Lecture lecturing is an emerging form of teaching and research. It refers to the teacher systematically orally expressing his or her opinions on a certain lesson ( (or a certain unit) teaching design and its theoretical basis, which are then evaluated by listeners and defended by speakers to achieve mutual communication and mutual discussion, so that the teaching design can continue to improve. Below are the teaching methods and techniques I have put together for your reference.
lecturing methods and techniques
1. Monologue language
Most of the lectures use this language. Do not speak in the same tone from beginning to end. When speaking or memorizing a speech, use enough volume so that everyone present can hear you clearly. The speed should be appropriate, and the tone of voice should be appropriate, so that the listener can experience the changes in the content of your lecture from your cadences and ups and downs. Specifically, the analysis of the teaching materials should be concise, the theoretical basis should be sufficient, the teaching methods and learning methods should be explained clearly in a slow pace, the teaching purposes should be described one by one in terms, and the important and difficult points should be emphasized with emphasis.
2. Teaching language
Because teaching not only involves “what to teach”, but also “how to teach”. To say "how to teach" actually means to tell how you plan to teach. It does not simply reveal the questions and answers in class in detail, but also lets the listener know your teaching ideas and specific steps. Ask and speak, read and talk, and use your own language changes to bring the listeners into your classroom teaching. Before entering the classroom, they seem to see the shadow of your class and speculate on the effectiveness of your classroom teaching.
3. The main content of the lecture
1. Talk about the teaching material - talk about the purpose, connection, teaching objectives, key points, difficulties and class schedule of the textbook.
2. Preaching method - explain what teaching methods, teaching methods and educational theoretical basis are chosen for this lesson.
3. Talk about learning methods - tell what learning methods this lesson plans to teach students and what abilities they will cultivate.
4. Talk about the teaching procedures - talk about the teaching ideas of this lesson, classroom structure and blackboard writing design, etc.
4. Types of lectures:
l. Research-based lectures
This type of lectures is usually given in teaching and research groups or grade groups, often in groups. In the form of lesson preparation, a teacher prepares and writes the lecture notes in advance, and then everyone comments and makes revisions, turning personal wisdom into collective wisdom. This kind of lecture can be held once a week, and teachers in the teaching and research group or grade group can take turns giving lectures. This is an effective way to improve teachers' professional quality and research capabilities on a large scale.
2. Demonstrative lectures
Demonstrative lectures are usually taught by excellent teachers with good quality. They first give a demonstrative lecture to the teacher who is attending the lecture, and then let the lecturer teach the content of the lecture. Classroom teaching, and finally organize teachers or teaching researchers to make objective and fair comments on the teacher’s lectures and classroom teaching. Teachers who attend classes gain knowledge and broaden their horizons through listening and speaking, watching classes, and listening and analyzing. Demonstration lectures can be held at the school level or township (town) level, or at the district or county (city) level. Generally, they can be held once a semester. Demonstrative lecturing is an important way to cultivate teaching experts.
3. Comparative lectures
The participating teachers are required to write their own lecture notes according to the designated teaching materials within the specified time, then participate in the lectures, and finally judge the competition rankings with the judges who attended the lectures. . Comparative lectures sometimes require that in addition to lectures, the content of lectures should be put into classroom practice, or lectures should be combined with the exchange of theories and experiences related to "lecturing" in order to push "lecturing" activities to a higher level. This is an effective way to cultivate subject leaders and teaching experts.
The purpose of lecturing
1. Why do we “teach lecturing”
At present, whether in kindergartens or in larger peer exchange activities, “lecturing” ” has become a method of work experience exchange often used by many kindergarten teachers. Since it is a way of exchanging work experience, the purpose is naturally very simple: first, to share some work experience through peer communication, in the hope that peers can get useful inspiration from it; secondly, to exercise oneself through communicating with peers with different degrees of familiarity The third, and most important point, is to seize the opportunity to listen to the different opinions of peers so that you can rethink, broaden your horizons and improve your design coaching capabilities.
