In our classroom teaching, many music teachers try their best to show off their professional singing or playing level and their rich music knowledge, and never consider whether students have really learned new knowledge. For example, there are often some teachers who can take the initiative to ask questions and let students think and discuss in teaching, but always put students' thinking in their own track. This is like an actor entering a pre-set role in a scene arranged by the director in advance, which will inevitably constrain students' subjective initiative and enthusiasm in learning music. On the surface, students participate more, but become a mere formality; The classroom atmosphere seems to be very active, but the inner experience is insufficient. The final result is that students' interest in music learning is not stimulated, and their imagination and thinking are bound, which is inconsistent with the purpose of music to comprehensively cultivate talents' aesthetic ability and creative ability.

First, understand the concept of new curriculum standards, change the concept of music teaching

Educational thoughts and concepts restrict people's educational behavior and affect the whole process of education and teaching. The implementation of any educational behavior must be based on correct educational ideas and concepts.

Generally speaking, music classroom teaching will not increase students' burden because there is no pressure of entrance examination, so according to common sense, students should enjoy music lessons very much. However, "100% students like music, but 80% students don't like music lessons". It can be seen that students do not realize the happiness brought by music in music class, and their enthusiasm for learning music is blocked, which leads to their weariness of learning. For a long time, the content of our music class is single and lags behind the development of the times; Rigid teaching methods run counter to the essence of music art, and we pay more attention to the teaching and training of music skills and techniques, while ignoring the aesthetic characteristics of music art; Paying more attention to teachers' personal emotional experience, while ignoring students' hobbies and musical emotions … makes our musical texts unwritten and ignored, which in a sense is equivalent to obliterating students' individual feelings and creative desires.

We should be soberly aware that music education, as a basic subject, is first and foremost a basic quality education. By teaching the auditory art of music, people's thoughts, emotions and social life are reflected, so that students have a strong interest in music, have the ability to feel, express, appreciate and create the beauty of music, and teach students to know, feel and create life in a certain sense, thus promoting the development of students' sound personality and healthy personality, and achieving the goal of cultivating students' all-round development.

(A) establish a people-oriented view of students. The basic idea of the new curriculum embodies a kind of "people-oriented thought". Teachers must conceptually treat students as living people with thoughts and spirits, rather than machines that accept knowledge. In the teaching process, we should not only pay attention to the effect of imparting knowledge, but also pay attention to students' emotion, will, interest and personality. We should put the teaching time on those effective and creative activities, understand, influence, motivate and inspire students in the activities, create an accepting, supportive and inclusive classroom atmosphere, and share our emotional experience and the joy of success with students.

(2) Establish an equal and harmonious view of teachers and students. It is to change the traditional view of teachers and students that "teachers have dignity" and "only teachers obey" and build a new view of equality, harmony and cooperation between teaching and learning subjects with mutual respect and trust. Learn to listen to students' voices, respect students, and truly learn from each other, learn from each other, inspire each other and inspire each other. This is also the fine tradition of "learning from each other's strengths to make up for each other" that our Chinese nation has had since ancient times.

(3) Establish a rational view of teachers' authority. China's feudal education for thousands of years has always emphasized the absolute authority of teachers, "heaven and earth are teachers", "a teacher for a day, a father for life", deifying teachers into spiritual leaders with absolute authority. In the practice of the new curriculum, with the frequent communication between teachers and students and the establishment of the concept of democracy and equality between teachers and students, the authoritative position of teachers is bound to be impacted and challenged to varying degrees. Teachers should learn to establish a reasonable concept of teacher authority, which comes from teachers' modest and enterprising spirit, rigorous and pragmatic scientific attitude and innovative personality charm.

Second, clarify the role of teachers in teaching practice.

