Reflections on the Teaching of Silent Night Thinking (Volume 2, Grade 1) 1 Silent Night Thinking is a poem with concise language, sincere feelings and profound artistic conception, which successfully reflects the homesickness of night travelers. Frosted moonlight, like an invisible hand, silently touches the author's heartstrings; Looking up, looking down, thinking and pitching, Wan Li is fascinated, which shows the poet's endless yearning for his hometown. Background map is a vivid reflection of the content of poetry, which can help students understand ancient poetry and enter the artistic conception described in the poem.
Reciting is the key to learning ancient poems. In teaching, we should pay attention to guiding students to read aloud repeatedly and appreciate the charm and beautiful artistic conception of poetry. In my teaching, I designed it like this: first, I played the recording of the soundtrack of Silent Night Thinking, so that students could feel the beauty of the rhythm of poetry. Then the students who are willing to study stand up and defend their wartime style, making them envy him, thus driving other students to stand up and study. They also practice reading aloud through various forms, such as reading aloud by teachers, reading aloud in group competitions, reading aloud in men's and women's competitions, and reading aloud in performances. , cultivate their interest in reading and make students feel that reciting and reciting ancient poems is a kind of enjoyment, not a burden.
Literacy teaching in senior one is also the focus of teaching. In this part of teaching, I designed it like this: first, let students practice reading according to pinyin. If they find themselves reading incorrectly, they can ask their deskmate for help. Then through the game of making friends with the "word doll" to mobilize the enthusiasm of literacy. Students like it very much. Students are willing to play middle school in the game teaching links such as confusing new words and syllables, "finding friends" and "recognizing friends", which not only supplements rich spelling exercises, but also fully mobilizes students' initiative and exploration spirit and stimulates students' interest in learning Pinyin. In the process of reading, I also pay attention to pronunciation correction. For example, "bed", "lamp", "hope" and "hometown" are all nasal, which makes it difficult for students to read. My method is: pay attention to guiding students to read correctly with pinyin. If you are not sure, you can rely on the teacher to read until the students read correctly.
Reading is not the ultimate goal, the key is whether you can firmly grasp it. I also deepen my understanding of fonts by reviewing and consolidating sketches. First of all, in teaching, we can help students understand the meaning of words and deepen their memory of new words by combining words. For example, lights-lights, moonlight, lights; Lift-raise your hand to lift weights; Let the students review the new words in this lesson in the form of "word turntable" . Let the literate students say how they met, and let the known students be small teachers to teach the illiterate. So I use the method of full responsibility to let students with literacy difficulties choose their own small teachers. We help each other, study together, read together, and read together. Once this method was implemented, all the students liked it very much. The little teacher teaches seriously and responsibly, and the students like to learn. By the time of the second Chinese class, everyone can basically read these words skillfully. Most importantly, it enables students to learn how to unite and cooperate, and enhances the cohesion of the class.
In this class, I mainly embody the teaching idea of letting students read and study in the learning atmosphere of autonomy, cooperation and inquiry. In the new classroom environment, students' learning enthusiasm and autonomy are obviously enhanced. Especially: If you are Li Bai, a great writer, I want to ask who were you thinking at that time? What do you want to say to him? This link trains students to think positively. Imagination exercises students' oral expression ability, which not only improves students' interest, but also improves students' communication ability and innovation ability, and the emotional attitude of missing hometown has been sublimated.
Reflections on the teaching of the second volume of Silent Night Thinking, the annual ancient poem Silent Night Thinking is a famous sentence of Li Bai, a great poet in the Tang Dynasty. Before studying, I expected that almost every student would recite it, but through a thorough investigation before class, I found that many of them were not accurate at all. But children are children after all, and they don't have to learn if they think they can recite. It is impossible for them to understand poetry because they can't read long sentences well. How do they stimulate students' interest in this course? I didn't have a clue at the moment I entered the classroom, but I knew I couldn't go to class as usual. Fortunately, after a class, I also got new inspiration.
First, give students the initiative to read.
After the project is given, let the students read the words "thinking at night", and then let them say: which word do you want to remind everyone to read well? After reading, students say "quiet" nasal sounds, which can't be pronounced as front nasal sounds. "Night" is recognized as a whole and can't be spelled. So I randomly teach Silence and Night, find friends for them and talk about how to remember these two words quickly.
