1. The importance of students’ dominant position. (That is, why should the classroom be returned to students?)
The new music curriculum standards for primary and secondary schools point out: All teaching activities in music classes should be students-centered, with teacher-student interaction, integrating students’ feelings about music and Participation in musical activities is given an important place.
The subject status of students refers to the subjective initiative shown by students in the teaching process, under the correct guidance of teachers, actively participating in various stages of learning, and in the process of students' own development. .
There are two ways for everyone to obtain knowledge, one is direct acquisition and the other is indirect acquisition. Direct acquisition refers to the knowledge gained by personally participating in the practice of changing reality, that is, direct experience; indirect acquisition refers to the knowledge obtained from books or others, that is, indirect experience. Dialectical materialism believes that because knowledge comes from practice, only direct experience gained from personal practice is the true knowledge gained. What's more important is that many issues must be experienced in person before you can have a profound understanding. If you want to know what an apple tastes like, you have to taste it yourself. Therefore, although the knowledge a person acquires includes direct and indirect parts, real experience is gained from practice and tested by practice. When people accept indirect experience, they must to some extent take their own direct experience as the premise. To truly understand indirect experience, they still need their own practice.
There are two ways for students to acquire knowledge: direct and indirect. However, since students mostly acquire knowledge in school classrooms, they have less direct experience. If students can add more direct experience and practice when accepting indirect experience, students will have a deeper understanding of knowledge and a stronger grasp. Therefore, it is very important to emphasize the dominant position of students in the classroom.
How to reflect students’ dominant position in music classroom teaching is a problem we currently need to solve.
2. How to reflect students’ dominant position in classroom teaching. (That is, how to return the classroom to the students?)
In the music class, I mainly give play to the students' active role in the classroom from the following aspects, reflecting the students' dominant position in order to achieve "the pursuit of efficient teaching, The goal of creating a life classroom.
1. In order for students to become active in music class, students need to be stimulated to learn interest;
Suhomlinsky, a famous educator in the former Soviet Union, pointed out: "Learning interest is An important motivation for learning. "So in music class, based on students' motivation to learn music, I divide students into three categories: One category is students who love music themselves. This group of students needs teachers with excellent teaching skills. Deep musical literacy maintains his passion for music. The second category is students who “love their teachers and believe in their teachings.” This group of students needs teachers to use their professional qualities, personal charm, noble moral character, and love for students to win their love for music. The third category is students who are slow to learn music. These students need teachers to use various methods in the classroom to continuously enrich their experience of music and stimulate their interest in music.
In order for students to be interested in learning in a class, they must first have a good motivation for learning. A good motivation needs to capture students’ curiosity and psychological characteristics of exploring beautiful things, so it is introduced into the class I will use methods such as creating situations and setting questions to stimulate students' expectations and curiosity about the classroom content. This can even pave the way for the emergence of classroom themes.
In the design of the lesson "Yuhua Stone", when introducing it, I used the legend that "Master Xuanguang of the Southern Dynasty set up an altar at Yuhuatai, the place where the Yuhua Stone was produced, to preach and moved heaven, and the flowers fell like rain, so it got its name", which aroused students' interest in the stone. Yuhuashi's curiosity. The photo album of Yuhua Stone is used to make students fall in love with Yuhua Stone, which arouses students' curiosity to find out more about such beautiful things as Yuhua Stone, and stimulates their interest in learning "Rain Flower Stone".
2. Guide students to carry out pre-study and self-study with clear directions for the content they have learned in this section, so as to cultivate students' ability to find problems.
When students are interested in classroom learning, let them preview and self-study the classroom content, and ask questions that arise during the learning process, thus starting to hand over the classroom to students step by step. Due to the differences in the self-learning ability of students in the class, teachers should give certain directions to classes with weaker self-learning ability, such as using comparative appreciation, setting up inspiring questions, pre-setting self-study activities, etc. to guide students to self-study the content they have learned. and think and ask your own questions about what you have learned.
Here teachers need to fully prepare lessons, anticipate most of the questions students may have, and provide preparatory teaching and guidance content.
