The four music teaching fields set in the music curriculum standard of Primary School Music Teacher Training Log 1 are an interrelated and interpenetrating whole. Teachers should fully understand and master the contents and requirements of various fields of music teaching, integrate them into an organic whole in teaching, and comprehensively improve students' music literacy. But in teaching, teachers often ignore this principle and find a lot of audio materials, and the whole music class is used to enjoy music. This single class type does not conform to the music classroom teaching principle of general education. Teachers ignore their leading role and confuse them with audio-visual education managers. The application of modern multimedia technology makes the "audio-visual combination" of music teaching a reality, which greatly stimulates students' interest in learning and greatly increases the classroom teaching capacity. However, in the process of feeling and enjoying music, teachers often rely too much on multimedia equipment and ignore their leading role in teaching, turning themselves into managers or operators of audio-visual education.
As a music teacher, we should first make it clear that the goal of music education is to cultivate students' perception of music, take aesthetic education as the core, infect students with the beauty of music in the whole music teaching process, and cultivate students' rich emotions in music, so as to gradually form students' healthy musical aesthetic ability. In order to achieve this goal and promote the new curriculum reform, I think that in teaching, students should first have a strong interest in music and feel, experience and express the rich emotional connotation in music. Only in this way can students gradually like music and have a deeper understanding of music. We should actively guide students so that they can benefit not only now, but also for life. Therefore, in music teaching, I will educate and train students from the following two aspects:
First, plan the overall goal of the semester or school year, and realize the long-term goals of students with my small goals. At the same time, music teachers tend to be limited to the teaching content of each class, and it is difficult to clearly understand and analyze the actual needs of students. Therefore, although each class is completed according to your own ideas, there is still a deep sense of regret. Teaching practice has proved that the reason is that the overall development goal has not been established. The overall goal is to cultivate students' knowledge, ability and emotional value within a semester or a school year. For example, children in rural areas have become the biggest problem and obstacle in learning to sing because of the limitation and lack of professional music teachers' resources. Then as a music teacher, visual spectrum is the most fundamental ability. In this case, I will make a long-term training goal according to the students' situation, starting with the naming and intonation of scales, so that students can accurately remember and sing seven sounds in a school year, even if they master one sound in a semester. If we set this goal for them from the first grade, we should always train with this small goal. I believe that after graduating from primary school, students can sing any music they like. For another example, junior children like to listen to music and sing according to their favorite rhythm and rhythm with their emotions at that time. In this case, we can set a distant goal of rhythm training, and we can remind you to beat the time gently in ordinary singing and reciting lyrics. Rhythm training runs through the whole process of the classroom, and it has become a habit and implanted in the heart over time. The higher the grade, the more complicated the rhythm, and you will feel comfortable and enjoy the happiness brought by knowledge. Only in this way can the practical purpose of "teaching is for not teaching" be realized.
Second, in the actual teaching process, the pursuit of purpose, effectiveness and innovation.
1, make full preparations with an exploratory heart before class. As a teacher, I think preparing lessons is a necessary link. When preparing lessons, we can find the characteristics and level of students, so as to formulate feasible teaching objectives. In this process, I think teachers should first thoroughly understand the content and requirements of the textbook, refine, discover and explore the three-dimensional goal, teaching content and implementation methods of "my students are my masters", which can correspondingly reduce or improve the teaching requirements, prepare music content closer to children's lives in the textbook, and make children believe that music is around me, simple and happy. 2. At the beginning of class, bring vivid, interesting and vivid language. Vivid, interesting and vivid language description is the main medium to enter music. For music teachers in primary schools, while observing the principle of speaking less, they should pay more attention to using children's language, especially music teaching in lower grades. Teachers should understand students' thoughts and put themselves in their shoes. When designing language in teaching, try to use the language close to their life, and the tone and intonation should also conform to their psychological characteristics, so as to turn boring exercises into students' interest in learning. For example, in the lesson "Little Crow Loves Mom", the little crow in music can be figuratively compared to a sensible child. I described it this way: "The little crow is always in a hurry after school these days, and never has time to play with her classmates. One day, his good friends Du Fu Xiao and Xiao Yan quietly followed the crow to find out after school. Driven by curiosity, we can build a bridge between students' emotions and music through vivid language, so that students can have a strong * * * sound with music when singing, and the performance of being sensible and filial will be touching. 3. In the process of demonstration, it is one of the most direct methods to stimulate students' desire to learn to sing with lively performances. With multimedia equipment, it still can't replace the teacher's exemplary singing. The teacher's model singing method has more intuitive and vivid advantages than the recorded model singing method. Mainly in primary school students also have a strong sense of learning from teachers, so the teacher's performance singing is more infectious than recording singing. Whether students can better understand and feel music in the teacher's model singing depends on the teacher's basic skills. From children's eyes, you can see their love, understanding and interest in learning music.