Combined with the reality of our country, the new curriculum standard points out that students are the masters of learning, and teachers should pay attention to cultivating students' autonomous consciousness and habits and advocate the method of autonomous learning. Teachers are the organizers, guides and promoters of learning activities, and teachers and students talk equally in the teaching process. It is not a pure teacher's speaking and listening, nor a simple teacher's guidance and acting, nor is it an old-fashioned teacher's respect for students, but a relationship of mutual learning, interaction, cooperation and equality.

(A) respect for students' hobbies, and change "baton" into "guiding stone"

In class, with the help of various props, such as tape recorders, electronic keyboards, multimedia, etc. I not only enable students to understand the music they enjoy more intuitively and clearly, but also grasp the humanistic knowledge related to these music in time, such as the personality characteristics and geographical environment of the nationalities and people studied, so as to deepen their understanding of the music they enjoy and make their memories more profound. In this link, I always give priority to guidance, stimulate students' thirst for knowledge, and thus take the initiative to learn. Teachers are no longer chattering preachers, and students are no longer replicas of teachers' thoughts and feelings; Curriculum is no longer a single textbook. On the contrary, teachers can study and solve a series of problems such as what students want to learn and how to learn from the perspective of students learning music; Students can also actively participate and study happily under the guidance of teachers. In this way, teachers and students have become the creators and developers of the curriculum, effectively using listening, appreciation, analysis and singing, so that the role of teacher guidance can be played more incisively and vividly.

(B) Respect students' emotional experience and change "condescending" into "equal intersection"

The essence of music education is aesthetic education, and the charm of music education lies in emotional people, emotional people and emotional people. Its greatest feature is to stimulate people's interest, impress people's emotions and make people get a happy education through artistic activities. In teaching, we often ignore students' emotional experience and impose teachers' own thoughts and feelings on students. As a result, students gradually lost their innate musical instinct under the practice of long-term fixed thinking mode and learning mode. No matter whether you play cheerful or deep music to him in class, many students will be indifferent.

There should be no difference between noble and noble feelings. Both students and teachers have rich inner world and emotional experience. In this sense, teachers and students are equal. In view of this equality and the fuzziness of emotional expression in music art, the feeling and understanding of music art should not be absolute. Therefore, in teaching, teachers should be willing to walk off the platform, pay attention to students' emotions, listen to students' voices, encourage more and blame less; More communication, less "orders"; Talk more and instill less. Only in this way can students change from passive to active, from acceptance to participation, and our music class will become an interesting, equal and harmonious class.

(3) Cultivate students' sensitivity to beauty and change "technical teaching" into "artistic guidance"

"Technology" teaching is short-lived, and it is easy to be unfamiliar or even forgotten; Art teaching is eternal and can benefit students for life. Music education is not entirely to train musicians, but to train people first. Therefore, in teaching, teachers should try to avoid blunt and complicated skills training, but should start from students, create more free space for them to discover and create beauty, stimulate their enthusiasm for loving and spreading beauty, and let beauty take root, sprout, grow and expand in students' hearts. Therefore, the new curriculum emphasizes changing students' learning methods and advocates the establishment of learning methods characterized by "active participation, willingness to explore, exchanges and cooperation". As a music teacher, we should emphasize that students are the main body of learning, provide students at different levels with opportunities to participate in learning and experience success, and strengthen the guidance of learning methods.

Thirdly, music teachers' knowledge literacy is constantly improved and perfected.

Teachers' knowledge quality is the knowledge that teachers obtain through personal efforts and has a direct impact on education and teaching. The new curriculum standard requires that music teachers should not only pay attention to the broadening and deepening of their professional knowledge and cultural knowledge, but also consider constantly absorbing new knowledge and accumulating practical knowledge in practical work. Specifically, mainly from the following four aspects.

