What teaching methods are used to reflect the activity of music class?

In the primary school music classroom teaching under the new curriculum environment, teachers are bold and innovative, students' personality is publicized, and classroom teaching is full of vitality. However, when we calm down and reflect, some phenomena seem to be divorced from the new curriculum. Therefore, we must take music as the carrier and rich content, form and emotion as the main process to reflect the musicality of the classroom and the essence of music courses.

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In the primary school music classroom teaching under the new curriculum environment, teachers are bold and innovative, students' personality is publicized, and classroom teaching is full of vitality. However, some phenomena seem to be divorced from the new curriculum, such as: paying too much attention to "subject synthesis" and losing "the authenticity of music"; Excessive creation of "interest atmosphere" and lack of "skill support"; Excessive pursuit of "music creation" and forgetting "improvisation". To a great extent, the reason is that the understanding of the new curriculum concept is not in place, which must arouse our attention. Facing the phenomenon in music class, we can't help thinking deeply: what is an excellent music class? How to better reflect the musicality of music classroom? How to put an end to those flashy things

First, the specific performance of the lack of music classroom standards:

Lens 1: Pay too much attention to "subject synthesis" and lose "the true face of music"

The new curriculum puts forward that synthesis is a basic concept of basic education. It is the development trend of modern education and the extension of discipline system to learning field. On the other hand, music, as a major category of art, is also closely related to a wide range of cultural fields, which makes it possible to integrate music courses with other non-art courses. However, the synthesis of music curriculum is based on music. The implementation of the principle of music curriculum integration should highlight the characteristics of disciplines and reflect the integration based on the standards of music disciplines. For example, in the primary school curriculum, Chinese, art and physical education are all related to music to some extent, which makes it possible to link music teaching with these courses. However, this is not the reason for our hodgepodge synthesis.

Case 1: In many music teaching and research classes, most of them are musicology singing classes, and there is a phenomenon of reciting lyrics. For example, after learning to sing the lesson "Sweet Secret" and learning the melody of the song, the teacher said, "Let's recite the lyrics with gratitude and emotion." Then the students began to read aloud in Chinese class. After reading it, the teacher said, "The students read well, but their feelings are not enough. Let's do it again! " ..... I have heard this lesson many times.

I would like to ask: there is no music ontology, highlighting the integration between disciplines and activities, and showing the versatility of students on the surface of the classroom. Is this the ideal state of classroom teaching we are pursuing?

Comments: In this case, teachers' practical comprehensive spirit is valuable, but the way and form are debatable. We should grasp the scale of "synthesis". Music class is music class, which should have the characteristics of this subject.

Lens 2: Too much "interest atmosphere" and lack of "skill support"

Case 2: This is a new song teaching class, which teaches "The grassland is my home". When introducing the new class, the teacher asked, "Do you like taking the train?" "I like it!" "Now the teacher will take everyone by train and sing to travel to the Inner Mongolia prairie." The students' emotions were mobilized at once, and they imitated the rhythm and sound effects of the small train with great devotion. At the destination, the teacher asked the students to learn the dance steps of the small cavalry riding for a while and the milking dance for a while. The music classroom has become an ocean of joy, and the students are extremely happy. Laughter comes one after another, and music is only used as background music. After a class, only a few people can sing the song "Grassland is My Home". What students pay attention to and experience is only the superficial happiness brought by this activity, not the music itself.

I would like to ask: without skill training focusing on music elements, students' interest is highlighted and the classroom is full of excitement. Is this the ideal state of classroom teaching we are pursuing?

Comments: The new curriculum points out that students should change from "learning music" to "learning music". It's inconceivable without the support of certain musical skills. In this case, teachers excessively pursue the principle of taking music interest as the driving force and attaching importance to music practice, highlighting the fun and entertainment of music, but ignoring the "soul" of music-musicality, which is the most basic thing in music, and the effect can be imagined. It is true that interest is the basic motivation for learning music and the fundamental way for students to keep close contact with music. In the teaching process, teachers should create a pleasant music situation through various vivid music practice activities, with interesting music images and colorful melodies, rhythms, timbres, harmonies and so on. Move with emotion, feel with action, understand with reason, cultivate and mobilize students' sense of participation, let students learn from music, enjoy music and beautify their lives with music. However, if the teaching method is purely superficial and formal, the improvement of students' aesthetic ability is empty talk. Therefore, as a front-line teacher, it is important to straighten out the idea of music education, deeply understand the idea of "weakening" rather than "weakening" music knowledge and skills teaching in the new curriculum reform, and strictly control the word "degree".

