Children love music and dance, and when they hear a regular rhythm, they will dance; When they hear their favorite music, they will clap their hands and play together; When they see others dancing, they will follow their gestures. These physiological instincts are the premise of children's rhythmic activities. There is no established procedure or framework for rhythm. It encourages children to react naturally to music, and on this basis, it induces and inspires children to feel and express music positively with their bodies, which can develop children's musical perception and the potential of music and dance, and promote the development of children's memory, imagination and creativity. Therefore, rhythm is an activity that is beneficial to children's physical and mental health and the development of musical ability. So, I try to teach children rhythm in the middle class.
First, teachers should first choose music that can easily stimulate children's emotions, associations and imagination.
When we teach rhythm, teachers must pay attention to the gradual process of children's physical and mental development. Children of different ages have different levels of physical strength, motor development and psychological development. Therefore, the teaching materials we choose should be from easy to deep, from easy to difficult, so as to maintain the enthusiasm of children's active participation and stimulate their emotions, associations and imagination. Children will not be bored by simplicity, nor will they be timid by complexity. Children in the middle class can master the rhythm of "butterfly flying", "fruit picking" and "wrist turning". In this way, children will feel kind, easy to learn and master, and have a sense of success, a happy mood, a high enthusiasm for learning, and a strong interest in future activities.
Second, organize children to listen to music, analyze music and experience music, and guide children to recall relevant experiences with language.
If children want to understand music, they must first learn to listen, because listening is the behavioral expression of children's perception and understanding of music, and it is an indispensable behavioral ability for children's music learning and development. Only those who know how to listen, are willing to listen and are good at listening can truly understand the content, form and application of music. Aaron copland, a famous American musician, said well, "If you want to understand music, nothing is more important than listening to it." Therefore, when I organize children's listening activities:
The first is to create a natural and quiet "listening" environment for children. Pay attention to every child's emotional state, and then gently say, "Close your eyes, don't think about anything, and have a rest." Then he said quietly, "Please find a spacious place and sit in a comfortable position." At the same time, pay attention to whether there is interaction between children. Then lead the children to "love and listen". The variability of sound, the rich connotation of music and the uncertainty of expression content give people more imagination space. Therefore, when I organize children to listen to rhythm music, it is not a single "anatomy". But to become a supporter, collaborator and guide in children's learning activities. At the same time, he is also an "appreciator" of children's learning. Trying to enter the children's listening world is not to enter the children without authorization, nor can he use what he thinks is "rich and experienced experience" to limit and change the children's performance.
Just like when I was organizing the rhythmic March of Soldiers for middle-class children, the activity began. I quietly release music to let children feel and experience music initially, arouse their emotional (including physiological) reactions, and then induce them to imagine by speaking and prompting: "Yeah, do you know who is coming?" After the children fully expressed and freely expressed, the teacher led all the children to associate with the same theme: "Oh, you will know that you are a brave little soldier through the spirit of walking!" " "Then the teacher organizes the children to discuss:" What does a little soldier do? "There is also organizing children to explore and create small soldiers who walk in sections, which is so powerful; The little soldier is so meticulous in aiming and shooting; Little soldiers touch, climb, roll, fight and so on in the training ground.
Third, let children explore and create corresponding actions to express the images, plots and emotions reflected in music.
As a creative activity, rhythm advocates arousing children's association and imagination and letting them create freely. However, due to the lack of depth in children's exploration of things, it is inseparable from the teacher's guiding strategy, which can neither replace children's thinking, but also help children assimilate knowledge moderately and promote their experience to be further improved. Therefore, in rhythm teaching, teachers are encouraged to provide appropriate music (songs) for children to compose freely. Teachers should pay attention to observe children's movements and expressions, find children's points of interest and expression, integrate their own experiences with children's experiences, and give children a little instruction selectively, thus extending and expanding new movements.
(A) Imitation is the model of children's creative development
Children's creation begins with imitation. Without these "creative tools" such as knowledge, experience, skills and way of thinking, creative development is nothing but empty talk. Therefore, in this mode, the teacher first puts forward the theme directly, or leads the children to recall relevant experiences, then the teacher leads the children to learn the basic movements directly according to the theme, and finally leads the children to create various new movements in the form of collective discussion and exploration.
For example, when I am doing the rhythmic activity of "Duckling Dance", after I prepare the corresponding songs, let the children create freely. Some children wag their tails, some float, some flap their wings, and some open and close their flat mouths. A photo of a cute duckling with different postures suddenly appeared in front of us. However, although children's movements are different, they are only limited to individual movements. At this time, I just give a little guidance. What will they do? "Under my instructions, the children quickly entered a new round of creation, and some hands were opposite, imitating the opening and closing of the flat mouth to say hello; Some heads are swimming in circles; There is another one who follows like a mother duck with a duckling ... In this round of creation, children not only use music to open the floodgate of memory, but also join more peer cooperation, so that their action experience has been better improved.
(2) Correctly position the role of teachers and leave free and personalized creative space for children.
"Teachers are the dominant and children are the main body", which is a very incisive description of the correct relationship between teachers and students in educational activities. In other words, whether the teacher's role positioning is correct will directly affect the children's active learning. Therefore, teachers must adjust their role orientation according to the spirit of the syllabus. In the whole rhythm teaching activity, the teacher is by no means a simple commander and arbiter, let alone a mechanical agitator or teacher. Instead, we should leave the opportunities and space for creation and performance to the main body of the activity-children. Because the key to children's free creation is "freedom" and "letting go", when children show that they can carry out activities alone, teachers should reduce their participation in guidance, and too much intervention will inhibit children's emotional reactions and actions. When children show that they need help, they can participate appropriately and give their own opinions and suggestions, which will produce a series of unique body movements. Therefore, in order to make children really put into the natural rhythm, express their feelings about music with personality, and thus achieve healthy development, teachers should correctly establish their own roles and strive to become supporters, helpers and promoters of children's activities.
In children's day activities, I give children full opportunities to express themselves freely. In the early morning, children are free to make rhythms in interesting music; Dine in relaxed and beautiful music; At noon, they listened to a quiet lullaby and fell asleep. In the afternoon, they were awakened from their sleep by cheerful music, and the children grew up happily in the ocean of music. Music ability is improving day by day. Children create rhythms in life, so I will create interesting rhythms with children: sleeping, my little baby, washing hands, mouthwashing songs, shoes-wearing songs and so on.
(3) Strengthen peer communication, absorb indirect experience, find typical examples and promote overall development.
Children's music education activities, including rhythm, are mostly collective activities organized and guided by teachers. It is very necessary to provide peer communication and cooperation for children as much as possible in activities. Because children are at the same level physically and psychologically, the communication between them is equal and two-way. In the process of communication, the two sides influence each other psychologically, support each other emotionally, imitate each other in behavior, and integrate into their own experience through identification and internalization, thus promoting their own development and expressing their wishes and confidence. In addition, through the communication between peers, children can actively absorb experience from their peers in the process of constantly outputting and inputting information, self-study and mutual learning, and play a role in their own development, and their actions will naturally be more abundant. Therefore, in rhythmic activities, teachers must pay attention to providing children with opportunities to fully communicate with their peers, be good at capturing good examples in children's creation, and guide children to learn from each other, observe each other and learn from each other. Because this good "role model" is a direct inspiration to other children, they may imitate this good action, or create newer and more unique actions under this inspiration, so as to better drive "comprehensiveness" with "typical".