I have been engaged in music teaching for 12 years. I deeply feel that taking music aesthetics as the core and students as the main body, encouraging and inspiring students to create music, putting students' feelings and participation in music in the first place, and interaction between teachers and students will receive unexpected good results, that is, letting students do it themselves.
First, music teaching should face all students, respect students and give full play to their main role;
According to the viewpoint of "advocating the integration of disciplines" put forward by the new concept, I take music as the main line of teaching, and construct the connection with other disciplines through specific music materials. In classroom teaching, I give full play to students' main role, inspire, induce and really arouse students' interest, invite them to participate in classroom design, provide diversified music practice opportunities, and make students feel that they are the masters of the classroom. In class, students will actively participate in activities.
Nowadays, music textbooks are more contemporary, but the original intention of aesthetic education has not changed: to carry forward national art, to love the world's diverse music, to cultivate students' upward and sound personality, to love music and to love life. In teaching, apart from basic blowing, pulling, playing and singing, if a music teacher does not master proper teaching methods and has no language skills to communicate with students at any time, how can he make students "trust their teachers"?
(1) Give full play to students' abilities and boldly delegate "rights";
When preparing lessons, I assign tasks according to the actual situation of students and let everyone make suggestions. The result often makes my eyes shine: my students are so good!
For example, in the lesson preparation of Unit 4, Book 16, I mobilized all the students to collect all kinds of information about the Zhuang nationality and encouraged them to use information technology to find what they needed and communicate with each other. In class, I asked my classmates to show their collected results. Everyone was very excited and spoke actively. Some students spontaneously divided into groups to sing strong songs. Some students listen to songs and improvise. I am happy for everyone's careful preparation. I asked my classmates to sing it again, and I danced with the music. While the students cheered, they were also willing to participate, which attracted their attention for my subsequent classroom teaching. In the second class, while the iron is hot, I teach the students some basic movements of Zhuang nationality, so that they can practice art in groups spontaneously. When performing and communicating, I immediately propose some creative movements to the students. Encourage them to continue to create and study in their spare time. In this way, several literary and art backbones, together with me, extended the classroom content and enriched the children's extracurricular cultural life. At the same time, the minority art represented by Zhuang's songs and dances has quietly taken root in students' hearts, laying a good foundation for them to learn other national arts in the future.
(2) Encourage and inspire students' reasonable musical imagination.
Because music has the fuzziness that language can't summarize, it is more conducive to giving full play to students' rich associations, which is the basis of creativity and can be improved in music practice. Therefore, I pay special attention to cultivating students' imagination, giving them room for music creation, and freely using various methods to innovate and discover themselves.
I didn't tell the students the title of 15 erhu song "Horse Racing". Instead, I asked them to associate the music situation and say the name of the song while listening. The enthusiasm of the students was mobilized, and they threw themselves into the music to think seriously and discuss excitedly in a low voice. I am amazed at the children's rich imagination. There are seven or eight musical names: running, grand festivals and running horses. The students burst out laughing. I was shocked and quickly stopped everyone from laughing with my eyes. Seeing him embarrassed and unconvinced, I sincerely and kindly asked him to explain his reasons. He is righteous in his words, and thinks that the music shows the cheerful scene when the river is boiling and the pony crosses the river. I immediately affirmed his novel imagination. Looking at everyone's puzzled eyes, I smiled and explained: music brings different feelings to everyone, and we can't ask everyone to be the same. As long as we can all be attracted by the truth, goodness and beauty expressed by music, and have a strong * * * sound with it, and love this work, there is no problem. In the future music teaching, I found that Liu Yun was more active and encouraged other underachievers to learn. I think from a psychological point of view, praise can stimulate people's self-motivation. Therefore, I never hesitate to praise myself, especially for underachievers. The students have made a little progress.
2. Infiltrate patriotic education with passion;
Music is an emotional art, and music education itself is an emotional education. Teachers should let students receive patriotic education unconsciously through various colorful teaching activities. Patriotism is embodied in music teaching, not by empty preaching or by teachers' blunt indoctrination. Teachers' scientific and technological induction and proper infiltration will often receive good results.
