The philosophy of practical music education puts forward that the excellent interpretation and performance of music works or important parts of music works is enough. So, how to understand the philosophical theory of practical first music education? Chinese and western music history? Teaching?
Practical music education philosophy is a brand-new philosophy of music education that rose in the United States at the end of the 20th century, which has had an important impact on music education. Some of these ideas even subverted the traditional concept of music aesthetic education, with David? Eliot believes that music teaching activities lie in practice and action. He advocates that music teaching should focus on music performance, combine music appreciation, music creation and other activities, and attach importance to students' personal participation, feelings and experiences. The core knowledge of music education is not about the language concept of melody, harmony or other elements, but based on behavior, which is the knowledge to teach students how to think about music in music production and music listening. . All human activities prove that practice is the purpose of cognition? Provide possible and necessary information for understanding, so that people can acquire and continuously develop their thinking ability. This philosophy comes down in one continuous line with the leading thought of On Practice. It attaches importance to practice and its position and role in the process of cognition, and emphasizes that human production activities are the most basic practical activities, which determine all other activities. From the perspective of pedagogy, the advantage of this philosophical thought lies in paying attention to the main role of students, which is different from Dewey's? Doing middle school? Exactly the same.
Music course is an active and practical course, for example, vocal music singing and musical instrument performance require students' personal practice, which is of great positive significance to help students better understand music and integrate into its specific cultural context. China Music History and Western Music History courses represent composers and appreciate representative music works in different periods by introducing music styles and music-related cultural backgrounds in different historical periods, helping students to better understand and feel music and promoting their music performance practice. Chinese and western music history? Curriculum is an important way to improve students' musical cultural quality. As Eliot said, the analysis of the relevant background of the work is one of the contents that a professional audience understands and constructs, so it is also a part that a professional audience can enjoy? . As a positive and constructive process, music listening includes the construction of the cognitive cultural level of music sound.
Based on the viewpoint of practicing the concept of music education and combining with my own teaching experience, this paper puts forward some suggestions for colleges and universities. Chinese and western music history? This paper summarizes the problems existing in teaching and puts forward the improvement scheme for discussion with colleagues.
First, expand the content of classroom teaching and teach students how to appreciate.
Many teachers are here? Chinese and western music history? The teaching of the course is mainly based on theoretical knowledge, although it involves music appreciation, but it is limited to listening, and there is no introduction to how to listen, understand and grasp music. As a result, many students who have studied music for four years still don't know where to appreciate a piece of music, and they can't use their knowledge of music history to guide their music performance.
The philosophy of practical music education puts forward that the excellent interpretation and performance of a musical work or an important part of a musical work is enough to specifically prove that a student understands the relevant aspects and characteristics of the work and knows how to guide his own thinking in musical behavior. . Music listening is a kind of rich thinking and understanding, and a rich source of self-development, self-awareness and fun. Music literacy is the key to realize these life values in the context of music listening? . So, in? Chinese and western music history? In the process of music appreciation teaching, teachers should teach students how to appreciate music.
The author believes that music appreciation teaching can be carried out from two aspects: music ontology and music historical facts. Music noumenon refers to the appreciation based on the related factors of music itself, including melody, rhythm, timbre, harmony, form, mode and tonality of musical instruments or singers. The appreciation of music historical facts should be based on the overall style of the era in which the music works lived, the personal experience of the music composer and the historical and cultural background of the music works, which will help students understand the music works and grasp the deep ideological connotation of the music works. For the appreciation of China's music works, students should be guided to feel the timbre and grasp the artistic conception. Is China's traditional music influenced by Laozi? Loud? The influence of his music aesthetics does not pay attention to accurate intonation and rhythm, but pays more attention to creating a unique artistic conception of music works through subtle changes in timbre. For example, students can understand the meaning of music by enjoying the music "Yangzhou Slow" directed and performed by Jiang Kui. By listening to music, they can feel some unique developments in its melody, such as the fourth and seventh tones, or some changing court sounds, business sounds and logo sounds, find some differences between it and modern folk music in China, and feel the unique artistic charm of music in the Song Dynasty. For another example, when appreciating "Three Chapters of Yangguan", which is written according to Wang Wei's famous poem "Farewell to Twenty Shores" in the Tang Dynasty and is regarded as one of the top ten piano pieces in China, teachers can let students first realize the deep feelings of parting contained in the poem and the sincere feelings of the author's infinite nostalgia for his friends who are about to travel, so that students can enjoy the music works with this emotion and sing the mixed chorus adapted with emotion. In this continuous sublimation teaching process, let students fully understand the artistic conception of music works in the process of feeling, listening, appreciating and singing.
Second, change the classroom teaching center to cultivate students' analytical ability
Tradition Chinese and western music history? Teaching often takes teachers as the center of classroom teaching, and students lack initiative consciousness and the ability to analyze, study and solve problems independently. In today's information age, there are many online media, so we constantly reflect on a question: What can we teach students? Nowadays, students can easily obtain music history knowledge and audio materials through the Internet. If the teacher still follows the book, students will find the course of music history very boring, and the knowledge in books can be read by themselves, and the knowledge that is not in books can also be obtained through the internet. What knowledge should be taught in the teaching of music history?