In the lesson of "Rain Flower Stone", when I talked about the composer Gong Yaonian, I asked the students to browse it quickly by themselves, and then asked the student representatives to ask the class questions about the author's place of origin, age, identity, Questions such as representative works not only help other students preview the author's background, but also cultivate students' ability to ask questions. In the lesson example of "Mongolian Folk Songs", two pieces of music are played first: the short tune "Gada Meilin" and the long tune "The Rich and Vast Alxa". After students intuitively feel the characteristics of the two pieces of music, they use the table at the back of the book as the goal, allowing students to self-study the introduction to the two pieces of music and the characteristics of long and short keys in the book, and discuss and fill in the table at the back of the book. Cultivate students' ability to preview and summarize by themselves.
From stimulating interest to purposeful preview and self-study, the purpose is to allow students to understand the deficiencies or difficulties in the knowledge learned in class and enter the next discussion with questions, making it easier to improve student learning. efficiency, thereby avoiding too much wasted effort. The next step is to analyze and solve the key and difficult points in the class, and gain more solid direct experience during the discussion.
3. Guide students to discuss the difficulties discovered during the self-study process, and analyze and solve problems through mutual discussions and teacher’s guidance;
The purpose of this stage is to allow students to Students analyze and analyze works from a music professional perspective, learn the expression methods of musical language, and feel the charm of musical language.
After students raise questions, the teacher is not in a hurry to tell them the answers. Instead, the students discuss with each other first, so that the "eugenics" in music can be fully demonstrated. The interaction between students and students often leads to unexpected gains. The students' answers It is often easier for students to understand knowledge from the perspective of students. Of course, when necessary, teachers can assist with melody line analysis illustrations, micro-lectures, or talk about some relevant knowledge points to better help students from the perspective of the knowledge system or even other aspects. View the knowledge learned from a perspective.
The important and difficult points summarized by the students themselves are then interpreted by the students using their own experience, and the teacher provides timely guidance. In this way, students cooperate with each other, the experienced teach the inexperienced, the good teach the poor, and the participation rate is extremely high. Moreover, this process has been personally experienced by the students themselves, turning indirect experience into direct experience. There is a saying: teach whatever you want to learn.
When students answer the results, they should also ask the students where the answers are reflected in books or courseware, that is, where their answers can reflect such results, so that students can try to analyze the problem and improve Students' ability to express themselves and organize their thoughts. Finally, let students summarize the conclusions reached during the discussion in their own words. This allows students to learn to analyze and solve problems.
"The Analects of Confucius - Shuer": "If you are not angry, you will not be enlightened; if you are not angry, you will not be angry." This is an important saying by Confucius when discussing heuristic teaching. What it means is: If a student has not thought and experienced something, and if he wants to say something but cannot say it, then he will not be enlightened; if he has not thought hard and cannot figure it out, then he will not be enlightened. Therefore, at this stage, the teacher's main role is to organize discussion activities and provide auxiliary guidance when necessary.
In the lesson example of "Learning Peking Opera by Singing, Reciting, Doing and Playing", in order to learn the Peking Opera and Yun Bai in reciting, I first gave students the question "Listen to music, watch videos, and compare the two recitations." What are the characteristics of each in terms of language and expression? Guess which part is Jingbai and which is Yunbai?” Then, play a video of Jingbai and a Yunbai respectively, allowing students to compare the differences between the two pieces of reading, and explain where they can tell that it is from Jingbai or Yunbai. When students express their thoughts. One group of students can talk about Jingbai, and a group of students can talk about Yunbai. They can then exchange the words and make opposite or identical suggestions. In this way, the teacher can slowly lead the students into the atmosphere of discussion. Then ask students to summarize the conclusions drawn from the discussion. Finally, the teacher combines his own preset answers with the students’ conclusions to present the “answer”. There will be students asking questions about the basic knowledge of music, music and musician backgrounds. The teacher can present the answers to the students in the courseware without explaining them, allowing the students to interpret by themselves and find the answers they want. This not only improves students' self-learning ability, but also highlights the students' dominant position in the classroom.