Poets often say that "Kung Fu is above poetry". Art performers also have a famous saying: one minute on stage, ten years off stage. The same is true of music teaching. A good music teaching design lies in the fact that the designers of music teaching usually strengthen their self-cultivation, improve their quality, accumulate wealth and make full preparations.
Through the study in recent days, I think music teachers should first make it clear that the purpose of music education is to cultivate students' understanding of music, take aesthetic education as the core, infect students with the aesthetic feeling of music in the whole music teaching process, cultivate students' rich emotions in music, and let students form healthy musical aesthetic ability step by step.
In teaching, students should first have a strong interest in music and feel, experience and express the rich emotional connotation in music. Only in this way can students gradually like music and have a deeper understanding of music. We should actively guide students so that they can benefit not only now, but also for life. Therefore, we should educate and train students in many ways:
1, through the form of music appreciation, let students know and understand all kinds of musical instruments, and let students participate in their own practice, so that students not only have further contact with musical instruments, but also have a strong interest in all kinds of music in China. So as to improve students' musical aesthetic concept and aesthetic taste.
2. Stimulate students' interest and hobbies in learning music through colorful music teaching forms, enliven the air, and adjust emotions after intense cultural classes, which is beneficial to the study of other classes.
3. Try to improve students' interest in music learning through various methods.
4. In class, let the students sing on stage, cultivate their participation and practical ability, and make the music class more lively.
As mentioned in the course, music classroom teaching is not what the teacher wants others to see, but what the teacher wants students to learn. The concept of the new curriculum is different from before, mainly caring for students' love for music. Therefore, a clear teaching object and teaching purpose is the premise of a good class. If learning to sing is the main purpose, you must sing well; The main focus should be on learning to sing; If the main purpose is song expression and artistic processing, we should work hard on the analysis of song connotation and the training of playing skills; If appreciation is the main purpose, it is necessary to do in-depth research in music appreciation, emotional experience, paragraph analysis and so on.
In short, the truly meaningful classroom teaching is dynamic, interactive between teachers and students (but by no means rehearsed in advance), and it is a contingency process with teaching plans instead of "walking around", designing and improvising at any time. This kind of teaching gives full play to students' dominant position, respects students' unique feelings, embodies the authenticity of classroom teaching, embodies teachers' teaching wit and teaching art, and embodies the dynamic generation characteristics of music discipline itself. Only by taking students as an important resource factor can students spark in the collision of teaching environment, teaching texts and the thinking of teachers and classmates, and classroom teaching can continue to glow brilliantly.
In recent years, with the diversification of primary school music teaching, various teaching forms have added a lot of elegance to primary school music classes. Among these teaching forms, game teaching plays a vital role in music class. Faubel, a German educator, believes that "games are a tool for children to know the world, a source of happiness and a means to cultivate children's moral quality, which can best show children's enthusiasm and consciousness in the process of playing games. Games are children's instinctive activities and a reflection of their inner world. " The game in primary school music classroom is different from the game teaching in other disciplines. It is not a pure game, but incorporates musical features. We call this special form "music game". "Music game" is just a means of learning music, and it is a game teaching with music as the main body. It must be accompanied by music to achieve the purpose of music teaching. In the past, music teaching in primary schools only focused on whether students learned a song or a certain music knowledge point. The classroom atmosphere is rigid, which makes students not interested in music lessons. What's more, it was considered a minor course at that time, and it didn't matter whether they listened or not. The long-term past will obliterate the instinct of children's all-round development. Then, if music games are added to music lessons, students can give full play to their imagination, make boring music knowledge lively and interesting, and greatly improve the quality of classroom teaching.
