Keywords
The new curriculum environment of elementary school music classroom teaching, teachers boldly innovative, students' personalities, classroom teaching presents a vibrant life. However, quiet reflection, there are some with the new curriculum "seemingly divorced" phenomenon, such as: too much attention to "discipline synthesis", lost "music color"; too much to create an "atmosphere of interest". "Interest atmosphere", lack of "skills support"; excessive pursuit of "musical creation", forgetting "improvisation and imitation The reason for this is that, to a large extent, it is the "atmosphere of interest" and lack of "skill support". The reason for this is largely due to the lack of understanding of the new curriculum concept, which must be taken seriously. In the face of the phenomenon of the music classroom, we can not help but think y: what is an excellent music class? How to better reflect the musicality of the music classroom? How to put an end to those flashy things.
One of the specific manifestations of the lack of music classroom:
Shot one: too much attention to the "disciplinary synthesis", the loss of the "musical nature"
The new curriculum puts forward the synthesis of a basic education is a basic concept. It is a development trend in modern education, a stretching of the subject system to the field of study. On the other hand, as one of the main categories of art, music has a natural and close connection with a wide range of cultural fields, which also makes it possible to integrate music courses with other non-arts courses. However, the synthesis of the music curriculum should be music-oriented. The implementation of the principle of synthesis in the music curriculum should emphasize the characteristics of the discipline, and should reflect the synthesis on the basis of the music discipline. For example, among the elementary school courses, language, art, physical education and so on are more or less related to music, which makes it possible for music teaching to be connected with these courses. However, this is not a reason for a hodgepodge synthesis.
Case 1: In many music teaching classes, most of which are music learning to sing songs classes, the phenomenon of reciting lyrics occurs. For example, in the lesson of learning to sing "Sweet Secret", after learning the melody of the song, the teacher said, "Let's recite the lyrics emotionally with gratitude." Then the students began to read aloud in the language class, and after reading, the teacher said, "The students read well, but the feelings are not enough, once again!" ...... have heard lessons like this one many times.
Question: without the music ontology, highlighting the synthesis between the subjects, highlighting the activity, the surface of the classroom presents the versatility of the students, is this the ideal realm of classroom teaching that we seek?
Analysis: In this case, the teacher's spirit of practicing discipline synthesis is certainly valuable, but the way and form are questionable. We should grasp the scale of "synthesis", music class is music class, there should be the characteristics of the discipline.
Camera 2: excessive creation of "interest atmosphere", the lack of "skills support"
Case 2: This is a new song teaching class, teaching singing "grassland is my home". When introducing the new lesson, the teacher asked, "Do you like to take the train?" "Love it!" "Now the teacher is going to take you on a train ride and sing a song to travel to the Inner Mongolian prairie." The students' emotions were immediately mobilized and they were very engaged in imitating the rhythm and sound effects of the little train. When they arrived at the destination, the teacher let the students learn the dance steps of the little cavalryman riding a horse at one time and the milking dance at another. The music classroom became a sea of joy, and the students were overjoyed. The sound of laughter was endless, and the music was only used as a background music embellishment. Only a handful of students could sing the song "The Grassland is My Home," and the students were only interested in the superficial joy of the process rather than the music itself.
Without the skill training focusing on musical elements, highlighting students' interest, the classroom surface presents a lively scene, is this the ideal state of classroom teaching we are pursuing?
Analysis: The new curriculum points out that students should be able to learn music from "learning music" to "learning music". This is inconceivable without a certain level of musical skill. In this case, the teacher pursued too much interest in music as the driving force, the importance of music practice these principles, highlighting the fun of music, entertainment, but ignored the music of the "soul" ---- musicality, the music of the most native things, the hustle and bustle on the music class, the effect can be imagined. Admittedly, interest is the basic motivation to learn music, is the fundamental way for students to maintain close contact with music. Teachers in the teaching process, should be through a variety of lively music practice activities, create a pleasant musical situation, with full of interest in the musical image and colorful melody, rhythm, tone, harmony, etc., moving with emotion, feeling, reasoning, cultivating and mobilizing students to participate in the awareness of the students in the music in the middle of learning, learning in the fun, and thus enjoy the music, with the music to beautify the life. However, if it is purely superficial and formal teaching method for the interest of interest, then the improvement of students' aesthetic ability will be an empty word. Therefore, as a front-line teachers, it is important to correct the idea of music education, in-depth understanding of the new curriculum reform in the teaching of music knowledge and skills "dilution" rather than "weakening" of the idea of strict "degree of". "The new school will be the first in the world to be able to offer the same kind of education.
Lens 3: Excessive pursuit of "musical creativity" and forgetting "improvisational imitation"
Case 3: I listened to a singing lesson, "New Year's Day". After playing the song, students familiarized themselves with the song through rhythm and accompaniment, and were guided to use their own creative methods to accompany the song, and to express the song with their own designed dance movements. Further the teacher asks, "What other ways can you use to express the song?" The classroom is buzzing with activity, but looking back, how much of it really falls into the realm of music, and what do students really learn by practicing?