In recent years, I have personally participated in various peer gatherings, ranging from grade groups or teaching and research groups to kindergartens, to municipalities, provinces, the country, and even International conference scope. No matter what the scope, lecturing is actually to use language clearly and clearly to "explain" the design intention of one's teaching activity plan to peers, and to trigger responses from peers to related issues.
Personally, I prefer lectures that can inspire me to think about problems, because as a listener, I spent time sitting here and listening, just because I need to be inspired by the lecturer. motivation. And generally in a relatively short period of time, if my thinking is not stimulated and promoted, my brain will quickly feel tired and my mind will wander involuntarily.
Therefore, lecturing is best not to be regarded as a monologic language expression, but as a conversational language behavior.
2. How can we "teach lessons"
"Telling lessons" is a concept opposite to "teaching lessons". That is to say, the lecturer does not actually carry out the lessons he designed for the students in front of his peers, but describes or explains the lessons he will carry out for the students or the lessons he has already carried out for the students. In this state, if the peer audience has not just observed the lecturer's class, it will be very difficult to activate the corresponding experience. Therefore, it is also very difficult to enter the situation described in the lecture and its emotions.
Based on the types of lecturing that I have seen and felt inspired by, I would like to briefly talk about some lecturing techniques that you might try.
(1) "Straight to the point" technique
Under the premise that the audience of our peers have basically just observed the lecturer's class, our lectures can be straightforward and not overdone. Pursue the effect of "gorgeous speech style" and get straight to the point. This theme can be: a discovery that the lecturer thinks is most worth sharing with others, a "golden idea" or the design of a teaching aid or learning tool; it can also be a doubt, a lesson or a feeling of confusion and confusion. . Moreover, when the lecturer puts forward these points, he also needs to try to imagine in advance: whether his words can "connect" with the experience of the peer audience, and whether it can stimulate the peer audience's positive thinking and interest in dialogue with you, rather than stimulating the peer audience's experience. Appreciative expressions and warm applause from the audience. If the audience cannot be effectively stimulated, they will soon fall into a state of boredom. Naturally, such lectures will not be easy to achieve the persuasive effect expected by the speaker.
(2) The technique of "real recording clip playback"
As mentioned before: it is difficult for the listener to enter the speaker's situation, at least partly because they do not have anything to share with the speaker Experience, even if the listener is a fellow speaker, it is very difficult to quickly recreate a situation in the mind based on the speaker's language that resonates with the speaker. Therefore, when the lecturer is facing an audience that has not experienced the class observation process, qualified lecturers can play back to the audience the clips of classroom recordings that need to be explained or discussed, so that the audience can directly experience the scene with their own senses. , and then listen to your explanation of the problem or participate in your problem discussion, everyone's enthusiasm for participation will naturally be much higher.
(3) The technique of "supplemented by designing fragment operations"
Furthermore, it is difficult for listeners to enter the speaker's situation, partly because they have no relationship with the speaker. An experience that the student or lecturer himself or herself enjoys. As the saying goes, "It's easy to see someone shouldering a burden." Even if they are fellow kindergarten teachers, if they have not participated in the actual operations of teaching teachers and children, in many cases, they may not be able to experience similar experiences to teachers and children who have taken classes. Joy, anger, sorrow and joy. Therefore, when necessary, the lecturer may also ask his audience to be "himself" or a child in class, so that everyone can re-experience the specific design fragment that needs to be shared or discussed in detail. After allowing the audience to fully experience the live situation directly and then listen to your explanation of the problem or participate in your problem discussion, everyone will naturally be more motivated to participate.
(4) The technique of “inviting the audience to try it first”
This is a very interesting technique. That is to say, the lecturer first provides his/her own materials or goals to the peer audience to stimulate the design enthusiasm of the peer audience, then invites the peer audience to show their own design ideas, and finally puts forward their own different designs for communication. This kind of lecturing method is often able to mobilize the enthusiasm of the peer audience to participate. Moreover, lecturers and audiences can broaden their horizons and gain self-improvement and self-improvement from mutual exchanges.
