1. Change teachers' "teaching" into children's "autonomous" learning.
In the past, music education was often centered on teachers, and the subjectivity of children's learning was not respected. In the process of designing educational activities and organizing education, children's physical and mental development needs and learning characteristics are not taken as the basis, and children's own needs, interests and wishes are not considered. On the contrary, they are regarded as containers for accepting knowledge and skills. The teacher's task is to inject and instill them into this container, which is manifested in the specific educational process, that is, to speak instead of children and do instead of children. Over time, children lose interest in music activities, learning is in a passive state, leaving the teacher's demonstration, children seem at a loss.
How to change children's passive learning into active learning? With this question, I have carefully studied the Regulations and related educational theories. In 2004, she completed the training of Kodaly's educational theory course in China Women's University. Mr. Zhang Xuemen, an expert in modern preschool education, stressed that music education should give children more opportunities to experience, publish and create freely, and should not pursue formal achievements and oppose forcing children to imitate mechanically. He pointed out that in teaching, we should first arouse children's inner needs to respond to music works and arouse their initiative in learning music. I also carry out practical activities under the guidance of teacher Wang Dan of China Women's University. I have carried out new practice with new theory. In practice, it is found that in music activities, children can actively "listen" to music, which is the primary condition for bringing children into the music world. But the situation now is that children are absent-minded and inattentive when listening to music. How to make children "listen carefully" and "listen actively"? In order to stimulate children's interest and demand for "listening", I have designed a variety of teaching methods to let children listen with questions, stories and suspense and look at the picture. It doesn't matter if you can't hear it. Listen again, constantly encourage and praise your child for having a pair of ears that can listen to music, and encourage him to express his feelings after listening. In addition to cultivating children's interest in listening in teaching activities, we also arrange various opportunities to listen to the sounds of nature and life (the sound of small animals, the sound of rain, the sound of walking and so on). ) In our daily life. Over time, children's interest and initiative in listening to music have been greatly enhanced. Children in the middle class can distinguish "heavy", "soft" and "jumping" music, and can distinguish different changes in speed, intensity and rhythm.
Children's autonomous learning in music activities should be the embodiment of children's wisdom, emotion and creativity, but because the previous teaching was often a demonstration before children imitated it, autonomy and creativity could not be cultivated and exerted at all. Through discussion, I changed the previous teaching methods, so that children can appreciate, feel, experience and create first. For example, in the music game "Foxes Catch Chickens" in the middle class, children are allowed to fully discuss the musical image of the fox with their own perception while enjoying the work, and collectively create and design actions with different emotions and different images, such as the weak chicken of the fox. The teacher just makes appropriate explanations and hints. Children have changed from passive recipients to active participants, their self-confidence has been greatly enhanced, and their creative potential has been fully exerted. For another example, in a small class, when participating in the music activity of "Chickens Hatched", the teacher boldly pushed the children to the front and let them observe and try to learn the dance movements of chickens. This participation process not only meets the children's emotional needs, game needs, the needs of being a small master and the needs of creation, but also enables children to achieve harmonious development in emotion, personality and intelligence. Practice has proved that children are indeed individuals with great development potential. Only by letting children fully experience their own existence and value, in the past music activities, some children always acted as actors and some children always acted as spectators. Those gifted children often have the opportunity to perform, while those with poor conditions dare not perform because of their inferiority complex. If left unchecked, these children will not only lose the opportunity to learn music knowledge and skills, but also lead to certain psychological defects. We should use music activities as a means to let every child actively, actively and confidently participate in the activities to meet the needs of children's self-expression. Based on this thinking, I designed a "ladder" for small steps, put forward appropriate requirements, and individualized education as much as possible, so that every child can develop at his own pace. For example, I designed a series of rhythm games, starting from very low, from easy to difficult: listen to the bell and clap your hands (that is, clap your hands to imitate the rhythm of the bell). Drum and clock (that is, stamping your feet to imitate the rhythm of the drum and clapping your hands to imitate the rhythm of the clock). Robot (that is, listening to the bass and treble areas of the piano, represented by stamping and clapping, respectively). Small hands and feet (that is, according to the signs of small hands and feet on the map, use small hands and feet to express the corresponding rhythm with music). This group of games does not require high skills. The purpose is to let children walk into music activities easily and naturally, and experience the success of artistic expression in low difficulty.
Second, pay attention to children's exploration and development.
