First, several excellent foreign music teaching methods
(A Coleman children's creative music teaching experiment
Sadie Coleman was an influential children's music educator in the United States in the early 20th century. Coleman 19 18 "Children's Creative Music Teaching" experiment in Lincoln School, College of Education, Columbia University, USA, broke through the traditional children's music education model and creatively carried out the teaching practice suitable for children's music development. She emphasized that knowledge is acquired by individuals through personal experience in the process of natural development. The focus of the experiment is not to impart knowledge and skills rationally, but to naturally and directly appeal to sensibility, and to learn knowledge and master skills in the specific process of making musical instruments and playing music under the direct drive of sensibility. She emphasized the importance of children's music experience and aesthetic education in music teaching, praised children for actively learning music and giving them the opportunity to express themselves freely, and emphasized improvisation and cultivating children's creativity.
(2) Dacromet's body rhythm
Emile Jacob Dalclos is a Swiss music educator. He has been engaged in music education all his life and established a whole set of music education system. Among them, the most effective part has formed a scientific system with a unique name-"body rhythm", which pays equal attention to solfeggio and ear training and has a wide influence in the world. He believes: "Learning music should not only learn to feel music with hearing, but also feel music with the whole body and mind. Only when the body and mind are really involved in music can the inner feelings and understanding of music be accurate and vivid. " The main purpose of body rhythm is to train students how to feel and understand music effectively through hearing. According to the changes of music speed, rhythm, intensity, clauses and emotions, the whole body is regarded as a musical instrument, and all kinds of amplitude and intensity movements are made in a controlled way to re-express the music he hears. The coordinated and rhythmic movements created in this way not only cultivate the child's sense of rhythm, but also help him feel the music in an all-round way and strengthen the music at the same time. Dalklose's teaching method of reproducing music with body movements enables students to experience music directly. This is effective in cultivating students' sensitive auditory response, rich sense of music, strong creative desire and expressive force. At the same time, this teaching method makes the classroom atmosphere more active.
A thorough study of Dalklose's teaching thoughts and methods will reveal that the body rhythm he created has far-reaching influence and great significance. In the famous Orff's educational thought system and Kodaly's teaching method, this method of using the body as a musical instrument and using movements to express and understand music continues to be applied and developed.
(C) Orff's original thought of nature education
The core idea of Orff's music education system is primitiveness, which is also the most prominent feature of this system. "Original" means "belonging to basic elements, original materials, original starting point and suitable for the beginning". Orff stood on the basis of anthropology with a broad mind, realized the release of emotion through the primitive natural nature of things and people and people's desire for free will, and through primitive musical thinking and behavior, thus bringing a halo of humanity and fraternity to his educational concept, and directly or indirectly affecting the changes of musical education concepts in the East and the West. The establishment of Orff's primitive natural thought is a revolution in the evaluation of traditional music centered on Europe. Improvisation is the core part of Orff's teaching method. Orff called this the uniqueness of his "music teaching method". He advocates that teenagers, adults and the elderly can indulge in the improvisation of artistic activities and enter a self-controlled thinking. There is no teacher's language or behavior to stipulate and ask you what to do, and it depends on the people who participate in improvisation to naturally express their emotions. The most fundamental purpose of this improvisation is to "liberate mankind". In improvisational art activities, there is no rank, no identity mark, no age limit, and no technical level constraint. Orff believes: "The education that begins with improvisation is the teaching that truly embodies creativity. Improvisation-it is the indulgence of all imprisonment of a person. " Orff's point of view is to maximize human energy, create opportunities for the humanity of original music to play a role, and clearly highlight creative thinking. Orff strongly opposes "the rationalization of music education system" in his music education system, and emphasizes the creativity, flexibility and effectiveness of teaching activities. He strongly advocated that the education of every country, nationality and region can carry out personalized and creative teaching according to its own characteristics and views on Orff's music education system and its principles and spirit. Only by carrying out personalized and creative teaching can we cultivate students with individuality and innovative ability.
(4) Kodaly's thought and teaching method of music education.
Kodai Zoldan is a famous composer and music educator in Hungary. School music education should be based on folk music, which is one of the important principles of Kodaly's educational thought. Kodaly believes that every nation has a large number of folk songs that are particularly suitable for teaching. If we choose them well and purposefully arrange the study of various musical elements through these songs, folk songs will become the most suitable teaching materials, because they are short in form and excellent examples tempered by history and culture for a long time. If you want to know other nationalities, you must first know yourself. Understanding a nation through folk music is the best way. The ultimate goal of learning folk music is to guide and urge students to know how to love these excellent works in the past, present and future.
Judging from the above foreign music education systems, they all have the common characteristics of the "natural development method" education theory. They start from the psychological characteristics of children and adolescents who are "fun and active" and combine the students' existing life experience to start from the rhythm. They train students' sense of music rhythm through language, action, dance, performance and music games, and guide students to explain with their own body movements, performances, games and pictures. These practices are essentially different from the traditional methods of forcing students to sing, inculcate and cram, forcing students to memorize knowledge of music theory and stifling and suffocating students' interest and talent in music.
