Aesthetic quality is one of the six first-level indicators in the target training system of primary and secondary schools. Aesthetic education cultivates students' noble and healthy aesthetic feelings and tastes by cultivating their ability to feel, appreciate, evaluate and create natural beauty, social beauty and artistic beauty. What kind of music teaching process can effectively cultivate students' emotional state and value intention, construct students' aesthetic psychological structure and form noble aesthetic sentiment, so as to cultivate all-round talents? Gaoqing county Heilizhai Central Primary School thinks that the teaching of music appreciation should be emphasized and strengthened by reflecting on the present situation of music education in primary and secondary schools for many years, so that music appreciation can become the main content of music lessons in primary and secondary schools.

First, attaching importance to and strengthening music appreciation is an inevitable requirement of quality education for music education in primary and secondary schools.

Quality education is an education for all students, which requires students to learn to be human, learn knowledge, learn to live and work, learn to appreciate beauty and learn to keep fit. In other words, the purpose of music education in primary and secondary schools is not to train musicians or a few stars with special skills, but to train high-quality people. Suhomlinski, a famous educator in the former Soviet Union, believes that it is impossible to cultivate a person's personality without art, especially without music. Japanese pop music educator Suzuki also repeatedly stressed: "Teaching music is not my main purpose, I want to create a good citizen." Therefore, we can make it clear that the task of music education in primary and secondary schools is to cultivate music art appreciators with certain musical artistic quality and high-level musical aesthetic quality, not creators, and music knowledge, skills and creativity are not and should not be the primary contents of music teaching. It is not difficult to understand that music artistic creation needs to be based on profound music knowledge and skills, and it is necessary to achieve something and have high artistic talent. The limited time of music class obviously can't meet such requirements. The teaching task of music education in primary and secondary schools should be to cultivate high-level music art appreciators through teaching activities, so as to cultivate teenagers with high musical aesthetic quality. It should be pointed out that the music appreciation mentioned in this paper includes not only the narrow appreciation as one of the teaching content systems of textbooks, but also the broad appreciation of all teaching practice activities with appreciation significance. In the words of Aalto Borev Skaya, it is "to' soak' children in a large number of music works, let them taste all music works, and directly get infected from music and absorb nutrition."

Second, attaching importance to and strengthening appreciation teaching is an important means to improve students' musical aesthetic quality.

Mastering certain basic knowledge and skills of music is not the purpose of our teaching, but a means to improve students' aesthetic ability of music. Music is a practical subject. Without practical activities, music teaching will be rootless water, and without resources, those music scores will be meaningless. As far as the actual teaching conditions are concerned, the main practical activities of primary and secondary school students can only be music appreciation. Since the main practical activity is music appreciation, we should give full play to the role of music appreciation. In fact, music appreciation is really effective in improving students' aesthetic quality.

First of all, music appreciation activities can effectively improve students' perception, cognition and understanding of music. Music is a "moving" art, and it is the most active, charming and moving art. Comenius regards "everything should be put in front of the senses as much as possible" as the "golden rule" for teachers, which is especially instructive to music teaching. Only by combining the teaching of basic knowledge with music appreciation activities can music score be endowed with vitality and naturally become a language to express emotions. In the past teaching, we often found such a puzzling strange phenomenon: the music knowledge level of junior high school students is almost the same as that of primary school students. Even if they know more, they just understand the words and have no idea of its connotation as a musical art language. The author once tested a freshman. Once in class, only one student knew that ""was an extension sign, and explained, "This is called a free extension number. You can expand it as you want." What's more, some students can actually create "quintile notes" and "sextant notes". It is obviously unfair to simply attribute this phenomenon to the teacher's failure to teach seriously. The author believes that the reason for this phenomenon is that teachers teach students musical language factors simply and mechanically like other natural knowledge points. If the teaching of music knowledge is combined with the emotional expression of music works (including paragraphs and phrases) and music language, so that students can accept and understand music scores in their feelings, and music language factors can become the language to express emotions and produce emotional sounds, the teaching effect will definitely be much better. Students can learn the meaning of tango rhythm (×××××××××××× |×××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××××× For another example, when students introduce national percussion instruments, they should not mention the names of the instruments, but simply list the numbers of the instruments. Instead, let students enjoy folk music such as Ducks Quarrel, so that they can have a more concrete impression of the expressive force of percussion instruments in the process of appreciation, and then guide students to understand the types, timbre characteristics and playing methods of percussion instruments. If lists, notes and concepts are used in teaching, the inevitable result is that theoretical knowledge is out of touch with musical expression.

Secondly, music appreciation can effectively promote the development of attention, memory and thinking imagination. Music appreciation, like playing, requires full attention. Music melodies are constantly produced. To feel music, we must rely on memory to grasp the ever-changing music language and get a complete appreciation. The artistic value of a musical work depends on its strong appeal. Every piece of music has a different musical image and its own characteristics. Some are lyrical, some are descriptive, and some are philosophical. Appreciators arouse the imagination of thinking and produce deep emotional voices through the feelings of musical works. Any musical work is inextricably linked with the feelings and experiences that have existed in the subjective world. The so-called "art comes from life". Therefore, the process of music appreciation is to stimulate students' attention, memory, thinking and imagination.

In addition, music appreciation can effectively cultivate students' creativity. Music appreciation is never passive. Passive appreciation is only a low-level appreciation in the stage of perceptual knowledge. High-level appreciation is a rational creative appreciation process based on perceptual knowledge. Music works can only be realized if they are appreciated by many people. Music works are ambiguous. There are similarities and differences, but there is no right and wrong, so there is a great possibility of re-creation (of course, there is also the possibility of being misinterpreted) when appreciating any musical work. Different appreciators of the same work transform and create aesthetic images through their different knowledge, experience, personality cultivation and emotional tendency. Even the same appreciator, due to the reserve of appreciation environment, psychology and emotion, will have a different and deeper understanding of the same work due to the change of world outlook, so that the music works will be marked with a unique personality creation mark, thus surpassing the artistic aesthetic object. At the same time, high-quality appreciators will put forward higher requirements for the creation of works and promote the development of creation.