But I was not satisfied with this, so I asked: Which word tells us when the poet was? Which word tells us whether there is sound around us? What does "thinking" mean? What's he thinking? Surprisingly, the students soon understood the meaning of "quiet" and "night". What did the poet miss? In this way, students are aware of the new learning gradient and immediately enter reading.
Second, stimulate the emotion of poetry from the emotion of life
Only by letting students feel the poet's feelings can they not sing without expression when reading. When the students read that the poet misses his hometown, I lost no time in asking: Whose hometown will he miss?
Many students answered, some said it was mom and dad, some said it was relatives and friends, some said it was brothers and sisters, and some said it was the stream they were playing in. I really look down on children. Before class, I was worried that they would not read poetry. So I asked them again: Have you ever missed your parents? When do you want it most? I specially asked Dai Xian, a full-time nurse, to talk about it. She said that she misses her parents most every night, so the topic of her classmates opened, so she understood the poet's mood and knew what miss was.
At this point, I asked them to read the poem again. Finally, I asked them which sentence or word you thought you understood, so all the poems were explained in the children's mouths. They even said: the moon is full, why haven't I been reunited with my family! I understand that at this time, my teaching purpose has been achieved, and students understand that reading is not just what to read, but also what to read.
I didn't expect so many unexpected gains in this class. Thanks to my students, I once again saw their potential and had a new experience in Chinese teaching.
Reflections on the teaching of quiet night thinking in the second volume of grade three. The classroom atmosphere in this class is active, and the students' enthusiasm for learning is very high. Teachers make students dare to express themselves confidently and perform music through various lively and flexible teaching forms, so that students can truly become the masters of the classroom. In order to break through the deep homesickness in Silent Night Thinking (which is the teaching difficulty of this class), I did it:
First of all, reciting as a foreshadowing
In the introduction of new lessons, I first let the children recall and recite the poems they have learned with expressions; In order to further understand the situation of quiet night thinking, second-grade children are also required to explain the meaning of "quiet" and "thinking"; Next, the teacher reads aloud by himself, the students read aloud individually and in groups. When reading aloud, they grasp the expressions and actions of themselves and their children to express the situation. Finally, let the children talk about what emotions they use to express their thoughts and feelings in Silent Night Thinking. All these paved the way for the later vivid singing.
Second, singing expression
After I recited Silent Night with an expression, I let the children enter the situation. Singing is the time to implement the situation. In order to express the situation better, play the recording twice first, so that students can perceive the melody and artistic conception of the song as a whole. Then I sang emotionally, and the teacher and classmates sang the lyrics together. Sing in groups and the whole class. When singing, I always pay attention to the expressions and body movements of myself and my children. After the children are familiar with the songs, they will introduce their emotions to them, imagine their relatives around them and far away, and look for the feeling of missing. Finally, when singing, you should put your mind on the song. After my persuasion, children's songs are full of homesickness.
Third, painting as a supplement.
Reading and singing bring children into the situation of quiet night thinking, but I don't think it is enough to highlight the difficulties. At the beginning of teaching, after the children recited "Thinking of Quiet Night", they showed some live pictures on the big screen, so that the children could find the pictures that fit the thinking of quiet night. At the end of the teaching, the teacher also asked the children to give full play to their imagination and understanding of poetic situations according to the music in the melody of another version of Silent Night Thinking.
It is not easy to spend two-thirds of a class for this difficulty.
Reflecting on the whole class, I think I have achieved the following:
First, a harmonious classroom
In class, the teacher doesn't take the time to go straight to the teaching theme, but dances with himself and the students according to the rhythm of clapping hands. At first, because of shyness (perhaps because the teacher is teaching these children for the first time, he is a little nervous), the children are very stiff and their movements are not natural at all. Under the teacher's graceful dance and encouraging language, the children gradually let go of a lot and acted generously. Every student naturally moves with the music. The strangeness with the teacher just now suddenly disappeared and became close to the teacher. Rhythm not only makes the classroom harmonious, but also stimulates and inspires students to feel the emotion of music, laying a good foundation for later teaching.
Second, a beautiful classroom.
