3 sample essays for junior high school music class lectures

Introduction: "Talking lessons" is a new thing emerging in the teaching reform. It is a kind of teaching research, teaching exchange and teaching discussion. The new teaching research form is also a further development of collective lesson preparation, and the lecture manuscript is a manuscript prepared for lectures. The following is a sample text for junior high school music lessons that I compiled for your reference.

Music class lecture notes (1)

Analysis of lecture materials:

The lyrics of the song "Small Boat" use metaphors The technique of "Dad is the boat, mother is the sail, and the boat rocks my childhood" expresses the desire and praise for a happy and warm family life. The lyrics are in F palace mode, one-paragraph body structure, in 4/4 time. The first and second phrases are both 4 bars, and the third phrase is expanded to 8 bars. The whole song is mainly based on the progression of pentatonic scale, and the melody is gentle and smooth, which is very suitable for children to sing. The clever use of rests and weak beats in the first, second, and third phrases prevents the music from being delayed and is full of interest, making the singing breath easier for children to master.

Talk about teaching goals:

The realization of learning goals in classroom teaching reflects three levels. In music class, it must rely on students’ personal experience, imitate in experience, and Explore through imitation.

1. Emotional goals:

⑴. Experience the beautiful artistic conception of the song and feel the warmth of the family.

⑵. Educate students to understand the greatest love in the world - the love of parents, awaken children to know how to love their parents and repay their parents' love from an early age.

2. Knowledge objectives:

Understand the 4/4 beat and feel its strength and weakness.

3. Ability goals:

⑴. Guide students to sing songs with a kind and affectionate voice and fun.

⑵. Master the method of singing with breathless voice, and accurately sing the weak starting beat.

Teaching points:

1. Recognize whole notes, understand the meaning of 4/4 beats and the rules of strength

2. Learn to sing the song "Small Boat" , can sing songs with a kind and affectionate voice and fun.

Difficulties in teaching: Sing breathlessly and accurately sing the weak starting beat.

Preaching and teaching methods:

"Small Boat" is a song that makes people feel friendly and warm. The unpretentious melody overflows with deep gratitude to parents and makes people feel nostalgic. That deep, hard-to-leave family affection. Therefore, when designing teaching, I fully explore the deep affection revealed in the songs, with the goal of cultivating students' musical hearing, making full use of various links in teaching, and touching the students' heartstrings through "emotion". Students can feel the music of four and four beats with the accompaniment of this soft music, allowing all students to scream and feel the warmth of home.

Teaching aid preparation: electronic keyboard, mouth organ, tape recorder, boat (picture), lyric cards, multimedia courseware.

Teaching process:

1. Introduction (2 points)

The teacher understands the students’ understanding of ships by guessing the word "ship" in riddles and through conversations. understanding, thereby arousing students' curiosity and stimulating their desire to learn.

2. Use existing knowledge and experience to guide the understanding of newly taught knowledge, and learn the meaning and strength rules of 4/4 (10 points)

The transfer of existing experience has Conducive to understanding and mastering new knowledge. In order to let students understand the meaning and strength rules of 4/4 time, in the teaching design, I first selected the song "Little Boat" when I entered the classroom, and asked the students to sing it and tell me what time it is. The meaning and strength pattern of 3/4 can be felt and expressed through movements along with the music. When learning "Small Boat" and asking students to tell the time number, the children will naturally use their experience to analyze and think. This is actually a process of students' inquiry and learning. The creation of the previous scenario paved the way for subsequent exploration and discovery.

3. With music aesthetics as the core, learn the song "Small Boat" in emotional experience (25 points)

The emotional goal of this lesson is to experience the beautiful artistic conception of the song and feel the family of warmth. "Small Boat" is a song that makes people feel friendly and warm. The simple and unpretentious melody overflows with deep gratitude to parents, making people nostalgic for the deep and inseparable family affection.

Experience, imitation, exploration, cooperation, and penetration into every aspect of teaching. Music is an aesthetic art and an art of listening. When entering the classroom, making sounds, and feeling the mood, rhythm, strength and weakness of music and other musical elements, all are accomplished by listening and experiencing music works without exception. Students are in a state of active experience. Fully expand your imagination and devote yourself to learning. Listening to "Small Boat" for the first time, this is a completely relaxing and unconscious listening method, which creates a soft and tranquil atmosphere. Then there are the students’ feelings about the songs through language communication. This is a kind of associative and imaginative listening, which is a blend of students’ own feelings and music emotions.

