Choose excellent teaching materials (including textbooks, audio, audio tapes, video tapes, CDs, auxiliary materials, etc.). ), because these things are the material conditions to cultivate students' music appreciation ability.
In teaching, we should give priority to listening to music, supplemented by discussion and explanation. Mainly listening to music, the purpose is to mobilize students' subjective initiative, so as to play their imagination, and then make their own understanding and evaluation of music works. Some people may say: How can students understand music without explanation? Here, we want to say: "Please believe in the students' ability. A music psychologist put it well: "It is also valuable to listen to great music works quietly without comment." ... because great music works always touch people. "Therefore, we emphasize the importance of listening to music. However, this does not mean that discussion and explanation are excluded. Because in teaching, discussion and explanation are, after all, important teaching methods and play an important role in improving students' music appreciation ability. The key to the problem is how to put the relationship between listening, discussion and interpretation right, that is, this relationship should be "music appreciation, supplemented by discussion and interpretation."
To improve students' music appreciation ability, we must seriously cultivate their association and imagination ability. For example, when students listen to suona's solo "A Hundred Birds Facing the Phoenix", they will associate with the chirping of various birds in nature, and then imagine the lively scene of a wedding ceremony in the northern rural areas of China through this association, and experience the warm festive atmosphere and joyful celebration. Another example is that when students appreciate Beethoven's Fifth Symphony, they may have all kinds of free imagination-about personal destiny, class destiny, social development and so on. It should be said that this ability of association and imagination is an important basis for improving students' music appreciation ability.
To improve students' music appreciation ability, it is necessary to guide students to collect and master the necessary relevant materials. In this regard, it is especially necessary to guide students to learn to consult reference books and learn to identify useful related materials, so as to promote students' self-study ability and lay a good foundation for their lifelong learning. For example, when guiding students to listen to 18 12 overture, they can be guided to refer to the historical background of the Russian-French war of 18 12, so as to understand the strategic deployment of Napoleon and Kutuzov and the development of the war. You can also learn about the background of Pyotr Il'yich Tchaikovsky's music creation, as well as the basic content and theme of music. This practice not only gives full play to students' initiative in learning, but also greatly liberates teachers' teaching work-reducing the pressure of explanation and enhancing the opportunity to guide students to play their initiative.
In order to improve students' music appreciation ability, intuitive teaching methods should be adopted in the teaching process to give full play to students' synaesthesia of various senses. For example, when guiding students to appreciate Beijing opera music, we should let them watch videos, listen to vocals, look at facial makeup and costumes, understand stage art, use gongs and drums, learn to read white characters and walk on stage, and even learn a aria or two ... Students will have a deeper understanding and evaluation of Beijing opera art through a variety of sensory feelings and experiences. Obviously, it is of great benefit to improve students' ability to appreciate the art of Peking Opera.
To improve students' music appreciation ability, it is necessary to constantly penetrate the criteria for judging the truth, goodness, beauty and falsehood, ugliness and ugliness of music art in the teaching process, including the social value and artistic value of music. Of course, this infiltration should be accompanied by listening to music, rather than boring explanations of philosophy, aesthetics, sociology and so on. For example, when instructing students to sing Beethoven's Ode to Joy, we should guide them to know what progress the content of this song had at that time, what practical significance it still has today, what are the beautiful features of this song in music performance, what is the difference between the artist's singing and our own singing, and what are the criteria for judging elegance and vulgarity ... This infiltration will certainly affect students' musical aesthetics and aesthetic taste.
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