In our daily study, work and life, everyone will be more or less exposed to papers. Thesis is a means to study some academic problems. So how to write a good paper? The following is my paper on the purpose and method of lectures for you, hoping to help you.
First, why do you want to "lecture"
At present, "lecture" has become a kind of work experience exchange method often used by many kindergarten teachers, whether in kindergarten or in a wider range of peer exchange activities. Since it is a way to exchange work experience, the purpose is naturally simple: first, share some work experience through peer exchange, hoping that peers can get useful inspiration from it; Secondly, by communicating with peers with different levels of familiarity, exercise their expressive ability and self-confidence; Third, in fact, the most important point is to seize the opportunity and listen to the different opinions of colleagues, so that we can rethink, broaden our horizons and improve our design teaching ability.
In recent years, I have personally participated in various peer gathering activities, from grade groups or teaching and research groups, or kindergartens, to municipal, provincial, national and even international conferences. No matter what the scope, lectures are actually to "explain" the design intention of their teaching activity plan to colleagues in clear and clear language, and to trigger their responses to related questions.
Personally, I prefer a lecture that can stimulate my thinking, because as an audience, I take the time to sit here and listen because I am motivated to be inspired by the speaker. And generally, in a relatively short period of time, if my thinking is not stimulated and improved, my brain will soon feel tired and will be distracted involuntarily. Therefore, it's best not to take the lecture as a monologue, but as a dialogue.
Second, how to "lecture"
"Speaking class" is a concept relative to "attending class". That is to say, the lecturer didn't really perform the class he designed in front of his peers, but described or explained the class he was going to perform or the class he had performed. In this state, it is very difficult to activate the corresponding experience if the peer audience has not just finished watching the lecture given by the lecturer. So it is also difficult to enter the situation described in the lecture and its * * * sound.
According to the types of speeches I have seen that I feel can stimulate, briefly talk about some possible speech skills.
(A) "direct" skills
On the premise that most colleagues have just finished watching the lecturer's lecture, our lecture can be straightforward, but don't pursue the effect of "gorgeous speech" too much and go straight to the point. This topic can be: the discovery that the lecturer thinks is most worth sharing with others, a "golden idea" or the design of a teaching aid and learning tool; It can also be a doubt, a lesson, or a feeling of confusion and confusion. Moreover, when putting forward these views, the speaker should try to imagine in advance whether his speech can "dock" with the experience of his peers and whether it can stimulate their positive thinking and interest in talking with you, instead of inspiring their appreciative expressions and warm applause. If you can't effectively stimulate the audience, they will soon fall into a state of boredom, and naturally it is not easy to achieve the * * * effect expected by the speaker.
(B) "recording clip playback" skills
As mentioned above, it is difficult for listeners to enter the speaker's situation, at least in part because they have no experience with the speaker. Even a fellow listener can hardly recreate a scene that can be sung with the speaker in his mind according to the speaker's language. Therefore, when the lecturer is facing most of the audience who have never observed the class, the qualified lecturer can play back the fragments that need to be explained or discussed in the class record to the audience, so that the audience can directly experience the scene with their own senses before listening to your explanation or participating in your discussion, and everyone's participation enthusiasm will naturally be much higher.
(C) "supplemented by the division of business design" skills
Moreover, it is difficult for listeners to enter the speaker's situation, partly because they have no experience with the speaker's students or the speaker himself. As the saying goes, "it is not difficult to judge people." Even kindergarten teachers, if they do not participate in the actual operation of teaching teachers and children, may not be able to experience similar joys and sorrows with teachers and children who have attended classes in many cases. Therefore, when necessary, the lecturer may also invite his audience to be "himself" or the children in the class, so that everyone can experience the specific design fragments that need to be shared or discussed. Let the audience experience the scene wholeheartedly and directly, and then listen to your questions or participate in your discussion. Everyone's enthusiasm for participation will naturally be higher.
(D) "Invite the audience to try first" skills
This is a very interesting technology. In other words, the lecturer will first provide his own materials or goals to the peer audience to stimulate their design enthusiasm, then invite the peer audience to show their design ideas first, and finally put forward their own different designs for communication. This kind of teaching method can often arouse the enthusiasm of peers. Moreover, for lecturers and listeners, they can broaden their horizons and get self-improvement and improvement from mutual communication.
Third, several related lecture examples.
(a) Relatively simple skills
1, the observation class has just ended. Teacher: After class today, my most puzzled question is, what is the use of this atlas I designed? The original idea was to help children better master the rhythm of this dance, but I don't see how it can help children learn this rhythm. I don't know if the map itself is not well designed or it can't be used for teaching. I hope you can help me clarify this problem. Everyone actively participated in the discussion, and many people put forward' the problems of atlas design itself' and gave more reasonable suggestions; Many people even pointed out directly that there is no need to use a map at all, just use the password of "step, jump and step" to completely solve this problem. )
2. Just after the observation class, I taught the teacher: When I took this class at home for the first time, everyone gave me advice, saying that I "taught" too much, which would inhibit the creative development of children. After the adjustment, I went to this class for the second time. Everyone gave me advice and said that I didn't help my children improve at all. Today is my third time in this class, and I still feel that the relationship between "teaching and not teaching" has not been properly handled. I hope everyone can help me figure out: what should I teach and what should I not teach?