(A) to enhance professional knowledge

Professional knowledge refers to the professional knowledge of the subjects taught by music teachers, including teaching ability and musical ability. These two parts blend with each other and together constitute the teaching skills of music teachers. Among them, music teaching skills include singing teaching skills, piano playing skills, simple musical instrument teaching skills, chorus conducting skills and so on. Educational and teaching skills include the ability to analyze and organize teaching materials, accurate and vivid language expression, and the ability to organize teaching activities. Educator makarenko once warned the teacher that students can forgive the teacher's many shortcomings. However, one of their unforgivable shortcomings is the teacher's ignorance. Therefore, music teachers should practice their standardized teaching skills in pre-service academic education and post-service work practice. If the teaching skills are not too hard, it will directly affect the teaching quality. With the development of the times, the requirements for teachers' basic teaching skills are constantly improving, and new contents are added, such as modern educational technology and foreign language knowledge. Therefore, music teachers should practice basic skills hard to lay a solid foundation for improving teaching quality.

(b) Integration of cultural knowledge

Cultural knowledge refers to teachers' cultural knowledge except professional knowledge. In the west, it has long been suggested that "the tip must be high and the foundation must be big". In China, there are also sayings such as "draw inferences from others" and "many a little makes a mickle". The new curriculum standard advocates the understanding of multi-culture and the synthesis of curriculum content, and combines with other disciplines to broaden students' horizons, distract students' thinking and increase the amount of teaching information. In addition to maintaining the same educational philosophy, all disciplines are more interactive and integrated in practice. This can not only expand the extension of music education, but also increase its connotation and achieve the purpose of comprehensive aesthetics.

Taking the relationship between literature and music as an example, music and literature have an indissoluble bond. When listening to music, use language to describe it, so that students can arouse images or generate associations and imagination under the stimulation of words, thus deepening their understanding of the works. For example, when enjoying a piece of music describing water sprite's dance in the second movement of the symphony suite My Motherland, the teacher described it this way: "Polka's music gradually faded away, night fell and the earth was silent. Only the Voltava River is still slowly flowing. At this time, the silver moonlight shines on the river, and the legendary water fairy, covered with fine gauze and stepping on silver waves, dances in the crystal moonlight ... "This is just like explaining music and reciting poems, which will undoubtedly help students understand and appreciate music works. For example, when appreciating art songs, the lyrics themselves are exquisite literary works; The composing or writing process of some works is a story. How to organize these touching stories related to the music you appreciate must rely on the power of literature. Therefore, the knowledge of literature, history, geography, mathematics, fine arts and other disciplines is of great reference value to the formation of musical comprehension. Only by constantly updating and enriching multidisciplinary knowledge can we better understand the works and carry out more profound aesthetic activities.

(C) Experience practical knowledge

Practical knowledge refers to "teachers' classroom situational knowledge and related knowledge in the face of purposeful behavior" Music is a social and cultural phenomenon, and its aesthetic practice must be based on social life. In modern social life, there are a lot of musical phenomena, such as etiquette music, practical music and background music, which are closely related to everyone's life. Understanding the relationship between music and life, understanding the significance of music to life, making students love music and life, making music accompany them all their lives and improving the quality of life is also one of the main purposes of the new curriculum. This requires music teachers to have profound cultural knowledge and attract and infect students with teaching charm close to their thinking.

Under the background of the new curriculum, the challenges faced by teachers' roles are not only highly unpredictable and complex, but also increasingly unable to find a set of universally applicable contingency methods. The Monkey King is the Monkey King after all, and the teacher is still a teacher after all. The teacher's role is to cultivate people's activities, so any behavior and method should be people-oriented. As long as our music teachers in the new era can flexibly use teaching methods, be good at grasping and excavating new things, establish the consciousness of lifelong learning, constantly study and reflect on their own education and teaching, and process and integrate their own knowledge and experience, so as to constantly adapt to the needs of curriculum reform.

In short, only by renewing the role of music teachers in an all-round way, adhering to the guiding ideology of "people-oriented" in teaching and paying attention to the development of students and the cultivation of sound personality can we become effective executors and active builders of new curriculum standards, show teachers' elegant demeanor and promote the overall improvement of music education quality; Only in this way can we truly meet the requirements of quality education and shoulder the sacred mission of cultivating and shaping people.