When I design the teaching of singing songs, I fully explore the deep affection revealed in the songs and make full use of various links in the teaching - such as: reading the lyrics with emotion; humming the songs along with the music. ; Through teachers' guidance on singing, changing singing forms and imparting relevant music knowledge, we will constantly highlight and master the key points and difficulties of songs.

When the teacher said, "Everyone has his or her own parents. They are hard-working, brave, and selfless people who spend a lot of effort raising us. Who can tell me how your parents care and love you?" So what should we do? "Use "emotion" to touch the students' heartstrings and let the students speak freely. Accompanied by this soft music, they can fully feel the music of four and four beats, allowing all students to scream and feel the warmth of home.

IV. Expansion and emotional sublimation (3 points)

Through the teaching of this lesson, students can fully appreciate the warmth of family. In the concluding remarks, the teacher used "gratitude" to establish the students' belief in loving and repaying their parents. Students, "There is a word that is the most kind, a call that sounds most beautiful, there is a person that I want to thank the most, and there is a kind of person that I want to be grateful for the most. She is my mother, and he is my father." Let us use a heart of "gratitude" from an early age. Is it possible to love our parents with "our heart" and repay the love of our parents through every bit of life? Finally, let our parents take the boat we love, enjoy the beauty of nature in the rippling blue waves, and feel our love for our parents in our sweat! (Teachers and students perform "Boating Song")

Music lesson notes (2)

1. Talking about the teaching materials closely with their characteristics

The lesson of "Yangliuqing" is A Jiangsu folk song from the third unit of the eighth volume of the standard human version of the compulsory education curriculum. By praising the party, the song expresses the joy brought by a better life and the love for hometown. The melody of the song is in the pentatonic mode. The whole song is cheerful, lively, enthusiastic and interesting. The liner notes play a very important role in the song and are an important means of expanding the phrases.

2. Talk about learning based on reality

In the "Curriculum Standards", the fourth item of curriculum design ideas is: the compulsory education stage is the rapid physical and psychological development of children and adolescents It is also an important period in life to receive music education, improve musical literacy, and promote healthy physical and mental development. In order to adapt the music curriculum to the students' psychological development level and music cognitive characteristics, this course divides the 9 school years of compulsory education into three school periods, namely, the lower grades of primary school (school years 1-2), the middle and upper grades of primary schools (school years 1-2). 3-6 school years) and all grades of junior high school (7-9 school years). On the basis of analyzing the differences in physiological and psychological development and cognitive characteristics of music learning among students at different school stages, and under the overall goal of the curriculum, the goals of each school stage are clarified, which serves as the basic basis for the design of content standards for different school stages and different teaching fields. . The content standards at different levels in the three learning stages present a coherent, step-by-step, complete and orderly internal connection.

What is the basis for determining gradient progression? How to implement gradient progression?

Primary and middle school students in the compulsory education stage are faced with physical and psychological development, and have different characteristics in receiving music education, which are the reasons for the gradient progression.

The cognitive activities of primary school students develop from involuntary and unconscious to random and conscious, and their cognitive level transitions from concrete images as the main form to abstract generalization. Their emotions and will continue to develop, their personality continues to strengthen, and their morality Consciousness gradually develops from paying attention to the effects of actions to paying attention to the motivations of actions. The aesthetic attitude of children aged 7-9 towards music is in the "realistic stage". Their innocent and happy nature spontaneously produces an aesthetic attitude towards music characterized by "resemblance" and "anthropomorphism". In the lower grades, students' experience of music has increased significantly through "games", their sensitivity to rhythm has grown rapidly, and they can respond to rhythm and melody through body movements. The middle grade is the best time to develop music perception ability. Kinesthetic sense and hearing are significantly enhanced, rhythm and melody expressiveness are more abundant, music understanding is enhanced, and the likes and dislikes of harmony begin to show the same as adults. Since this is a Jiangsu folk song, if it is to be learned by children in Xinjiang, students will face the following problems:

1. For children in northwest Xinjiang, the song style of Jiangnan folk songs is relatively unfamiliar. It is not difficult for children to complete the pitch, rhythm and emotion of this song, but it is most important to sing this song with a more local Jiangsu charm.

