联系起来，在这本故事书里，他

们可以看到并指向单词，但还不能读或写它们。辨别学习以合成综合结束，这是另一个

评估阶段，学生可以识别所有熟悉的音调和模式，并可以开始口头和使用标准符号对具

有相关符号的模式听写熟悉的模式(坎贝尔和斯科特·卡斯纳)。

Again, students can still not point at a note and say “this is a whole note C” but can write

standard notation and say “this is what this sounds like.” Students are taught the “what”

and “how” but not yet the “why.”

同样，学生仍然不能指着一个音符说“这是一个完整的音符 C”，但可以写标准的记谱法

说“这听起来是这样的。”学生被教授“什么”和“如何”，但还没有被教授“为什么”

Inference learning is where students begin to explore unfamiliar patterns on their

own in a structured environment. Generalization is a stage where students apply

GORDON’S MUSIC LEARNING THEORY 16
familiar patterns to unfamiliar pieces of music. For (a very basic) example one student

may identify that “Mary Had a Little Lamb” is in a major tonality because it sounds

similar to “Twinkle Twinkle Little Star.” Creativity/improvisation is the first stage that

students finally begin to create their own music. I think this may be one weakness of

music learning theory, in that it introduces composition so late. Gordon defines creativity

as composition, or creating music from something completely personal and new, and

improvisation as composing something within the harmonic contexts of another song

推理学习是学生在结构化的环境中开始自己探索不熟悉的模式。概括是学生将熟

悉的模式应用于不熟悉的音乐片段的阶段。举个(非常基本的)例子，一个学生可能会认

为“玛丽有一只小羊羔”是主调，因为它听起来像“闪烁的小星星。”创意/即兴创作是

学生最终开始创作自己音乐的第一个阶段。我认为这可能是音乐学习理论的一个弱点，

因为它这么晚才介绍作曲。戈登将创造力定义为作曲，或者从完全个人化和全新的事物

中创作音乐，而即兴创作则是在另一首歌的和声背景中作曲
GORDON’S MUSIC LEARNING THEORY 17

(Gordon, 2011, p. 15). Improvisation is also described as “the spontaneous expression

of audiation” (Azzara, 2005, p. 399). Both improvisation and creativity are taught

through the use of the tonal and rhythmic solfege, so that students are always using

patterns from their musical vocabulary to build new musical conversations. Finally,

students are able to explore the world of music theory. In this level however, the teacher

does not lecture the student on theory. It is assumed that students will by this point want

to discover the “why” to the music they are learning, and that natural curiosity will cause

the student to prompt the teacher into answering any questions about theoretical

knowledge. It is not considered a necessarily element to the rest of the skill learning

sequence (Gordon, 1997, pp. 132133).

(戈登，2011 年，第 15 页)。即兴创作也被描述为“听觉的自发表达”(Azzara，2005，

第 399 页)。即兴创作和创造力都是通过使用音调和节奏的 solfege 来教授的，因此学生

总是使用他们音乐词汇中的模式来建立新的音乐对话。最后，学生能够探索音乐理论的

世界。然而，在这个阶段，老师不会给学生讲理论。假设学生此时想要发现他们正在学

习的音乐的“为什么”，并且天生的好奇心会促使学生提示老师回答任何关于理论知识

的问题。它不被认为是技能学习序列其余部分的必要元素(Gordon，1997，第 132-133

页)。

The skill learning sequence, in keeping with the rest of the music learning

theory, emphasizes audiation and the building of aural skills before traditional notation

is introduced. John Vitale (2011) claims that we live in a “visually biased world” and that

this hinders the learning of music. Education in schools today is based so much on

seeing something before you do it, but it is counterintuitive to be experiencing music

visually before it is experienced aurally.

技能学习顺序与音乐学习理论的其余部分一致，在引入传统记谱法之前，强调听
GORDON’S MUSIC LEARNING THEORY 18
觉和听觉技能的建立。约翰·维塔莱(2011)声称我们生活在一个“视觉偏见的世界”，

这阻碍了音乐的学习。今天的学校教育在很大程度上是基于在你做某件事之前看到它，

但是在听觉体验之前视觉地体验音乐是违背直觉的。

Although formal Western music education has a long and institutionalized past,

music education… should provide more opportunities for experiential forms of

learning that foster auditory perception through play, exploration, and discovery,

and less focus on established music notation, which is inherently visual.

虽然正式的西方音乐教育有着漫长而制度化的过去，但音乐教育……应该提供更

多的体验形式的学习机会，通过玩耍、探索和发现来培养听觉感知，而不太关注

固有的视觉化的既定音乐符号。

This is where I find the skill learning sequence is most unique, in that it introduces the

aural component as in many educational methods, but then it introduces the visual

这是我发现技能学习序列最独特的地方，因为它像许多教育方法一样引入了听觉成

分，但它又引入了视觉成分
GORDON’S MUSIC LEARNING THEORY 19

component without any theoretical discussion, which is something that most other

methods do not incorporate. In this way, standard notation is neither a hindrance to the

musical exploration of the child, nor is it completely absent from their learning. They

make the visual connection so that when it is time for the theoretical understanding,

they just have to match the proper terms to things they already understand.