The philosophy of practical music education puts forward that an important task of music education is to make students think professionally about music performance practice and music listening by carefully selecting all kinds of music. Let students carry out music teaching activities by comparing expressive records and non-expressive records for the purpose of music performance? . Studying music from the perspectives of human musicology, anthropology, sociology, feminism, semiotics and analytical philosophy has deepened our understanding of how culture and consciousness regulate music production and music listening. Chinese and western music history? In teaching, students should be guided to analyze and study music from multiple angles and dimensions, so as to have a more comprehensive understanding of music.
The author believes that in? Chinese and western music history? In teaching, we should cultivate students' ability to study musicians and music works, so as to improve students' ability to analyze and solve problems. Teachers should give students more initiative in class, and they can arrange tasks in advance, so that students can use their extracurricular time to consult relevant documents, search for knowledge and information, and return to class with questions, so that everyone can communicate, analyze and discuss together. Only the knowledge gained through in-depth thinking and research is the real knowledge.
Teachers can define the scope of material selection for students from two aspects. Let students take a piece of music as an example, sum up the methods of music appreciation, and at the same time, combine their personal performance and singing experience to complete a research paper on music works. For example, when appreciating Chopin's piano works, students can be guided to study the expression of melody, the transformation and change of harmony, the design arrangement of structure, the contrast of timbre, etc., and at the same time, combined with the composer's background of the times or his own performance experience, he can fully understand the music works. In this way, through in-depth analysis and research on music works and composers, students can not only turn their personal appreciation experience into rational knowledge, but also gradually form the habit of thinking and writing, which will have a far-reaching impact on future music learning. Second, let students compare musical historical figures or musical works, so as to gain knowledge of musical history and have a deeper understanding of musical historical facts, musicians and works. For example, in the teaching of Baroque period of western music history, students are guided to compare Bach, Handel and Scala, and fully feel the creative style of music composers in this period. By studying the genre, style, application of musical techniques and performance characteristics of his music works, students can understand the differences between the three composers in music creation on the basis of grasping the overall musical style of this period, which will bring important enlightenment to students in playing their music works in the future.
Third, enrich classroom teaching forms and improve students' musical literacy.
Tradition Chinese and western music history? The teaching form is too simple, with teachers teaching and students listening, and students often play? Passive audience? This role. Because they can't participate in music practice activities in person, students' interest in the course is not strong, their investment in learning is not enough, and the teaching effect is not obvious. Let's talk about students, right? Chinese and western music history? Lack of systematic understanding of the course content, unable to integrate the knowledge learned.
The philosophy of practical music education puts forward that in order to cultivate students' music literacy, students must devote themselves to the music practice (or music culture) they want to learn and become one of them? The authenticity of teaching plays a decisive role in students' music learning and learning depth, that is, knowledge cannot be separated from its original context of learning and use. Cultivating music literacy is to attract students into a special music culture? . ? Practice? This word emphasizes that music should be related to the actual music creation and music listening in a specific cultural context, thus proving the significance and value of music. So? Chinese and western music history? Teaching must be closely linked with music performance and practical activities, so that students can gain more personal experience.
The author thinks? Chinese and western music history? Teaching should be integrated in more forms to improve students' comprehensive musical literacy and musical practice ability. First of all, classroom concerts can be used in teaching, so that students can show the musical instrument performance and vocal music singing related to the classroom content on the spot, which can not only train students' musical performance level, but also give students the opportunity to feel the charm of musical works on the spot, thus helping students better understand the works, grasp the style and characteristics of musical works, and form a good understanding of the musical instrument and the musical creation style of the period. Secondly, we can organize and carry out various artistic practice activities, so that students can gain more musical feelings in these activities. For example, in the teaching of music history in China, when teachers introduce Jin Xiang's modern play "Yuanye", they can organize students to collect information from many aspects, including the video of the play, Mr. Jin Xiang's introduction to the creation of the work, and various comments and thoughts, so that students can guide and perform the play in combination with their own professional studies. Another example is that Zhao Yuanren is a native of Changzhou, Jiangsu Province, and Qingguo Lane, where he lived in his early years, is a gathering place for historical celebrities in Changzhou. Let students visit the former residence of celebrities in their spare time and feel the unique humanistic atmosphere there, so as to have a more intuitive understanding of Zhao Yuanren's works. Through such music practice activities, students have deepened their understanding of music works and composers. Thirdly, through carrying out teaching practice activities, let students go to the podium, exercise their eloquence, cultivate their teaching attitude and increase their experience. At the same time, teachers put forward some opinions and suggestions on their teaching attitude and the use of teaching methods. Through such activities, students can understand the basic process of teaching, better understand what they have learned and reflect on their own learning, so as to gain experience and make continuous progress.
Under the background of today's comprehensive disciplines, in the past, the teaching mode of skill class teachers only taught students playing or singing skills, while the teaching mode of theory class teachers only taught theoretical knowledge could not meet the requirements of the times. Teachers should actively change their ideas, take it as their responsibility to cultivate high-level talents with comprehensive literacy, learn from others in the teaching process, let students get similar learning experiences, integrate more personal understanding of music in the process of music performance, and truly improve students' musical literacy. As Professor Eliot said, the future depends on improving our philosophical understanding of music, improving the musical literacy of pre-service and in-service teachers, and making music education more musical, artistic and creative. The value of music education can only be realized by deepening and expanding students' music literacy; These values are realized through the quality of music time that our students think in action, and are most effectively displayed to parents, teachers, managers and school boards.
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