On The Rhythm Training Of Modern Music In Solfeggio Teaching

Today’s world is of creation and inclusiveness. However, our hearing is not the case. Compared with traditional music which is familiar to us, it’s obvious that people have a feeling of resistance and refusal towards modern music when it comes into their life, thus taking an attitude of avoidance to this type of music.Currently, professionals in music circles agree that we can’t always blindly avoid and refuse modern music. Schools and teachers should actively provide students with access to modern music, giving them the chance to know it and feel its difference and unique charm. What’s more, music textbooks for junior high schools, edited and published by People’s Music Publishing House and Shanghai Music Publishing House, have selected some modern music works. Higher normal colleges are institutions responsible for cultivating teachers. It’s necessary for them to require students, our future teachers, to study and understand modern music. However,today’s solfeggio classes in higher normal colleges focus mainly on the music training of traditional major-minor keys without giving due attention to modern music, which is detrimental to students’ all-round development of music knowledge and techniques.Solfeggio classes, as a part of basic compulsory subject, always play an important role for students to accumulate various music languages, enrich music thoughts, form a right auditory orientation and foster a comprehensive attitude of appreciation.Therefore, adding modern music to solfeggio classes in higher normal colleges can help students develop their music abilities of hearing, appreciation and aesthetics in an all-round way.As is known all, rhythm is the primary, fundamental and supportive factor that is critical for the understanding of modern music. For this reason, the writer elaborates on five representative organizational forms of modern music rhythm and puts forward a training conception. Through a preliminary analysis of music works or clips featured by the five representative organizational forms of rhythm, the writer conducts a further summarization based on previous training methods and integrates more new ones into the research, hoping students can practice effectively from different angles and quickly understand and master the rhythm characteristics of modern music.