2. The impact and influence of today’s pop songs on children and children has made the distance between folk songs and students even further. How to find points of interest so that students can fully feel the charm of folk songs is worth thinking about

3. Strive to innovate the concept

Starting from the singing style of Jiangsu dialect and Jiangsu folk songs, combined with the basic concept of the new round of curriculum standards that takes music aesthetics as the core and hobbies as the driving force, " Starting from the two words "interest" and "taste", we guide students to experience the "interest" of the song in the link of "lining words to create interest and introducing new lessons", and in the link of "dialect singing to enhance charm"---"practical participation and expression of charm" In the session, the Jiangsu "taste" of the songs was sung. Finally, the purpose of testing feedback was achieved by listening to and identifying folk songs from different regions.

4. Talk about goals around the curriculum standards

The curriculum standards advocate that students’ music learning should combine three aspects: “emotional attitudes and values”, “process and methods” and “knowledge and skills”. The stipulations of all aspects should be unified into an organic whole and paid attention to. Over-emphasis on any aspect or neglect of any aspect will lead to biased teaching. In current music teaching, the realization of teaching goals is often ignored, or the three-dimensional goals are disconnected, and a certain aspect is blindly highlighted or exaggerated, thus causing problems of one kind or another.

The design of classroom teaching objectives should closely focus on the goals to carry out music teaching activities, so the selection of teaching forms should be subject to the teaching objectives, and the implementation of teaching methods and means should also be subject to the teaching objectives, and must be clear pertinence and purpose. This shows that how to achieve the set goals in the classroom is not a simple matter. It contains two meanings: one is that the teaching goal setting itself has three-dimensional goals; the second meaning is the relationship between the three-dimensional goals and the teaching goals. The means, methods or teaching forms should be closely focused on the realization of the goal. In addition, teaching goals are not empty, but specific. What teachers want to teach and what results they want to achieve must be carefully considered. Only after the teaching objectives are established can the teaching plan, teaching design, and teaching process be generated. Some teachers often do not consider the teaching content. They read the teaching reference first and then arrange the courses according to the goals in the teaching reference. This is putting the cart before the horse. The setting of goals should start from the music content. The goals set through the music content should also take into account the accumulation of experience and the continuation of knowledge exchange before and after, so as to avoid the interruption of ability. Judging from the current situation of music teaching, if teachers do not start from the music content when setting goals, the goals set will be inconsistent with the teaching process, and it is easy to get out of touch. All the rich and interesting activities in teaching serve the music content. Some may seem very lively and take into account the students' interests, but they do not play the role of the experience and expression of the goal-setting music content.

1. Process and method:

Able to add Jiangsu dialect and sing songs with sweet timbre.

2. Emotions and values:

Through comparative singing, body imitation and other musical practice activities, students can feel the style and characteristics of Jiangsu folk songs, and inspire students to love the art of Chinese folk songs.

3. Knowledge and skills:

Understand the role of lining words in folk songs.

Teaching focus: Use various forms to appreciate the local charm of Jiangsu folk songs.

Teaching difficulties: Sing accurately the polyphonic parts of a word in a song

5. Reading-based teaching method

In teaching, teachers should actively guide Students participate in practical activities such as listening, singing, performing, composing, and comprehensive artistic performances. They listen to more music, sing more, play more instruments, and have more exposure to music scores. They continue to accumulate practical music experience and effectively use music textbooks, audio and video materials, and the Internet. Resources, etc., cultivate students' awareness and habits of being willing to think and diligent in practice, and effectively improve students' music practice ability.

Students’ singing, appreciation, performance, comprehensive and other activities all need to be felt and experienced in music practice activities. In the activities, students are the main body, and teachers are the effective organizers of teaching, playing a leading role and The content of the activities is subject to appropriate regulation at any time. One thing to note in music practice activities is that not only students should actively participate, but teachers should also actively integrate into the students. Only in this way can we obtain first-hand teaching materials and learn from each other, which will have a great impact on future teaching plans and arrangements. help.

This class takes music aesthetics as the core and hobbies as the driving force. Through various teaching methods such as momentum and rhythm, contrasting model singing, and dialect teaching and singing, students can: learn dialects, experience Charm; be immersed in the scene and feel the charm; practice and participate to express the charm;

6. Independent self-study and teaching methods

Students’ singing, appreciation, performance, synthesis and other activities are all It needs to be felt and experienced in music practice activities. In the activities, students are the main body, and teachers are the effective organizers of teaching, playing a leading role and appropriately regulating the content of the activities at any time. One thing to note in music practice activities is that not only students should actively participate, but teachers should also actively integrate into the students. Only in this way can we obtain first-hand teaching materials, learn from each other in teaching, and have a great impact on future teaching plans and arrangements. help. Especially in the compulsory education stage, primary and secondary school students are in a period of physical and psychological development, and they are more eager to explore and experience things they are interested in. In this lesson, I guide students to participate in music practice activities based on these characteristics through listening, model singing, The method of independent inquiry allows students to progress from shallow to deep in practical participation, step by step, allowing students to feel the singing style and local charm of Jiangsu folk songs.