Bruner believes that discovery can stimulate the potential of wisdom, cultivate internal motivation, and help to learn the skills of discovery and keep memory. Because children are young and have poor persistence and patience, they cannot explore without seeing progress for a long time. So I have a purpose, that is, to create an environment conducive to children's exploration and active operation, and to stimulate children's exploration motivation. For example, explore the internal driving force of children's cognitive segmentation. For example, in the process of children's understanding of syncopation rhythm (| X X X | x x |), I follow the following steps to guide children to actively explore: organize children to play the game of "pulling rope" and "rowing dragon boat", find the feeling of | x x |, and express the language rhythm of "refueling". Guide children to discover whether there is such a rhythm around them.
For example, when my mother buries her face when she has a toothache, she says, "| Whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa whoa Inspire children to creatively express the syncopation rhythm of boatmen's movements by stamping their feet, turning around and spreading their hands. Guide children to accompany boating with musical instruments such as xylophone and aluminum piano. Besides, I also let my children tap bottles with different amounts of water and make their own toys to make them feel different. Let children listen to the pitches of Mi, Sol and La in the game of "Small Animals Looking for Home" to get a good sense of intonation; Let children try to play familiar songs on the xylophone in free activities and corner activities. In this process, children watch xylophone, listen to pitch, operate with their hands, think with their brains, show a dedicated learning attitude, and cultivate their good psychological qualities such as independence, self-control and responsibility.
After perceiving the rhythm, I asked the children to express themselves with various parts of their bodies, such as clapping their hands, stamping their feet and shaking their bodies. And then teach them to know two beats, four beats and three beats. When listening to music, I tell my children how many beats it is, and let them clap their hands or sing while clapping their hands. These are children's feelings and understanding of the rhythm expressed by beautiful movements with or without music accompaniment. This expression is free and flexible. Pony running, tortoise crawling, windy and rainy, driving a train, flying, riding a bike, boating and so on. Let the children clap with their hands, stamp with their feet and express with their bodies. Let the children know two beats and let them listen to the March, which is magnificent, neat and powerful; When recognizing four beats, let them listen to some soothing songs, such as Birds and Swallows. When recognizing the three beats, let them play some waltzes for the children to express. In addition to physical performance, I also let children make full use of percussion instruments to let them know the sounds of various instruments, whether they are crisp, rich, long or short, which makes them sound particularly good, and then let the children accompany the ditty and practice ensemble. After the children are proficient in the above content to a certain extent, I let the children try to create the rhythm themselves. In addition to these education and training, I also integrate children's music quality exercises into daily life. For example, I enjoyed beautiful music in the morning check-up, which not only cultivated my sentiment, but also made children wake up as soon as possible and have a happy mood to welcome a new day. After drinking water in the morning and between classes, children can play relaxed and lively nursery rhymes and use them to make beautiful rhythms, which enhances their interest in music and develops their movements. Over time, children's love for music, sensitivity to music and grasp of music rhythm have been greatly improved.
3. Cultivate children's creative consciousness
In the teaching of songs, I abandoned the boring teaching method of teachers teaching children to sing a song, and tried to learn Kodaly's educational theory, trying to find an effective way to teach songs while learning. For example, in the teaching activity of the song "Spring Rain in sasha vujacic", I taught it casually on a rainy day. First of all, I guide the children to observe the fall of the spring rain, listen to the sound of the spring rain, and then turn the spring rain into a very beautiful poem that fascinates the children. Under the teacher's step-by-step guidance, the children learned songs with great interest. In teaching, I also send a message to children, that is, creation. As long as it is beautiful and happy, we can turn it into poetry, songs and even musicals. Since then, children's creative interest is strong, and with the constant guidance and encouragement of teachers, their creative ability has been significantly improved.
4. Correctly grasp the relationship between "teacher-led and children-oriented"
The sentence "teacher-led, children-oriented" very incisively summarizes the correct teacher-student relationship that educational activities should have. In other words, the educational influence exerted by teachers on children is towards the established goals, but teachers can't replace children's practice or development. In practice, teachers are often confused about how to grasp the proportion and scale of teacher-led and children's initiative. Through practical research, I realize that teachers should flexibly adjust their participation and guidance activities according to children's needs at any time when implementing activities. Teachers should reduce participation and guidance when children show that they can carry out activities independently, and increase participation and guidance when children show that they need help. The above is just my music teaching experience. In the future, I will study and explore more deeply to make music education a happy game paradise for children.