In music class, I try my best to integrate into modern music, grasp students' aesthetic psychology and cultivate their interest in music in time. In folk songs, folk music and related teaching, I use various audio-visual teaching methods, beautiful model singing methods and vivid explanations to moisten and impress students' hearts. With the advent of the internet age, I pay more and more attention to multimedia-assisted teaching and broaden students' horizons. As long as teachers pay attention to "feeling with emotion", they will certainly be able to mobilize their enthusiasm. Cooperate with the teacher to study. In this way, an active, interactive and democratic atmosphere will be formed in the classroom and good results will be achieved. The most direct and effective key to stimulate students' emotions depends on the scientificity, skill, diversity and basic skills of teachers' teaching.
(1) Teachers should be enthusiastic about music teaching and infect students with their heart;
Teachers should purify students' hearts with the breathtaking beauty of sound, melody, colorful lyricism and structure, and cultivate students' upward and sound personality with the "soul" and "flowing poems" of music.
For example, when teaching and singing the thirteenth volume of Youth Dance Music, I first guide students to exchange information about Xinjiang Uighurs. Then, I invited them to enjoy an audio-visual material about the beautiful scenery of Xinjiang, so that students can have a further perceptual understanding. And I sang the song "mayila" with a deep voice, which made my classmates influenced by beauty again and became interested in "I want to learn". When teaching and singing songs, I inspire students to learn songs by reading music in the form of competitions. I learned songs, too. The teaching effect is naturally better. When dealing with songs, I asked them to discuss in groups to find the best way to sing. During the discussion, the students deepened their understanding of the songs. At this time, my beautiful model singing will make students compare their own shortcomings in singing, express their emotions with more accurate songs, and improve their musical expression. After the teaching, I joined the patriotic education to inspire students to think. Let them have feelings for the work. Students are willing to accept this form and will be more interested. Invisibly improve students' aesthetic ability. In teaching, teachers should create situations according to the characteristics of songs, let students integrate into them, finally realize the beauty in music, and then show the songs. It is particularly important for students to grasp the connotation of the works.
(2) Teachers should stop at key points so that students can get information;
Teachers' language should make the finishing point, so that students can understand what they want to say. In the fifteenth volume of Grassland Teaching in Inner Mongolia, after the students mastered the basic melody of the song, I proudly introduced to you: "Mongolian songs were sung while grazing on the vast grassland, and formed an enduring" long tune "over time, which is known as the" living fossil "of Mongolian culture. In 2005, Chinese and Mongolian students felt a sense of national pride. I don't need to seriously educate students how to love minority art, and everything goes without saying. After the second creation of songs, students will be interested and form interaction between teachers and students, which has a very good effect.
Third, strengthen your ability to control the classroom and be a good "guide" for students;
While using multimedia teaching properly, I constantly improve my music quality and convey the beauty of music art to students with beautiful piano sound, emotional singing and graceful dancing. I think the teacher's model performance, model singing and model dancing can often narrow the distance between teachers and students, which is irreplaceable by famous musicians. If students learn to sing, they should always observe singers. I always listen to famous musicians before playing music, so how can a music teacher become a projectionist to embody the characteristics of music discipline? So, if I can demonstrate by myself, I don't rely on multimedia. I try my best to let students hear my model sing or play, and avoid taking music class as a single appreciation class. In the process of emotional communication with me, the students gained aesthetic pleasure.
(A) the use of a variety of teaching methods to activate the classroom;
As the saying goes: there are laws in teaching, but there is no fixed law. This is the key. If you want to activate the classroom, you must face all the students, let them participate in various music activities, narrow the distance between music and students, and let them gain aesthetic experience and enjoy the aesthetic pleasure of music. Every student has the right to learn music in his own unique way, enjoy the beauty of music, participate in various music activities and express his personal feelings. In the process of students' music practice, instead, students are the main body: let students say what they can say, let students do what they can, guide them to participate in various music activities as much as possible, and leave simple and interesting activities to underachievers as a good way to let students enter the music world and gain aesthetic experience. In the activities, students will enhance their self-confidence, then have a good sense of cooperation, and improve their social communication skills.