Second, the enlightenment to music education in China
At present, there are still many drawbacks in music education in China. We should learn from foreign excellent music education ideas and teaching methods, and combine the actual situation in China to explore music teaching methods suitable for us.
(A) completely update the concept of education, change the traditional teaching concept.
The traditional concept of music education is deeply rooted, and some teachers take the study and training of basic music knowledge and skills as the focus of music education, which makes students lose interest. In music teaching, most of them keep the old model of teacher-student relationship and overemphasize the authority of teachers, which virtually stifles children's creativity and hinders them from actively learning music. The traditional view of music knowledge holds that teaching is to fill the brain with music knowledge, and music learning is to acquire music knowledge. Under the influence of this concept, teachers instill teaching and emphasize the memory of music knowledge. As a result, students will only learn by rote and lack creativity. In fact, music is an art, not a machine. Music is a culture, not a technology. Children gradually improve their ability to appreciate, express and create beauty by learning to sing, play musical instruments and enjoy music, so that they are influenced by aesthetic education. Therefore, it is necessary to change the concept of "focusing on skill training" and establish the concept of "focusing on music aesthetics". Change the concept of "teacher-oriented", establish the concept of "children as the main body", change the concept of "knowledge learning as the main body" and establish the concept of "cultivating innovative spirit and ability". One more thing, it must be clear that music is a profession, not a profession. It is an indisputable fact that learning music is conducive to the development and improvement of children's comprehensive quality. However, if one-sidedly thinks that only learning music can improve children's personality quality, or even prematurely defines music as children's future means of livelihood, and defines music as a profession, it will not only make children develop in an all-round way, but will be self-defeating.
(B) innovative music teaching content
Nowadays, many countries attach importance to the content of music textbooks, and many music educators emphasize the music works of school music textbooks. Kodaly, a music educator, believes that only real children's games and nursery rhymes, real folk songs or excellent songs can be selected as music teaching materials. However, the syllabus of kindergartens, primary schools, middle schools and normal colleges in China has poor cohesion and integrity, and the textbooks are frequently changed, the contents are messy, and there are countless printing errors. Most textbooks lack innovation and pertinence. For example, many children's music textbooks are divorced from children's real life and social reality, and children lack interest in learning, so naturally they cannot achieve good results; In addition, many amateur instrumental music textbooks are the same, unchanged for several years, and there are few tracks to choose from at each level; For another example, in rural areas, due to many objective reasons (teachers, teaching environment, teaching facilities, etc. ), many textbooks cannot be developed. Therefore, it is necessary to formulate a set of the most scientific, systematic, reasonable and excellent music teaching materials according to different teaching objects. Teaching materials should conform to the physical and mental development, life reality and characteristics of the times of different objects.
(C) improve music teaching methods
As mentioned in the last article, teachers have absolute authority in music teaching in China. In order to avoid going back to the old ways, teachers should change their teaching methods appropriately. Pay attention to students' music experience, advocate students to learn music actively, guide students to experience music spontaneously, and strengthen students' improvisation ability; Teaching students in accordance with their aptitude, according to the active characteristics, music teaching should pay attention to rhythm. Music teaching is carried out in a dynamic way, which is characterized by ups and downs of melody and distinctive personality.
Rhythm, orderly strength, the speed of wrong priorities, and various emotional changes arouse the reaction of children's body movements and make them move naturally. According to the characteristics of fun, music teaching should attach importance to fun and need lively forms, which are deeply loved by children. If we don't pay attention to this feature, children may hate music, which will be the sorrow of music education and the misfortune of children's life. According to the characteristics of curiosity, music teaching should advocate exploration and constantly provide students with new information and new stimulation to arouse and stimulate children's curiosity. In view of children's initiative, fully mobilize children's initiative, respect students, encourage them to become masters of learning, learn more from foreign music teaching methods, and stimulate students' strong interest in learning music.
(D) to strengthen the quality of music teachers
To achieve the above three points, in addition to the relevant education departments to formulate corresponding plans, the most critical and most important thing is to strengthen the overall quality of music teachers in China. A teacher with rich teaching experience, solid professional knowledge and strong sense of responsibility is qualified and capable of teaching music and students well. Therefore, a qualified music teacher must study music for a long time, professionally and systematically, and accumulate some experience. Only in this way can the overall quality of teachers in our country be improved and the strength of teachers be strong. Only in this way can music teaching in China be carried out smoothly and the level of music education in China be gradually improved.
Music education can improve students' ideological quality, psychological quality, cultural quality and aesthetic consciousness. Music education is an indispensable part of quality education in China, an important means to promote children's development, the main content of children's aesthetic education and an effective way to implement quality education. Therefore, we should learn from the experience and advanced points of music education in other countries, avoid copying mechanically at the same time, constantly improve our music education methods according to the national conditions, gradually form a scientific teaching system, and push our music education to a new level!