At the end of last semester, I listened to the subject report class taught by the new teachers with the music group teacher. In the first lesson in the morning, I was sitting in the music classroom and looked at the young and lively dolls in front of me. I suddenly asked myself: If my grandson or granddaughter is in the first grade, do I still want her to go to school here? This kind of self-question is actually: If my child is sitting in the classroom, I hope the teacher will give a wonderful lesson.

There were two or three minutes left in the class. When the class teacher saw that the students were quiet, he quietly went out through the back door, leaving the class and the children to the young music teacher. It could be seen that he was a little nervous. He walked back and forth, looking left and right. He didn't say a word or do anything related to music. He could really be said to be waiting. I sat at the end of the classroom with another teacher in the music group and could see the physical behavior of the children very clearly. As soon as the head teacher turned around and left, two tall boys in the back row relaxed their tight bodies. They twisted their fat bodies with the word "boring" written all over their faces. I'm thinking: Why doesn't the teacher do some warm-up before class? You can clap your hands, you can groove, you can listen to soft music... No matter what, it's better than waiting for the school bell to ring.

So, how should music lessons be given to lower grades? In other words, how can we make music classes in lower grades attractive and fun for children? I thought of a few methods that are very easy to operate and convenient to practice.

1. Bring stories into the classroom, and children learn from stories. Children in the lower grades are still in a very childish and innocent state. When they walk on campus, they will look at everything around them with fresh and curious eyes, confused and half-understood, including their teachers and classmates. Children of this age also have limited attention spans, and it is common for them to lose focus and be distracted in class.

A music class lasts for 40 minutes, and more than forty children are in the same space. If the children’s conscious attention is to be relatively stable (at least half of the class is focused on learning), teachers must Figure out how to do it. I wandered through the lower grades for a few rounds and found that some of the classes I was satisfied with had life-like situations that could be connected with stories. For example, the lower grade music classes include "Listen, Who's Talking", "Animals Talk", "Big Deer", "Little Ants Carrying Rice Grains", "Little Black Pig" and so on. When teaching, on the one hand, we combine the content of the songs to create life-like stories, and use vivid language and interesting plots to firmly capture the hearts of the children. On the other hand, learning music in stories is closer to children's inner feelings and learning associations.

I remember one time when my apprentice Ruohan came to attend my regular class because she said her class was noisy and had discipline problems, and she wanted to see how the master managed the class. That time I happened to be taking "Animals Talk". At the beginning of the class, I went straight to the theme of the story: the pond in autumn was very lively, and the animal world was preparing to hold a concert. When the little animals heard the news, they were all eager to try and it was so lively. Classmates, listen - who is talking (singing)? (The chicken appears, the teacher demonstrates and reads rhythmically:

× × × ×? ∣ × ×? /p>

According to the change of the song (the development of the story), the duckling's speech (singing) will appear later, and then the children will imitate and adapt it based on the original, so that the children can learn the composition method and singing ability. In the subsequent creation process, you can invite lambs, calves, puppies and other small animals in life to create songs, sing and perform songs using their voices.

Learning a song is through the introduction, continuation, expansion and summary of the "Animal Concert" story. It cannot be said that the children were very serious for 40 minutes, but they were very focused on learning for at least half an hour. Yes, the effect is good. After class, the student said, "Why is it so relaxing to watch the master teach?" In fact, the child was attracted by the stories and the music, and he or she had no time to lose focus.

2． Bring games into the classroom, and children learn while having fun. I have a normal school classmate who is a very professional music teacher. She is one of the first batch of veteran teachers recruited by Xincheng Garden Primary School in the park. She has good conditions and works very hard in leading clubs. She teaches classes and tutors many students. Won the first prize in city and district level competitions. At that time, Xincheng Garden Primary School was still in the brand-building stage, and the school leaders were very strict with teachers' classroom work. It was common practice to open the door to listen to the class. My classmate said that she specially designed a music treasure box for this purpose (girls can carry it anytime and anywhere, it shouldn’t be heavy). The box contains a variety of music props, ranging from neat rhythm strips to interesting stickers and boards. , ranging from all kinds of percussion instruments and game props. She said: Because of this treasure box, the music class had a lot of creativity and surprises (there was no such thing as creative learning at that time). It was like a magician holding a magic wand, gently waving, dotting, and scattering it in front of the children. Unexpected things happen easily. The class is good, and so are the children.

I remember that I participated in the Suzhou Art Evaluation Class Competition in 2003. At that time, in order to let the class go straight to the theme, I introduced it with a "firecrackers" game. On the one hand, it was close to children's lives and based on life. The colorful scenes trigger children's cries; on the other hand, the sound of firecrackers is used to guide rhythm practice (the sounds in life become the sounds in music), cleverly integrating life scenes with musical elements, and the sixteenth notes "crackle" "I read it correctly all of a sudden.

During the epidemic, I listened to a lecture by Pan Liqin, a music teaching researcher at the Jiangsu Academy of Educational Sciences. She spoke very highly of the "Bun, Scissors, Hammer" lesson taught by a music teacher in Nanjing. At the same time, she pointed out: This class goes beyond the boundaries of music classes focusing on singing and appreciation. It is a music activity class focusing on games, or a comprehensive art class. In fact, you will still make new discoveries by reading music textbooks.

3． Teachers become the big kids in the classroom, learning together with the children. In this regard, I saw that the young teacher Xiao Zhao seemed too mature, too silent, and too dull in front of the second-grade children. For example, there is unreasonable silence before the class begins, such as the embarrassment when evaluating children in class, such as the stiffness and forcefulness when interacting with children... Teachers and students in the classroom are never at the same point (the same field), "Teacher" On this side, the child is on the other side." The teacher is looking here, and the child is looking over there... There is always a heavily guarded river blocking the distance between the child and the teacher. "Teacher is too much like a teacher" makes children feel that "teacher is a very distant person" rather than a living and friendly person.

My advice to Teacher Xiao Zhao is: the image should be younger, including the dress should be lively and light, the teacher should be cute, and the students should be cute. Second, the language can be more childlike, including daily language in the classroom. The dialogue between adults and children must be based on children's cognition and understanding, and they must say words that children can understand and words that children can understand as soon as they hear them. Don't speak in an adult or pedantic tone. You need to be vigilant at all times. Third, actions can be exaggerated, including body language in the classroom. For example, the first sentence in class is "Teacher and student say hello", and you can greet your children smoothly, but there will always be a day when you are tired and tired. At this time, if you bring a hand puppet and appear in front of the children, and use exaggerated sounds and exaggerated movements to say hello to the children, the classroom effect will definitely be different. When learning a new song, if the teacher uses exaggerated expressions, exaggerated language, and exaggerated movements to show it, and the teacher becomes the person and object in the story, then it is really "the integration of person and lesson".

Who doesn’t like this kind of class?