For example, when teaching the song "red river valley" in volume 15, I mobilized the students to come to a conclusion through discussion: the mood of this song is slow and melodious. I deliberately sang this song with a cheerful voice, and the students couldn't wait to speak, "You are not singing right! No ... "I asked at the right time," What way do you like to sing? " Students will repeat the results of the discussion in chorus: songs should be expressed in a slow and melodious voice. At this time, let everyone sing, which not only deepens the impression, but also enlivens the classroom, and the effect will be better. Humorous language is the regulator of classroom atmosphere and the favorable guarantee of music teaching activities. Teachers' timely and humorous words can bring students into a relaxed and happy teaching situation, enliven the classroom atmosphere and relieve students' fatigue. At the same time, teachers' humorous words can shorten the distance between teachers and students, avoid conflicts between teachers and students, and arouse students' initiative and enthusiasm in learning.
(2) The teaching language is concise, few but precise;
Suhomlinski believes that teachers' language is an irreplaceable tool that acts on the thoughts of the educated. The art of teaching is touching language art, and teachers must have certain language ability because they carry out teaching activities through language.
In music appreciation class, it is necessary to introduce some composers. Appropriate introduction can smoothly introduce students into the artistic situation of music appreciation. I will pay attention to the object and make appropriate choices. Teachers must organize and choose composers on the basis of understanding students' reality (including cognitive level and understanding ability). In this way, students can easily accept them and teachers can easily introduce new lessons. Introducing the author is the most taboo. Everything. This not only occupies a lot of teaching elbow, but also seriously affects students' interest in learning music. Therefore, the introduction of composers should focus on life, creation, style and other aspects that are conducive to students' learning and appreciation of music, so as to achieve a broad vision and a novel angle; Not only highlight the key points, but also pay attention to the excavation of content depth, thus laying the foundation for students to appreciate and understand music. For example, when I appreciate Chopin's string quartet Andante, I want everyone to enjoy his piano solo Nocturne first. I caught a key point, starting with the genre of nocturnal, so that students can understand that nocturnal refers to piano ditty, which is usually quiet, thoughtful and romantic. Then focus on letting students know that Chopin's nature is naive and romantic. Although his life is more bitter than pleasure, he can create elegant and happy music works through painful experiences. In this way, students can better understand Chopin's character and works. When appreciating his cantabile, students will find the same melody and similarities between them. Learn to sing the song "Night Walk" in the second class.
(3) nuanced handling.
Most aspects of teaching have been noticed, and details cannot be ignored. Teachers should pay attention to every element of songs, such as the handling of singing marks, the grasp of emotions, the expression of regional styles, etc ... The second creation was unsuccessful, and students could not perform songs well. At this time, in order to deepen the impression of students, I often say irony, or sing it with a white voice model, or sing it with an ironic expression model, so that students can compare themselves. Discuss a good way to express songs. Students pay attention to these details when dealing with emotions, and the beauty in songs will be shown. Students know that such songs are beautiful in practice, which improves their aesthetic cultivation. Then, when they encounter some meaningless pop songs, they can consciously resist them with their own healthy aesthetic standards.
Fourth, the future vision:
Through aesthetic-centered teaching activities in and out of class, students sing more passionately than before; Music nourishes friendship in life; I also have a deeper feeling for music ... I think people have more interest and love for music and improved their aesthetic standards and abilities. In the future, I will continue to carry out targeted teaching activities inside and outside the classroom to improve students' aesthetic ability and lay a solid foundation for their lifelong love of music.
Having said that, I want to say: teachers, middle school students have their own independent thoughts and have certain learning ability. Let's gradually let go of their hands, give them more opportunities to learn independently, give full play to their rich creativity and help them move towards a better future!