In the lesson example of "Rain Flower Stone", in the song proficiency session, if the teacher does not follow the instructions of the singer, the students are allowed to bring in the lyrics and sing the song themselves, and let the students discover the difficulties of singing the song themselves, and Find a solution.
In the section of understanding the song, students are allowed to discover that the author uses rain flower stones as a metaphor for revolutionary martyrs, allowing students to associate and discuss the "rain flower stones" from the war years to the "rain flower stones" around them. In this way, students can self-learn the emotional attitudes and values ??of the song and sublimate it. theme.
4. On the basis of understanding, lead students to conduct interesting exercises and quickly master the knowledge and skills of this lesson in class;
After students understand the background and After acquiring relevant music knowledge, the next step is to master musical skills. When learning skills such as rhythm, audition, singing and playing, repeated practice is required. The interestingness of the exercise form is also the key to whether students as the subject can actively participate. The organization of these practice activities must not only consolidate the practice, but also pay attention to certain methods to make students full of interest and passion during practice, which requires teachers to continuously accumulate and explore.
In the lesson "Rhythm", in order to allow students to master the rhythm proficiently without making them feel boring, I used the "game clearance" strategy. The first level involves chanting and singing the rhythm using the paddling method. You must first learn, practice and then take the test. The test standard is that the teacher randomly points to any rhythm pattern, and the students can pad and sing the rhythm pattern correctly. In the second level, use strong and weak clapping to create a strong and weak sense of rhythm. (For strong claps, clap the whole palm, and for weak claps, clap half the palm.) The learning and practice steps and test standards are the same as those in the first level. In the third level, you can beat the rhythm pattern with your left and right hands (the left hand is the metronome, beat once, and the right hand beats the beat.). After checking the results, you can also swap the left and right hands. In the fourth level, PPT courseware is used to create game-like courseware, allowing students to "swipe and sing", "clap hands", and "left and right hands" correctly and rhythmically according to the rhythm pattern that appears instantly on the video. Only by passing the test of the previous level can you proceed to the next level of learning, and conduct parallel class comparisons to stimulate students' fighting spirit and ensure the efficiency of classroom teaching.
When learning the song "Yuhuatai", in order to be able to sing familiar songs without being boring, we conducted group competitions, mutual scoring between men and women, and individual presentations with limited quotas, etc. to stimulate students' enthusiasm. Games such as "Singing Solitaire" and singing rounds are also used to test and consolidate students' proficiency in songs.
These are activities that teachers must preset, but they do not necessarily need to be used in class. The organization of this link can be left to the students first. For example, students who are good at singing can teach everyone how to sing, or students can design their own practice methods and organize the practice process themselves. For example, in the "Rain Flower Stone" class, vocal etudes are formulated based on the songs. As long as their academic ability allows, they can be taught to students. Only when the students are really timid and have no ideas, in order not to waste class time, the teacher's preset methods can be used and students can choose to practice in their favorite way. Use a variety of methods as much as possible to encourage students to come up with their own practice plans and participate in the practice.
5. Understand the work in the process of performing it accurately and realize the sublimation of emotions, attitudes and values.
When students are proficient enough to master a skill or work, it is necessary to take a step further to allow students to have a deeper understanding of the work and skills, and to creatively display based on their own understanding. What teachers need to do is to prepare as many performance guidance plans as possible for students to choose from. Of course, the main task is for students to come up with their own performance plans, and teachers provide maximum support, encouragement and auxiliary guidance. For example, in the lesson "Rain Flower Stone", the link of creating their own "Rain Flower Stone" provides students with various choices in creative methods and expression techniques, so that students can create works with diverse styles as much as possible.
3. Summary
Five processes, the first three preview discussions are for the purpose of understanding the work, that is, getting started; the fourth exercise is to consolidate the skills learned; the fifth The first is to practice and create what you have learned during the performance, and to understand the connotation of the work on a deeper level. Five links: discover problems in self-study, analyze and solve problems in discussions, master knowledge and skills in practice, and be influenced by the works in performances. Focus on students' activities, fully give students space for interactive thinking and learning, hand over the classroom to students step by step, reflect the students' dominant position, and create a life classroom with efficient teaching.