7. Passionate and Interesting Talking Process

Teaching process;

1. Momentum and rhythm, initial perception

1. The teacher leads the students Use three fixed rhythm patterns to accompany the music

2. Students use three fixed rhythm patterns from memory

3. Students are divided into groups to make multi-part rhythms to accompany the songs

2. Make the words interesting and introduce new lessons.

1. Reveal the topic, teach the teacher to sing, and let the students perceive the unique features of the song

Just now, we used several sets of fixed rhythm patterns to accompany the music, which is a Jiangsu folk song "Yangliuqing", this folk song is a folk tune widely circulated in Jiangsu area. The lyrics in the song are very distinctive. The teacher will sing it again. Please listen to the students. Which lyrics in the song left the deepest impression on you?

2. Learn the lining words "ah nia"

"青ah nia, collapse nia, loose nia"

What we just heard are Words that are unique and appear repeatedly in songs are called lining words in our folk songs. Although they have no practical meaning in the songs, they highlight the national style and local characteristics of the songs, exaggerate the atmosphere of the songs, activate the singer's emotions, and set off the mood. Singing melody and other aspects play a very important role.

Let’s feel it together.

3. Students can freely choose to compare the strengths and weaknesses and read the lining words with the teacher

4. Read with the teacher by clapping legs and hands

Clap your legs at the end of the lyrics and clap the rest of your hands

5. Teachers and students sing the score and interact to find the fun of the song melody

Learning to read music must be related to activities such as singing, playing, creating, and appreciating Close integration should use music as the carrier and be carried out on the basis of students' perceptual accumulation and cognition. The "Standards" require students to use familiar songs or pieces of music to read music scores, and they can also learn by playing musical instruments. This means that students learn to read music mainly through music practice activities rather than through special music reading exercises. By using vivid music as a carrier and teaching music reading based on students' perceptual accumulation and cognition of music, the effect is much better than simply conducting special "music reading training" and "sight-singing exercises". In activities such as appreciating music, teaching singing songs, playing musical instruments, and creating, combining these music practice activities with music reading teaching means that you can learn music reading "by the way" during activities such as teaching and singing songs, rather than borrowing from teachers. Sing songs to learn music reading.

IV. Singing in dialect to enhance charm

Teacher: Teacher Lu wants to reward you with my singing! I'm going to sing a new version of "Yangliuqing". Do you want to hear it? Where is the applause...

1. The teacher sings the song again in dialect. Students listen and identify the difference between this performance and the first time.

Student report: The pronunciation of the teacher's singing was different, and the teacher did not use Mandarin...

Teacher: Yes, when the teacher sang the song for the second time, the most important thing was to add Jiangsu dialect Came to sing this song. This makes the Jiangsu flavor of this song even stronger. Let us experience the characteristics of Jiangsu dialect again.

2. Show the courseware and learn the pronunciation of key words respectively.

Zen die sei

Morning dew in the fields

di di ma yi

Dots of wheat seedling leaves

Sha gu gu

Brother Shizi

4. Listen to the teacher read the lyrics in dialect.

5. Teachers and students read the lyrics together. (Tip: Keep the same voice as the teacher)

6. The teacher sings along with "Nia" in a high position, and the students read the lyrics completely in a high position.

7. Add movements to read the lyrics

8. The teacher plays the piano and sings the score, and the students learn to sing the first paragraph in dialect using the lyrics in phrases.

9. The whole class sings slowly along with the accompaniment, and the teacher corrects the incorrect phrases.

10. Boys and girls compete to sing once.

11. Students evaluate each other.

12. All students sing the song completely.

5. Practical participation and expression of charm

1. Students watch pictures of beautiful scenery in Jiangsu with the background music "Wuxi Scenery".

Jiangsu, a paradise on earth with beautiful land and water, has created the delicate and gentle character of Jiangsu people. Therefore, their singing voices are always tender and sweet.

Which student can use movements to express this kind of delicacy and softness?

