How to Infiltrate Conventional Education in Music Activities As front-line teachers in kindergartens, you have almost all encountered such a scene: you are seriously organizing children's activities, but some children are not paying attention, some are in a daze, some are secretly playing with children next to them, and some even leave their seats to have tea. As a result, more and more children are fidgeting with you, which makes you unable to finish the teaching content as planned. How do you feel at this time? If you think it is because children are young and ignorant, they will get better when they grow up, which is undoubtedly wrong; Or you think it's because the teacher's own prestige is not enough. I don't think it's necessarily right to strengthen education for children. So what's the problem? I taught music in primary schools for six years as soon as I graduated, and just returned to kindergarten a few years ago, teaching children at least half as young as the original students. I began to feel very confident. With my six-year experience in music teaching, it should not be difficult for me to teach children such simple nursery rhymes, but after a while, the above situation appeared. I have to think about it. Compared with kindergarten children, primary school students have strong self-control ability in class and can complete teaching activities according to the requirements of teachers, while children are not. They are so emotional that it is difficult to restrain them with so-called discipline. Even if they can abide by it, it may only be a short time. As we all know, well-organized classroom teaching is the basic condition to ensure the smooth progress of teaching. Therefore, as a teacher, we should establish reasonable classroom teaching routines and let children develop good classroom habits, which has also become my imperative research work in the past two years. However, compared with other subjects, the conventional music training in kindergartens has both similarities and differences. The difference is that the conventional music training is to train children to stand, stand, sit, line up, enter and leave the activity room, and put these trainings in music activities, so that children can finish the activities easily and happily in a strong musical atmosphere. Through this period of practice, I also summed up some experiences. Personally, I think we should do a good job in regular training of music activities from the following aspects: First, "naive" ourselves and arouse feelings. Because of their age characteristics, it is difficult for kindergarten children to be interested in those abstract and plain stories, so they use vivid and vivid body language in teaching. Attract children's attention through flexible eyes, exaggerated tone and interesting movements, thus narrowing the distance between me and my children. The success of teaching activities depends on the tacit cooperation between teachers and children. In order to achieve good teaching results, children must be able to actively accept the teacher's teaching content. If you can treat yourself "childishly", let your children gradually have a sense of intimacy and trust in you, like to communicate with you, and are willing to express their feelings, then their feelings for you will also be transferred to the music activities you teach, and they will gradually become interested in music and have a strong desire to learn, so good classroom routines will not be a problem. People often say, "Learn from your teacher and trust his methods". I think that's what it means. Second, do every detail well and let the children feel the music atmosphere. Music belongs to the art category, so it pays great attention to the word "beauty". Standing posture, sitting posture, every movement and eyes are required to be beautiful. In the past, whenever I participated in music activities, I would make my children sit up straight, with their heads straight, their shoulders flat, their backs straight and their faces smiling. Although the requirements seem simple, children can never do it well. So I changed the method, let the children enter the activity room with the music, listen to the music and clap their hands to beat the rhythm after sitting down, stop the action after listening to the ascending and descending scales, and say hello to the teachers and students with simple songs. For some unprepared children, you can attract their attention by saying hello individually. This kind of gamification training puts all the activities of children entering the music classroom in music, that is, there are good activity routines, so that children can feel the beauty of music all the time. Third, keep innovating and let children train happily. No matter what the regular training is, the content is similar. After a period of training, children are likely to get bored and lose interest. At this time, it is up to our teacher to constantly change the content from a small aspect. Such as vocal music practice before singing teaching, traditional vocal music teaching is monotonous and boring, and children are easy to lose interest. But their thoughts are very simple, and their childish hearts are full of love, and they have feelings for everything in nature, especially for small animals such as cats and dogs. According to this psychological characteristic, we can design some interesting vocal exercises: 2/41234 | 5-333 | 555 | 3322 |1||||| How does a kitten bark? | Meow | Meow | Meow | Meow | Meow! ||。 Another example is the rhythm exercise that has been difficult to teach. If you tell your child: half note, quarter note, sing one beat, sing two beats, it is difficult for the child to understand. Therefore, in teaching, teachers should strive to make rhythm exercises intuitive and interesting. For example, when learning the duration of eighth and quarter notes, people can walk and run instead of simply "da-da" exercises. * * * * | * | * * |-| Run, run, run, run, run.