Moderator: Should we help the teaching teacher think about it: In the last place where butterflies fly freely, what aspects can the teacher guide the children to improve their performance? Observation teacher A: Rhythm ... (in harmony with music)
Observation teacher B: Exchange and cooperation, such as Qi Fei ... (get along well with others)
Moderator: Very good, the idea has come out! How do butterfly wings make different changes? (Action change, creativity)
Teacher C: You can put it in different parts of your body and fly in different directions. ...
Moderator: Can you put your hands in different positions?
Teacher D: Of course, you can also draw different routes. ...
Teacher e: you can also go out of different routes ... (the concept of spatial movement and change)
Observation teacher F: You can also fly, stop, stop modeling ... (There are many factors and complicated combination ideas)
Moderator: Now we have collected so many ideas. Have you all written it down? Can other similar activities be used? Teacher, are you satisfied with your help? (The teacher smiles and nods) Are we all satisfied with our construction work? (Everyone laughs and applauds. )
(B) the relative "recording clip playback" skills
The author just visited the Austrian Orff Institute from April 27th to 29th. The following is an example of Professor Lina Gu's live lecture.
1, folk dance learning
(1) Sitting in a circle, we learn to do three actions: slapping our legs, clapping our hands and circling with both hands.
(2) Sitting in a circle, we follow musicology to do three actions: clap our legs, clap our hands, and circle our hands.
(3) Sitting in a circle, we follow musicology to do three actions: clap our legs, clap our hands and circle our hands. When you clap your hands, you will replace the selfie with a fixed partner next to you.
(4) Walk freely in the music of patting legs. At the beginning of clapping music, sit in any chair and do two other actions. When clapping, replace the selfie with an imaginary partner in the circle.
(5) Walk freely in the music of clapping your legs, and quickly find a partner to clap your hands together and circle your hands in the music of clapping your hands.
(6) Walk freely in the music of clapping your legs, quickly find a partner to clap your hands with in the music of clapping your hands, and rotate with your partner at the beginning of the music.
(7) Walk freely with the partners you knew before in the music of clapping your legs, and quickly find another pair of partners in the music of clapping your hands. Individuals clap with their new partners, and their hands rotate with their new partners at the beginning of the music.
2. Interpretation of the concept of instructional design
(1) From our practice just now, we can see that we are not learning skills, but playing games together.
(2) We communicate with dance and music, and build a relationship of mutual trust between people through games.
(3) We get a lot of returns through simple methods.
(4) There are many hidden rules in our game. Through these hidden rules, we can develop people's musicality, individuality and sociality.
3. Comprehensive music performance learning
(1) We observed and imitated a simple flapping momentum of 4 beats (hand, hand, chest, hand, chest).
(2) We turned around and practiced the simple flapping momentum of 4 beats simply through auditory imitation.
(3) Observe and imitate the simple flapping momentum (hands, hands, chest, legs, legs) of another 4 beats.
(4) We turned around and practiced the new 4-beat simple flapping momentum simply through auditory imitation.
(5) We will practice two different 4-pats together.
(6) Make an 8-beat gesture as mentioned above, and stop to watch the teacher make an 8-beat improvisation. Every time we repeat, our momentum remains the same, and the teacher's is always different. )
(7) Let's do the above 8-beat momentum A together, and each of us will do an 8-beat improvisation B. Every time we repeat it, we can always improvise at will.
(8) Let's do the above 8-beat momentum A together, and each person will take turns to perform an 8-beat improvisation B alone.
(9) Let's make an 8-beat bluff, stop and watch the teacher make an 8-beat improvisation, and add interesting phonetic rhythm. Every time we repeat, our momentum remains the same, and the teacher's is always different.
Later, the teacher gradually added melody, lyrics singing, harpsichord playing and percussion playing. Every time the teacher starts, we observe, imitate and improvise. Every time, A imitates the unification, and B improvises first and then becomes independent. Finally, it was built into a large-scale comprehensive music cooperative performance with a prelude and a gradual ending.
4. Overview of instructional design concepts
(1) We all learn through regular (step by step) procedures.
(2) We all show that we can let everyone play freely.
(3) In fact, everyone needs guidance, giving you a "note" (example) that reflects the hidden rules and guiding you to go on freely.
Four. abstract
I don't know if you can understand and agree with the teaching purpose and teaching method with the purpose of "self-improvement and mutual promotion" through the above sharing. In any case, this method has achieved its goal. Since the lecture is for others, of course, we should pay special attention to whether the audience is willing to listen. Since the audience in the same industry listens for self-improvement and self-improvement, of course, we should pay special attention to whether the auxiliary methods such as words can build a bridge for professional experience exchange with the audience. This is the same as what we often say, "Teaching should be based on children's original experience in order to stimulate children's enthusiasm for learning more effectively".
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