2. Students work with the teacher to express the beauty of the body - soft

3. Guide the students to express the beauty of the voice - sweet

A. Teacher Compared with singing, the students observe the changes in the corners of the teacher's mouth

B. The students lift their smile muscles and sing the song with a sweet voice.

4. Perform it again in the way you like (body or singing).

Sixth, test feedback and summarize the sublimation.

1. Ask students to listen to several folk songs from different regions and find out which of them are Jiangsu folk songs.

Teacher: Today, we learned the Jiangsu folk song "Yangliuqing" in dialect and experienced the delicate and sweet singing style of Jiangsu folk songs. Next, the teacher will test everyone and ask the students to listen to a few songs from different regions. Folk songs, listen to which one is Jiangsu folk song.

The first song: Xinjiang folk song "Peony Khan"

The second song: Shandong folk song "Baoleng Diao"

The third song: Jiangsu folk song "Cai Leng Tiao" "Tea Dance"

2. Summary:

My classmates, our Chinese folk songs are extensive and profound, but there are also some beautiful folk songs that will soon disappear among us because no one has sung them for a long time. our country, I sincerely hope that students can pay more attention to the folk song art of our country in their future studies and life, so that it will always shine gorgeously on the world stage!

Music Lesson Narrative Textbook (3)

1. Narrative Textbook

"Small Snail Hao" is the fourth grade eighth grade experimental textbook of the compulsory education curriculum published by the People's Education Press Songs from the fourth lesson of this volume, "Songs on the Water". This is the focus of this lesson on teaching singing songs. The fourth lesson *** takes three lessons. What I will talk about below is the content of the first lesson, which closely revolves around "The Little Snail." "Little Snail Horn" is a children's song with a cheerful and lively melody. The song expresses the children's love for life, love for nature and other beautiful feelings through "the little snail trumpet beeps and blows" in a childlike way. The song is in 2/4 time, feather mode, and two-part structure.

2. Teaching content

The specific content of this lesson includes:

1. Feel and learn to sing songs.

2. Process, compile lyrics and perform songs.

3. Expand songs and extend education.

3. Teaching objectives

There are three teaching objectives:

1. Cognitive objectives: learn and master the use of portamento and Boeing decoration to sing "Little Snail Horn" ”, making the singing more energetic and beautiful.

2. Ability goal: Innovate and develop songs, inspire and guide students to write their own lyrics and sing, participate boldly, perform confidently, and show innovation sparks.

3. Emotional goals: In the singing, processing and innovation of songs, the education of "love" is naturally infiltrated, and the beautiful emotions of "love" such as love of life, love of nature and love of relatives are inspired by children.

IV. Key points of teaching and learning

1. Be able to sing songs completely using ornamentation.

2. Inspire students to create lyrics.

3. Emotional education that penetrates "love".

5. Teaching Difficulties

Inspire and guide students to write lyrics and perform confidently.

6. Teaching preparation

CAI courseware, multimedia teaching CD, piano, strings of fake fish, small conches, etc.

7. Preaching Method

According to the new curriculum reform concept, teachers should take students as the main body and be their guides, collaborators, participants and promoters. According to the new "Music Curriculum Standards", listening to music works completely and fully is for students to gain pleasant feelings and experiences in the music aesthetic process, inspiring students to actively participate, expand their imagination, and boldly innovate. I have adopted various flexible and changeable methods such as feeling paving method, heuristic guidance method, comparison method, discovery method, exciting method, discussion method, etc., so that students can take the initiative to learn, actively explore, cooperate and interact, and develop together. To stimulate students' interest throughout the teaching process. I designed and produced a set of courseware without chalk writing on the blackboard. Song scores, symbols in music score knowledge, song animations, etc. are all displayed on large multimedia screens, making students feel imaged, beautiful, intuitive, and vivid.

8. Lecture method

In order to create a relaxed, democratic and harmonious atmosphere among students of "I want to learn", according to the determination of the teacher's teaching method, students will learn from each other under the guidance of the teacher. Under the guidance of this flexible method, students can learn how to sing songs naturally and quickly through feeling and appreciation; actively learn through exploration, discussion, and discovery; innovate and develop songs through cooperation and imagination, and get the emotional education of love.

9. Teaching procedures

(1) Interesting activities: At the beginning of the class, I will use the main rhythms in the songs to create a rhythm for students to imitate. Ignite students' interest, inspire students' confidence, and feel the joy of learning.

(2) Feel and learn to sing "Little Snail Horn".