Below I will elaborate my four views on music games:
First, the particularity of music games Primary school music class is a unique subject. It learns by singing, dancing and playing, turning boring music knowledge into vivid game teaching, and the classroom atmosphere is relaxed, lively and happy. For example, learning scales, in the past music teaching, teachers only played the piano and students sang along. Now I use the game of "climbing stairs" to let students use their hands and feet together: hands go up one level, feet go upstairs, and then sing scales with the piano. Through this kind of teaching, students' learning enthusiasm is very high and they can master this knowledge point quickly and well.
Second, the fun of music games Music games play a role as a flavoring agent in music teaching, which can make the whole classroom full of vitality, and students can experience the fun of music lessons through music games. For example, when learning animals to talk, show pictures of various small animals and their walking movements. After class, put the animal headdress made before class on the students' heads, and let the students imitate the movements and languages of animals according to the headdress. As a game to regulate activities, its role is to enliven the classroom atmosphere, stimulate children's emotions, adjust the classroom order and improve students' learning enthusiasm. This game is fun-oriented, which can make the classroom atmosphere relaxed, eliminate students' fatigue and let students continue to actively participate in the next link of teaching.
Third, music games can give full play to students' subjectivity. In music class, students should be the masters, and let them give full play to their imagination. Every student is an active participant and creator of music activities, so that learning is no longer a burden. For example, "Twinkling Little Star" in Grade One uses multimedia to show the pictures of stars all over the sky, so that students can create their own actions to show the twinkling stars. Whoever performs well will get a beautiful star. Objective: To cultivate students' creativity, imagination and sensibility to music.
Fourth, in music games, cultivate students' participation ability. In music classes, there are often some timid students who are not good at performing. For such students, we can start with group games and then participate in groups, focusing on their performance. Through such a step-by-step method, these students can actively participate in the activities. For example, in the musical mime "The Story of the Fisherman and the Golden Fish", students like this can let them sing the following songs as a collective chorus first, and other students can play different roles according to their own preferences, so that the whole class can participate in the performance, thus realizing the fun of participating in the performance. To sum up, music games are a bridge for students to learn happy music lessons. Gorky once thought that "games are the way for children to know the world". Only by making children happy in the process of music games can they arouse their heartfelt love for music lessons. In music games, students can not only learn related skills and experience the joy of music activities, but more importantly, they can learn to learn and communicate with others in cooperation, thus exercising their courage and enhancing their self-confidence. Music game is a golden key for students to open the music hall, a bridge for children to learn music, and a pair of vigorous wings for them to roam the music world. As primary school music teachers, we should make continuous efforts to let students learn music, listen to the beautiful melody of music and feel the happiness brought by games.
Journal of primary school music teacher training 4 Today's training is taught by two other teachers in the practice group. The two teachers learned the advantages from yesterday's class and combined with their own teaching characteristics to design their own unique style of "flowers".
Teacher Yu starts with emotion, creates an atmosphere and guides students to learn songs with beautiful handmade flowers. In order to let students know the style of Beijing folk songs, take the song Clapping Flowers as an analogy to guide students to discover the characteristics of Beijing folk songs. However, because students spend less time on "speaking style", they are not familiar with the lyrics, and their overall performance is not very accurate, so they have not been able to grasp the timbre well. In terms of intonation and timbre, Mr. Yin has a good grasp, taking care of every link from singing details to song style, and speaking in detail. Students can accurately grasp the folk song style of songs, and at the same time can create on the basis of accurate singing. But the fly in the ointment is that the teacher talks too carefully, which reduces the freedom of students' independent thinking. How to give full play to students' ability of independent inquiry and how to intervene and guide teachers are all issues we discuss together.