3. Several related examples of lecturing
(1) Relatively “straightforward” techniques
1. Just after the observation class, the instructor said: After today’s class, the most confusing question for me is what is the use of this diagram I designed? The original idea is to help children better master the steps of this dance, but I can’t see it myself Find out how it helps young children learn this step. I don't know whether it's because the diagrams themselves are not designed well or because I don't know how to use diagrams to teach. I hope you can help me clarify this issue. (Everyone participated enthusiastically in the discussion, and many people raised issues with the map design itself and gave more reasonable suggestions; many people even directly pointed out that there is no need to use the map at all, but simply use the "tap jump tap jump" password. This problem can be completely solved)
2. Just after the observation class, the teaching teacher said: When I took this class for the first time at home, everyone gave me advice, saying that I "taught" too much, which would suppress the creative development of young children. After I made adjustments, I took this class for the second time. Everyone gave me feedback and said that I did not help the children improve at all. Today is the third time I have taken this class, and I still feel that I have not handled the relationship between "teaching and not teaching" well.
I hope everyone can help me figure it out: What should I teach and what should I not teach?
Moderator: Is this how we help teachers think about it: In the final place where butterflies fly freely, teachers In what aspects can children be guided to improve their performances? Observing Teacher A: Rhythm... (in harmony with music)
Observing Teacher B: Communication and cooperation, such as flying together... (in harmony with others) < /p>
Moderator: Very good, the idea comes out! How can the wings of butterflies be changed differently?... (Creative ideas for movement changes)
Observing teacher C: You can put it in Different positions of the body fly in different directions...
Moderator: Can the hands be put into different postures?...
Observing teacher D: Of course, you can also row. Take different routes...
Observing teacher E: You can also take different routes... (ideas of spatial movement changes)
Observing teacher F: You can also fly and stop. Stop shape... (More factors and complex combination ideas)
Moderator: Now that we have gathered so many ideas, have you all written them down? Can they be used in other similar activities? Instructor , are you satisfied with everyone's help? (The instructor smiles and nods) Are we all satisfied with our *** construction work? (Everyone laughs and applauds.) (2) Relative "Recording Clip Playback" Skills
< p> The author just visited the Orff Institute in Austria from April 27th to 29th. The following is an example of on-site lectures given by Professor Gu Ruina of the institute.1． Folk dance learning
(1) Sitting in a circle, we learn to do three movements: clapping legs, clapping hands and circling with hands.
(2) Sitting in a circle, we follow the music and learn to do three movements: clapping legs, clapping hands and circling with both hands.
(3) Sitting in a circle, we follow the music and learn to do three movements: clapping the legs, clapping the hands and circling the hands. When clapping, change the self-portrait to the fixed partner next to you.
(4) Walk around freely in the sound of leg-clapping music, sit down on any chair and do the other two actions when the hand-clapping music starts. When clapping, change the selfie to the one imaginary in the center of the circle. Partner shooting.
(5) Walk around freely amidst the music of clapping your legs, and quickly find a partner to clap with when the music of clapping your hands begins, keeping your hands around the circle.
(6) Walk around freely amidst the music of clapping your legs. When the music of clapping your hands begins, quickly find a partner to clap with. When the music starts, circle your hands and rotate together with your partner.
(7) Walk around freely with the partners you met before in the sound of leg clapping music. When the hand clapping music starts, quickly find another pair of partners. Individuals clap with the new partner and wrap their hands around each other. Spin with your new partner*** as the music starts.
2. Explanation of instructional design concepts
(1) You can see from our practice just now: we are not learning skills, but playing games together.
(2) We use dance and music to communicate, and build trusting relationships between people through games.
(3) We use simple methods to get many rewards.
(4) There are many hidden rules in our games. Through these hidden rules, people's musicality, personality and sociality are developed.
