What is music education? Aesthetic education? On the one hand, with the improvement of economic conditions, people's demand for diversified artistic life has increased. The number of cello learners in China is increasing year by year, and the learning population is diverse, and it is developing towards a younger age, but there is still a gap compared with the popularity of other musical instruments. In addition, for the development of cello itself, its educational development speed has not kept pace with the growth of the number of learners, and a complete teaching system has not been formed. Learners of different ages have problems in the teaching process. This paper analyzes the breadth and depth of cello popularization education, and puts forward corresponding countermeasures.

Keywords cello universal education, interest in teaching students in accordance with their aptitude

Abstract: Music education is an aspect of "aestheticization". With the improvement of economic conditions, people's diversified demand for living art has also increased. The number of cellos in China is increasing year by year, and the learning population is diversified and younger, but there is still a gap compared with the popularity of other musical instruments. In addition, for the development of cello itself, the development speed of its education has not kept up with the growth speed of the number of learners, and there is no complete teaching system, so there are problems in the teaching of learners of different ages. This paper analyzes the popularization of cello education from the breadth and depth, and puts forward some corresponding countermeasures.

Personalized interest cello education

With the educational reform, quality education has been paid more and more attention, and educators pay more attention to cultivating students? Moral, intellectual, physical and artistic work? All-round development What is music education? Aesthetic education? On the one hand, coupled with the improvement of economic conditions, the number of people learning cello has increased significantly. But at the same time, it also brings a series of problems such as imperfect cello education mode and method. Below, the author will list some problems existing in the process of cello popularization education and put forward some corresponding countermeasures.

First, the problems in cello popularization education

First of all, from the perspective of the breadth of cello popularization education, although the number of cello learners has been increasing in recent years, the number of learners is diverse, but compared with other musical instruments, the popularity is narrow and the personnel are relatively single. At present, there are basically three kinds of people who come into contact with cello in China: children with special skills, some students in normal universities, professional cellists or professional cellists' reserve candidates. On the one hand, learning as a stringed instrument is difficult, time-consuming and expensive. On the other hand, if the publicity is not in place, the fewer people learn cello, the slower the growth of the number; When the number of people learning cello increases, the growth rate of the number will also increase accordingly. ? Having fun alone is not as good as having fun with others? It is better for several people to learn a musical instrument than for a group of people to learn a musical instrument together, and gradually let this musical instrument be known to more people. If the cello has always been? Niche? Musical instruments, without the deep mass base of learners, will lose the guarantee of lasting vitality.

Secondly, from the depth of cello popularization education, we haven't established a complete education system for students with different learning levels or different purposes to learn cello, and the teaching is loose and unsystematic. For example, the cultivation of cello students in normal colleges basically copied the curriculum arrangement and education model of professional students in professional colleges. However, their training purposes are totally different. The former will be trained as cello teachers and teach more students to learn cello. The latter pays more attention to playing skills and skills training to become a professional cellist. Different training directions use the same curriculum arrangement and training mode, and lack of accurate positioning for different groups of people, which hinders the final practical effect of learners with different purposes. In the teaching process, there are still some problems, such as insufficient education funds, single curriculum system, and the quality of learning objects declining year by year.

Second, the problems and countermeasures in cello popularization education

First, cultivate learners' interest, especially young learners. For young learners who haven't started yet, teachers should learn to put themselves in the learner's shoes, communicate with them with enough patience, and guide them to love cello in a game or a way that learners like. Then, start with the simplest cello knowledge and explain it step by step, so that they can love from the heart instead of being forced to accept it. For adult learners, interest is more focused on stimulation, which can be done in two ways: first, to appreciate the works of cellists and stimulate students' worship of high-quality music; The other is to organize or participate in cello performance competitions. In this kind of competition, music competitions between peers and witnessing the exquisite interpretation of others can stimulate learners' learning motivation and carry out autonomous learning.

Secondly, learners with different purposes should be trained according to different training schemes. From the purpose, it can be divided into cultivating learners with special interests, normal college students who will teach cello courses in the future, and professional students who want to become professional cellists. Teachers pay more attention to cultivating students' interest and mastering basic playing skills. Students can play simple songs by themselves and teach themselves. For normal college students, teachers should accurately locate their future development direction. After referring to the curriculum system of students majoring in specialty, according to the orientation, the course difficulty is reduced, and the practical teaching part is increased to form a curriculum system that conforms to the future development direction of normal students. For professional students, cello teaching should not stick to the domestic development reference, but should be in line with the international advanced level. Conditional schools increase the funds for international exchanges between teachers and students, facilitate exchanges and study abroad, and employ teachers with old qualifications and rich teaching experience to teach.

Thirdly, for learners at different stages, they should also be trained according to different training programs. From the stage division, it is divided into zero foundation entry, certain foundation and close to professional level. Beginners of zero-based learning are mostly young learners. For students with zero-based learning, teachers should focus on cultivating learners' good piano playing habits, such as sitting posture, fingering and bowing. Good habit of playing the piano is the foundation of future progress. In addition, when teaching children to play the piano, teachers should adjust the teaching plan according to the growth and changes of different ages, physiology and psychology. For students who have a certain foundation and are close to the professional level, teachers should actively communicate with learners and cultivate them according to different needs. However, in the process of playing, both of them need the combination of theory and practice, skill and emotion. Practice makes perfect, and emotional music can be full and penetrating.

label

As a part of music education, cello education can cultivate sentiment and enhance learners' perception of beauty. Many music works are composed of story lines, and the complex thoughts and feelings contained in them are conveyed to the audience through cello sound, priorities and so on. No matter in the process of listening or practicing, learners will feel the fluctuation of thoughts and feelings in music, and then internalize the realized thoughts into cello performance and then create creatively. This process not only improves learners' playing skills, but also enriches their feelings in the world of music, purifies their hearts, guides them to feel and love life, and gradually realizes the charm of music, culture, life and humanities in the process of learning.

References:

[1] Wang Xing. Research on cello teaching in music education in normal universities [D]. Guangxi Normal University, 20 12.

[2] Ao Zheng. On cello teaching in music quality education in art colleges [J]. Journal of Chifeng University: China Philosophy and Social Sciences Edition, 2009( 12).

[3] Hu Xintian. On the development of cello art in China from China National (Youth) Cello Competition [D]. Henan University, 20 13.

[4] Ning Tao. Analysis of some problems in cello teaching in colleges and universities [D]. Shanghai Conservatory of Music, 20 13.

[5] Guan. On Several Problems in Children's Cello Teaching [J]. Art Education, 2008(7).

;