Scene 3: excessive pursuit of "music creation" and forgetting "improvisation"

Case 3: I listened to a singing lesson "Chinese New Year". After playing Longdongqiang, students are familiar with the songs through rhythm, accompaniment and other activities, and guide them to accompany the songs with their own creative methods and express the songs with their own dance movements. Then the teacher asked, "What other ways can you express the song?" Although the class is very lively, looking back, how many things really belong to the category of music, and what have students really learned through practice?

Excuse me: out of the category of music, the classroom surface shows the upsurge of students' creative enthusiasm. Is this also the ideal state of classroom teaching we are pursuing?

Comments: We should correctly handle the relationship between creation and imitation. Pupils' music creation activities often begin with imitation, which is the only way to create music. Through imitation, creative learning can be carried out step by step from easy to difficult Improvisation refers to a kind of music creation behavior produced by students according to their feelings at that time. It is a temporary creation that is not prepared in advance, and is often associated with improvisation. Therefore, we should attach importance to the application of improvisation in teaching.

Second, the strategy of returning to music teaching standard

"Return" is to restore the original appearance of music education. Music class should embody noumenon, that is, music teaching should be musicalized. Music education is an aesthetic-centered education. How to better return to music-based teaching, specific strategies include the following aspects:

(A) careful use of "music performance" in the classroom.

Music classroom teaching should be a process of constantly stimulating students' interest. Pupils are mainly thinking in images, curious, active and good at imitation. In music teaching, teachers should properly use performance methods according to students' psychological characteristics, so that students can play the characters in music, which can narrow the distance between students and music, help students understand music more deeply and gain aesthetic pleasure in music activities. However, in recent years, especially since the implementation of the new curriculum, this kind of expression method is common in music classes, and it has gradually become a fashion in music teaching, and many music teachers are eager to try. In order to overcome these practices, but also music-based music classroom, in the specific implementation, we should pay attention to the following two aspects:

You can't equate music with performance.

In teaching, it is necessary to correct the primary and secondary relationship between the two, so that playing can become a natural expression and spontaneous action of emotion after understanding music, and it must not be far-fetched, nor can it form a mindset, and gradually step into programmed teaching.

You can't "do whatever you want"

In the open music class under the new curriculum standard, what I hear most is the gentle and encouraging words of the teacher "do whatever you want". At first, it sounds as if we attach great importance to students' autonomy and respect their personality development. In fact, if teachers can't always give students some knowledge and let them develop freely, students won't make great progress. Although students get some happiness in this process, this kind of happiness is meaningless for the real new music class.

(B) not only pay attention to the standardization of music, but also reflect students' autonomy.

"China Music Education" once published an article: In the music classroom teaching of American primary schools, let students observe who made a mistake in the rehearsal of instrumental music and what made a mistake. Everyone watched the rehearsal intently, and the practitioners did not dare to neglect it. Then, the teacher asked, "What was the question just now?" So, the students spoke enthusiastically. In this American teacher's music class, students are not passive recipients of information, but active and active knowledge explorers. When there is a problem in rehearsal, the students are focused, active in observation and active in thinking: "They didn't tune up before playing the piano! They didn't make eye contact before each chord went down! " They learn to acquire knowledge and skills through discovery, and learn to discover through knowledge acquisition.

Students personally participate in the experience, and they concentrate on finding mistakes in rehearsal. The teacher doesn't tell the students anything, nor does he ask the students to tell the title, rhythm, creative background, segmentation, emotional characteristics and scenes of music ... these are not the ultimate goals of teaching. Classroom teaching is not only teaching, but more importantly, let everyone participate in the experience. These contents are all felt and experienced by students themselves. Only by sticking to your own practical experience can you make your knowledge last; Only when you are personally obsessed with your own emotional experience can you be familiar with the method.

(c) Don't make a comprehensive study of this subject.

Music comprehensive learning is based on the characteristics of music discipline itself and the needs of people's all-round development, and it is a synthesis based on music. In actual teaching, there are often syntheses that deviate from the music standards. Music class should reflect the comprehensiveness of the subject, make reasonable choices according to the learning objectives, and also stop.

While emphasizing students' participation, pleasure and emotion in the classroom, don't forget to put the ontology of music first, which requires greater efforts. We should correctly handle the relationship between technology, art, aesthetics and education, and formulate a corresponding scientific music education evaluation system. The new curriculum reform is a long-term and continuous process. We must truly understand the essence of the new curriculum reform and base ourselves on the actual situation in the current field of basic education. This can't be done overnight, let alone from one extreme to the other. Therefore, as a worker engaged in music education and teaching, he should constantly study and study, strive to understand the basic spirit of curriculum reform, put the idea of music teaching standards in order, and constantly reflect in teaching. Only in this way can we withstand the baptism of the wind and rain on the course reform and move from swing to balance.