3． Comprehensive music performance learning
(1) We observe, imitate and learn a simple 4-beat tapping sound (hands, chest, chest, hands, chest - one).
(2) Let’s turn around and simply imitate the 4-beat sound with our hearing.
(3) Observe, imitate and learn another 4-beat simple tapping posture (hands, chest, chest, legs and legs).
(4) Let’s turn around and simply use auditory imitation to practice the new 4-beat simple tapping sound.
(5) We practice combining two different 4-beat tapping sounds.
(6) Make the aforementioned 8-beat tapping momentum, stop and watch the teacher perform an 8-beat improvisational movement, (each time we repeat, our momentum remains the same, but the teacher’s is always different)
(7) Everyone performs the aforementioned 8-beat tapping movement A, and each person performs an 8-beat improvised movement B. (Every time you repeat, you can always improvise as you like)
(8) Everyone performs the aforementioned 8-beat tapping movement A, and each person takes turns performing an 8-beat improvisation movement B individually.
(9) We make the aforementioned 8-beat tapping sound, stop and watch the teacher make an 8-beat improvisational movement while adding interesting vocal rhythms. (Every time it is repeated, our momentum remains the same, but the teacher’s is always different)
The teacher gradually added melody, lyrics, harpsichord and percussion instruments. Every time the teacher starts first, we observe, imitate, and then improvise. Each time, A imitates the part for unity, and B improvises first as a group and then individually. In the end, it was built into a larger, complete comprehensive music collaboration performance with an intro and a slow end.
4． Summary of teaching design concepts
(1) We all learn through regular (step-by-step) procedures.
(2) We all embody the idea of ??letting everyone play freely.
(3) In fact, everyone needs guidance. Give you a "note" (example) that embodies the unspoken rules and guide you to go forward freely.
4. Summary
I don’t know if everyone can understand the purpose of lecturing and the lecturing methods used for the purpose of “self-improvement and mutual promotion” through the above sharing. and recognition. No matter what, the method serves the purpose. Since the lecture is for others to listen to, of course it is necessary to pay special attention to whether the audience is willing to listen. Since peer listeners come to listen for self-stimulation and self-improvement, of course, special attention needs to be paid to whether the words spoken and other auxiliary methods can build a bridge of professional experience communication with the audience. This is the same as what we often say: "Teaching must be based on children's original experience in order to more effectively stimulate children's enthusiasm for participating in learning."
Techniques for teacher interviews and lectures
(1) Before giving lectures, the framework of basic lessons in each field should be prepared. Including target framework and theoretical framework.
(2) The speaker should arrange the 20 minutes reasonably. Generally, the goal should be determined within 2-3 minutes, and then the focus should be on considering the framework of the teaching design and strategies for breaking through key and difficult points, and write them down in the form of an outline, rather than writing them word for word.
(3) The lecture as a whole should be smooth, and should not be like a report, with many "123"s. The transition between links should be natural, and the transitional language can be prepared in advance. For example, after analyzing the teaching materials, it is time to determine the goals. You can say, "Based on the understanding and analysis of the teaching materials, I have positioned the teaching goals of this activity as..." "In order to make the children feel..., I have determined the teaching goals for this activity. "We have set two goals, aiming to actively guide children's cognition, abilities, emotions, etc."; after you have said the goals, you can then say: "Now I will focus on how to deal with the important and difficult points of this teaching activity"; "In order to smoothly To achieve the above teaching goals, I will make the following preparations” and so on. At the same time, try to avoid the teacher's question, guess the answer, the teacher asks again, guess the answer..., this kind of running account style statement.
(4) Because the lectures in the interview are pre-class plans, not reflective lectures after class, there is more room for imagination, so you can design the class more beautifully. Of course, the class should reflect the possibility, effectiveness and monitoring of the implementation plan, and it is by no means a vague "paper talk". Therefore, teaching aids and learning tools that are difficult to prepare, and links that are difficult to organize should be avoided as much as possible.