1. Introduction of situational stories.

The students performed very well just now, and the teacher wants to give everyone a small reward. Please close your eyes and listen to what this sound is? (The teacher plays the conch trumpet) Did the students hear it? Next, the teacher will reward everyone with a story about a child who loves to play the small conch trumpet. Do you want to hear it? This child's name is Taotao. He lives by the sea and is the son of a fisherman. Every morning, my father would face the rising sun and go fishing. In the evening, my father would face the setting sun and return home with a full load. The family's life is happy and joyful! For Taotao, the greatest happiness is to go to the seaside after school every night, enjoy the beautiful seaside scenery, blow the small conch horn affectionately, and change the boat back to the boat with the sound of the conch horn, hoping to meet dad soon! The students listened to Taotao blowing the "Small Conch Horn" again. (Play the animated song "Little Snail".)

2. Appreciate Fan Sing repeatedly.

According to the concept of the new music curriculum reform, students should be guided to listen to music works completely and fully multiple times, so that students can learn songs unconsciously while experiencing and appreciating them.

The reason is very simple. Most of us learn a song by listening, not by learning the music score first and then the lyrics. The new curriculum emphasizes experience and influence over professional skills. Therefore, I designed to listen to animated songs three times, () asking questions before each appreciation; such as 1. What is the mood of the song? 2. How is the "scenery" described in the song? 3. Show the music score. Watch and listen, and then answer what emotion the song expresses? Through the students' answers, the teacher summarizes and improves the above questions.

3. Learn to sing songs.

(1) Learn to sing the first part of the song.

During the study, the students were guided to find and discover how many times the upward glide appeared. Through the comparison between the teacher's singing and singing with and without the use of the upward glide, the students concluded that the use of the upward glide can better express the cheerful mood of the song.

(2) The second part of learning to sing songs. Guide students to find the new symbol "Boeing" while learning to sing, and through comparative singing, students can better feel that "Boeing" can make the songs express the vastness of the sea, the boundlessness of the beach, and the beautiful mood.

(3) The teacher accompanies the song and the students sing the song in its entirety.

(3) Performance songs.

(1) Based on the students’ quality and performance, improvise various song singing processes and performances using unison singing, duet singing, leading singing, etc.

(2) Encourage students to sing glide and pitch well, and use correct voices to sing songs emotionally, showing the fishermen's children's love for a happy life.

(3) Guide all students to come to the front to perform movements freely, and the teacher will provide encouragement.

(4) Expand songs and create performances.

1. Guide students to imagine that there are many sounds in life, such as natural wind, rain, thunder, the sounds of various animals, the sounds of trains, cars and other objects. Invite each group to discuss and create new lyrics, and divide the groups into groups to guide students to expand their imagination, boldly create lyrics, and demonstrate their innovative abilities.

2. Present in groups, and students in other groups will evaluate.

3. The teacher showed the second lyrics composed for the song: The little conch trumpet, beep-dee-dee blowing, my father listened to the boat and returned, the small conch trumpet, the beep-dee-dee blow, my father smiled slightly after listening to it. . The little conch trumpet, beep beep, is blowing, singing joyfully will gain a lot, the small conch trumpet is beeping, beep beep, welcoming Abba on his triumphant return. Sweet life, warm family affection, seeing relatives, smiling happily.

4. Teachers and students each play a role and sing different phrases, and perform innovative singing songs.

5. Create and perform family stories. The teacher can play the role of father, a boy can play Taotao, and a girl can put on a scarf and play the role of mother, and improvise a family story. For example, how did Taotao show joy when facing his father who came home with a full load? What kind of good food did his mother cook and what good wine did he prepare when he got home? How did Taotao give his father a good meal after the family had a meal with Lele? Dad relieves fatigue, etc. During the performance, the teacher must constantly guide the development of the plot and bring out development topics in a timely manner to make the performance interesting and achieve the preset educational purpose.

(5) Summarize and evaluate, and extend "love" education. Finally, teachers should give students encouraging comments and continue to extend the education of "love". Can I ask the students, how do you express love to your parents at home? Finally, the teacher can emotionally educate the students and say: I hope that all of my classmates will be little angels of love, caring for and helping others everywhere in school, family, and society. As long as you have love in your heart, you will stretch out thousands of flowers. If you use your hands to help others, you will also get thousands of hands to help you.

I hope that the love of the students will spread to every corner like sunshine, and I hope that all of the students will become caring and moral models! Goodbye, classmates! ;