Test: detached from the scope of music, the classroom surface presents students with a high level of creative enthusiasm, is this also the ideal state of classroom teaching we seek?
Analysis: we need to correctly deal with the relationship between creation and imitation. Elementary school students' music creation activities often start from imitation, imitation is the way of music creation. Through imitation, creative learning may be carried out from easy to difficult and step by step. And improvisation refers to the students according to the feelings at the time of a musical creative behavior, is not necessary to do beforehand to prepare for the temporary creation, it is often associated with improvisation. Therefore, we should pay attention to the use of improvisation in teaching.
Second, return to the music teaching strategy
"Return" means to restore the original appearance of music education. Music class should reflect the ontology, that is, music teaching should be music-oriented. Music education is aesthetics as the core of education, how to better return to the music-oriented teaching, specific strategies include the following aspects:
(a) careful use of "music performance" in the classroom
Music classroom teaching should be the process of constantly stimulate the interest of students. Elementary school students are mainly image thinkers, curious, active and strong imitators. In music teaching, for their psychological characteristics, the teacher aptly used the performance method, let the students play the role of the characters in the music, can be closer to the distance between the students and the music, is conducive to a more in-depth understanding of the music, in the music activities in the aesthetic pleasure. However, in recent years, especially since the implementation of the new curriculum practice activities, this performance method is often seen in the music classroom, and gradually become a music teaching fashion, many music teachers compete to use, and enjoy. In order to overcome these practices, but also music classroom music-based, in the concrete implementation of the following two aspects we should pay attention to:
⒈ can not be equated with the performance of music
In the teaching, we must correct the primary and secondary relationship between the two, so that the performance of the music understanding of the emotions naturally outflow, the movement of the spontaneous performance, and can not be far-fetched with the attachment, and can not form a stereotype of thinking, and gradually, and then the formation of the music classroom. The first thing I'd like to say is that I'm not sure if I'm going to be able to do this, but I'm sure I'm going to be able to do it.
Peake can not "how do you want to do how to do"
In the new standards of music open class, the most listened to is the teacher full of tender words of encouragement "how do you want to do how to do". At first glance, it seems to emphasize students' autonomy and respect their individual development. In fact, if the teacher can not regularly give some knowledge, and simply let the students "free" development, the students will not have much progress. Although the students in the process of getting a certain degree of happiness, but this kind of happiness for the real music of the new classroom is meaningless.
(2) Concerned about both the nature of music and students' autonomy
Chinese Music Education has published that: American elementary music classroom teaching in the instrumental rehearsal class for students to observe which one in the rehearsal made a mistake, and what was the mistake? Everyone watched the rehearsal intently, and those practicing did not dare to slack off. And then the teacher asks, "What just went wrong?" Then the students spoke enthusiastically. In this American teacher's music classroom students are not a passive, negative receiver of information, but an active, positive explorer of knowledge. When rehearsal problems arose, the students were attentive, observant, and active: "They didn't match the piano and tune the strings before they played! They didn't look at each other and make eye contact before each chord went down!" They learn to acquire knowledge and skills as they discover, and they learn to discover as they acquire knowledge.
Students are personally involved in the tangential experience, they themselves concentrate on finding mistakes in rehearsal, the teacher does not tell the students anything, and does not ask them to name the title of the piece, the rhythm, the background of the composition, the segmentation of the piece, the characteristics of the mood, what the scene and so on. ...... All these are not the ultimate goal of teaching, classroom teaching not only Classroom teaching is not only about what is taught, but more importantly, about what is experienced by everyone. These contents are all felt and experienced by the students in the process of personal participation. Only a personalized practical experience, knowledge will be long-lasting; only a personalized emotional experience, the method can be familiar with.
(C) do not make the subject of comprehensive lost
Music comprehensive learning, is based on the characteristics of the music discipline itself and the need for comprehensive development of human beings, is to music-based synthesis. In the actual teaching, often appear to deviate from the music-based synthesis. In the music class, we should make reasonable choices according to the learning objectives, but also to do the right thing.
Highlighting the students' participation, enjoyment and emotion in the classroom, while not forgetting to put the ontology of music in the first place, we still need to make greater efforts. To correctly deal with the relationship between technology, art, aesthetics, and education, we need to develop a corresponding scientific evaluation system for music education. The new curriculum reform is a long-term, continuous process, we must truly understand the essence of the new curriculum reform, based on the current basic education in the field of the actual situation, can not be accomplished overnight, and should not go from one extreme to another. Therefore, as a worker engaged in music education and teaching, we should continue to study and research, and strive to understand the basic spirit of the curriculum reform, correct the idea of music teaching, and continue to reflect on the teaching. Only in this way can we weather the storm on this course of curriculum reform, from swing to balance.