The framework of teacher interview and lectures
1. Teaching materials: analyze the educational value of the teaching materials (what are the characteristics of the language and structure, what is the meaning, what is the educational significance), prose poems, etc. They all have a simple and clear spoken style, poetic depth that can be explained in simple terms, and truths that are easy to understand in simple terms. Prose poems and other poems have the characteristics of "poetic, short and concise, rich in imagination", "beautiful and concise language, and profound and implicit meaning". They often use personification, exaggeration, metaphor and other techniques to show or reveal a process, picture or truth to us. For poetry, teachers should pay attention to the author's description of sound, shape, color, etc., as well as whether it has a sense of light, movement, etc., and whether the language is rich in rhythmic beauty, because these descriptions will make the poem more concrete and vivid, and related words will It will become the focus or difficulty of teaching.
2. Talking goals: (Three-dimensional goals of cognition, emotion, and ability)
Reference goals:
A. Understand the content of prose poems and feel the prose poems The beautiful language and the beautiful artistic conception of prose poetry.
B. Perceive and understand the content of poetry, experience the quiet and warm artistic conception of poetry, and learn to recite poetry with a beautiful voice.
C. Inspire children to boldly imagine based on life experience, and stimulate children's emotion of being close to and loving nature.
D. Learn to imitate poetry and experience the joy of creation.
E. Try to imitate poetry based on its structure to express the relationship between the theme and the environment.
3. Focus: Understanding the content of the poem...
Analysis: Through the accumulation of children’s knowledge and experience in the early stage, help children sort out their knowledge, understand the content of the work, and feel its beautiful artistic conception. and language.
Difficulty: Understanding the connotation of poetry...
Analysis: Although children in middle and large classes have strong oral expression skills and rich understanding and imagination, they only stop at Regarding the content of prose poems, there is still a lack of understanding of its rich connotations. At this time, teachers' guidance and help are needed, which makes the activity difficult.
4. Talking preparation:
Knowledge preparation
Analysis: Let children enrich their perceptual experience through a variety of ways and methods, and let children pass many ways and methods to enrich their perceptual experience. This way and method can enrich their perceptual experience, so that children can fully understand and experience during activities, and can express independently, boldly and happily in discussions and exchanges with peers.
Material preparation
Analysis: Material materials are the carriers to achieve goals. The purpose of providing these material materials is to enable each child to use multiple senses and provide conditions for activities in multiple ways. .
5. Reference for the basic process of language activities: (teaching methods for important links, breakthrough strategies for key and difficult points)
Create situations (stimulate interest) → Complete appreciation (multimedia, background music, Demonstration of recitation)→Appreciation in sections (teacher questions)→Children learn to recite→Imitation→Activity extension
Design intention of each link:
Advantages of multimedia use: The advantages of multimedia use are The combination of audio-visual and sound and pictures can vividly tell children the knowledge that is difficult for teachers to explain clearly, cannot be directly perceived, and is abstract and difficult to understand across the boundaries of time and space, giving children a more concrete and real experience. At the same time, multimedia has bright colors and dynamics, and the images are vivid and intuitive, which can effectively stimulate children's interest in learning and improve their enthusiasm for participating in activities.
Background music: Teachers choose beautiful and lyrical music as background music to introduce or set off poems, which can create a warm and romantic atmosphere and allow children to enter the artistic conception of poems unconsciously.
Overall Appreciation: Aimed at allowing children to have an overall understanding of prose poems.
Teacher’s questions: The content of poetry is relatively concise and the thinking span is relatively large. Therefore, teachers need to use inspiring questions and advance the questions step by step to help children understand the content and related sentence patterns of the poetry.
Children learn to recite: The purpose is to let children feel the beautiful artistic conception and beautiful language of poetry. Learn to recite poetry with a beautiful, proud, etc. voice.
Imitation: aims to allow children to give full play to their imagination and connect them with actual application of existing life experience.