组件，这是大多数其他方法都没有包含的。这样，标准乐谱既不会妨碍孩子的音乐探

索，也不会完全缺席他们的学习。他们建立了视觉联系，这样当理论理解的时候，他们

只需要把合适的术语与他们已经理解的东西相匹配。

The musical vocabulary used in audiation is broken down into two major

categories: tonal and rhythmic. When building tonal vocabulary, students are first taught

melodic fragments on a neutral syllable by rote (aural/oral), so that they are comfortable

listening to, audiating, and singing these basic patterns. When it is time for verbal

association, the standard solfege is used (do, re, mi, fa ,sol, la, and ti). Gordon uses

moveable do, which is common, but what is unique is the definition of tonality in music

learning theory. Tonality is defined by Gordon as major, minor, or any of the church

modes used in common practice theory. Each of the tonalities has a “resting tone,” that

in major is do, minor is la, dorian is re, and so on. Keyality is a separate term used to

describe the letter name of a tonality. For example, the common practice key of Eb

minor would in music learning theory be referred to as minor tonality with Eb keyality

(Gordon, 2011, p. 5). Due to the movable resting tone, the only chromatic solfege

syllable that would ever be needed in basic music learning theory is “si” for the leading

tone in la based chromatic minor.

听觉中使用的音乐词汇分为两大类:声调和节奏。在建立声调词汇时，首先通过死

记硬背(听觉/口语)的方式向学生教授中性音节上的旋律片段，这样他们就可以舒适地聆
GORDON’S MUSIC LEARNING THEORY 20
听、聆听和演唱这些基本模式。到了语言联想的时候，就用标准的

solfege(do、re、mi、fa、sol、la、ti)。戈登使用可移动 do，这很常见，但独特的是

音乐学习理论中调性的定义。调性被戈登定义为大调、小调或任何一种在普通实践理论

中使用的教堂调式。每个音调都有一个"休息音调"，大调是 do，小调是 la，多里安是

re，等等。Keyality 是一个单独的术语，用来描述调性的字母名称。例如，Eb 小调的常

见练习键在音乐学习理论中被称为带有 Eb 关键音的小调调性(Gordon，2011，第 5 页)。

由于可移动的静息音，在基础音乐学习理论中，唯一需要的半音阶 solfege 音节是以 la

为基础的半音阶小调的主音“si”。

Rhythm is approached in a similar fashion. First students chant rhythms on a

节奏也以类似的方式接近。首先学生们在 a

neutral syllable in the aural/oral stage, and in the verbal association stage they are

introduced to the Gordon rhythmic solfege. This is a system of mnemonics that express

听觉/口语阶段的中性音节，在言语联想阶段，它们被引入戈登节奏 solfege。这是一个

表示记忆的系统
GORDON’S MUSIC LEARNING THEORY 21

rhythm with audiation in mind.

考虑到听觉的节奏。

image: http://giml.org/mlt/lsarhythmcontent/
图像:http://giml.org/mlt/lsa-
rhythmcontent/

The rhythmic solfege also emphasizes the macrobeats and microbeats in a pattern.

Macro beats are what are commonly known as the pulse in music, and are always

called “du” in Gordon rhythmic solfege. Microbeats occur when the macrobeat is split

into equal subdivisions (i.e dude in duple meter or dudadi in triple meter) (Gordon,

2011, p. 6). The rhythmic pattern that occurs over the macrobeats and microbeats is

referred to as the rhythmic melody.

有节奏的 solfege 也强调一种模式中的大节拍和微音束。宏观节拍是音乐中通常所说

的脉搏，在戈登节奏 solfege 中总是被称为“du”。当宏拍被分成相等的子拍时(即二

拍子中的迪达或三拍子中的杜德)，就会出现微束(Gordon，2011，第 6 页)。出现在大

节拍和微音束上的节奏模式被称为节奏旋律。
GORDON’S MUSIC LEARNING THEORY 22
Overall, music learning theory appears to be a sound option for teaching music to

students of all ages. It relates directly to many of the concepts discussed in the General

Music Methods 1 class at the University of Massachusetts Lowell, including the

importance of prioritizing musical exploration and audiation over the emphasis of

notation and theory, and the value of differential learning in the classroom. The major

flaw that I can see in relation to the discussions in methods class is the implementation

总的来说，音乐学习理论似乎是向所有年龄段的学生教授音乐的合理选择。它直接

关系到麻省大学洛厄尔分校普通音乐方法 1 课程中讨论的许多概念，包括优先考虑音乐探

索和听觉而不是符号和理论的重要性，以及课堂上差异学习的价值。我在方法类的讨论中

看到的主要缺陷是实现
GORDON’S MUSIC LEARNING THEORY 23

of composition and improvisation too late in the learning sequence. Children do benefit

greatly from the creative expression in composition and improvisation even before they

are well versed in performance and understanding, but Gordon insists that students

must have a solid vocabulary before engaging in creation, which does conflict with

many other philosophies on music education. I think in the end, music learning theory is

a great tool for music educators, but should not be the only tool used in music

education. A synthesis of many styles and methods, including Gordon’s music learning

theory, is what will prove most successful in the majority of music classrooms.

作曲和即兴创作在学习序列中太晚了。孩子们甚至在精通表演和理解之前，就从作曲和

即兴创作中的创造性表达中受益匪浅，但戈登坚持认为，学生在从事创作之前必须有扎

实的词汇，这确实与许多其他音乐教育哲学相冲突。我认为说到底，音乐学习理论是音

乐教育者的一个很棒的工具，但不应该是音乐教育中使用的唯一工具。许多风格和方法

的综合，包括戈登的音乐学习理论，将在大多数音乐教室被证明是最成功的。
GORDON’S MUSIC LEARNING THEORY 24

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