Throughout the music class, the teacher's language, pronunciation and body are so natural and beautiful. The teacher doesn't talk much, but it is interlocking, logical and fascinating. Let people benefit for life. Appropriate body movements and rich eyes, mouth shapes and facial expressions in the teaching process bring icing on the cake to music lessons. The teacher has a deep understanding of musical works, and her musical feelings have been revealed from her eyes. When the music starts, people are happy or sad, or proud or bow their heads, all of which are interpreting the thoughts in Silent Night, deeply infecting and attracting young singers. The whole teaching process is full of beauty: beautiful singing, beautiful movements, beautiful atmosphere, beautiful paintings and beautiful classrooms. ...
Third, children's classroom.
The idea of people-oriented and student-centered quality education is the educational idea of the new curriculum standard. "The teaching process of music class is the practice process of music art". The teacher has done it. From the moment Zhou Sheng shouted to stand up, the children stood singing and dancing, or sat quietly listening to beautiful music, or finished the teacher's unfinished pictures on paper according to the music ... The children were very busy, and the teacher just shuttled in the middle of the classroom, pointing here and looking there. Throughout the music class, the children are listening to music, enjoying music, singing music and showing music. ...
Fourth, the change of the protagonist.
In the implementation of the new curriculum, teachers reflect the change of educators' ideas. Her teaching performance tells us that she has changed the old idea that teachers are saints and textbooks are bibles. In the process of students' learning, teachers do not appear as leaders, but as protagonists such as organizers, instructors and collaborators according to the needs of students' learning. In the process of teaching, teachers change their leading roles with the needs of students' learning. Sometimes students are organized to study, sometimes they are guided in activities, and they also participate in activities among students according to their learning needs. In this way, she changed the protagonist appropriately and timely, effectively guiding the students to the main position of learning activities.
Verb (abbreviation of verb) comprehensive classroom
1, the fusion of music and Chinese
Because music always expresses the necessary artistic conception. This doomed the connection between music and Chinese. This lesson is to show the scene of missing relatives in Silent Night Thinking. And this is the message to be expressed in Chinese class. Therefore, the teacher first asked the children to recite poems, understand the meaning of "quietness" and "thinking", and understand the thoughts and feelings expressed in the works. In order to let the children know the situation of Silent Night Thinking, the teacher also told the children the background of the times and the author's creative environment. It paves the way for children to sing to express their ideas. Teachers skillfully integrate Chinese into the classroom of music teaching, making the classroom look natural and artistic.
2. The integration of music and art.
Music and art are the main lines of art education, and the main positions of aesthetic education for students. Art is flowing music, and music is flowing picture, and the two are closely linked. Teachers add artistic creation to music teaching, so that students can combine music and art organically. It is best to break through the difficulties.
There are methods in teaching, but there is no fixed method in teaching. The beauty lies in flexibility and creativity. Under the guidance of the new curriculum standard, I think it is very important to "do" like a teacher in teaching at this moment. It doesn't matter how you do it, or whether it's good or not. The main task of teachers is to make students willing to cooperate with themselves. They should not focus on the end of the road-teaching achievements, but should concentrate on guiding students how to move forward on the road. As a young teacher, I must study in practice, constantly study and reflect on my teaching process, approach the new classroom, explore the mystery of the new classroom, and make music classroom teaching more and more exciting!
Reflections on the Teaching of the Fourth Volume of the First Grade "Quiet Night Thinking" is very familiar to students, and even many children can recite it backwards. How to make children feel Li Bai's homesickness in reading has become the concentrated embodiment of the humanistic goal of this class, and it is also the difficulty of this class.
So I used a lot of language to pave the way to guide students to understand Li Bai's lonely feelings of thinking about the moon. For example, the moon is often used to pin homesickness; August 15 reunion night, the whole family reunited to enjoy the moon. On this basis, I will let my children understand what it would be like if a person was in a different place, unable to reunite with his family, unable to eat the dishes cooked by his parents and unable to hear their parents' voices. Li Bai at this time is such a situation. How do you think he will feel? With the music and my vivid rendering, I saw that most children's expressions were very complicated at this time. At this time, it seems that everyone is immersed in the sadness that Li Bai is homesick and can't reunite with his relatives. He wants every child to walk into the text and be close to the author's feelings.
After class, I always wonder whether I succeeded or failed in this class. How can I walk into every child's heart? Let the children really understand the text and feel the joys and sorrows in the text? When an accident happens in class, should we be alert and take corresponding measures before the accident happens? In the final analysis, is my attention to children's class really distracted?