First, listening training.
For junior students, listening training is to lay the foundation for learning music better in the future. Instruct students to do listening exercises often, and its role is:
Through scale practice, students can form the concept of treble and improve the sensitivity of pitch perception. Stimulate students' interest with interesting actions, such as asking students to listen to "do, mi, S" repeatedly. These three sounds require students to walk when they hear "D", "mi" to fly, and "so" to jump. Students often train like this, which will form the concept of fixed pitch. There is also a scale gesture, which can be practiced while singing. For example, "D." put your hands on your knees, "R.
E "hands rested on her hips, mi" hands rested on her hips, fa "hands crossed her chest, so" patted her shoulder, "1.
Consolidate the students' concept of pitch by "pulling ears", "holding eyebrows" and "putting your fingertips on your head". After students have a preliminary sense of intonation, they can improve their sensitivity to perceive intonation through games. For example, draw the treble clef on the ground in advance, and let the students do actions while listening to music to find the clef. This not only consolidates the students' concept of treble, but also makes the boring staff become the content of students' games, so that students can remember the roll call position of the staff happily in the game and increase their knowledge in fun.
Cultivating students' hearing ability with music appreciation is an important way to improve students' ability to perceive, understand and appreciate music, broaden their horizons, develop their imagination, enrich their emotions and cultivate their sentiments. In the past, music was played to students through tape recorders, which most primary school students found difficult to understand, boring and difficult to understand. With the arrival of the third wave of scientific and technological revolution, the extensive use of multimedia computers in classroom teaching adds a sense of movement to the boring art of hearing. It organically combines music, pictures and plots, turns abstract music into vivid illustrations, and brings students into a dynamic situation. Students see the sun like a cloud, turn the difficult auditory art into vivid pictures to show to students, and improve their listening and music appreciation ability through the demonstration of pictures.
Second, percussion training.
Timbre training: Stimulate students' interest, provide percussion instruments for children, let children knock and beat first, and let them feel that these instruments have different timbres. For example, give children a percussion instrument, let them use two different sounds to represent the "tick" bell on this percussion instrument or other sound-making equipment, let students use their brains to think, and then knock out various "tick" bells. The drum surface means "drop" and the drum edge means "answer"; Tap the desktop with your palm to indicate "drop" and flick the desktop with your finger to indicate "answer". Due to the different strengths of students, a distinctive "tick-tock" sound has been formed. You can also ask students to add sounds to the "pictures". For example, when you click the mouse on the big screen, the first picture appears, the second picture is the rising sun, the second picture is lightning and thunder, and the third picture is a light rain and rustling. Then click the slide show view and ask the students to think about what percussion instruments should be used to match the sounds of three different pictures. After thinking, some students will choose tambourines and bells to match the sound of the first picture. Knock the second picture with cymbals and drums; Use sand balls to match the sound and wait for the third painting. With the improvement of students' ability to distinguish timbres, they can freely use different timbres to express the corresponding musical images.
Classified training: concentrate on training percussion instruments with similar nature and consistent rhythm. Let the students know the performance of various percussion instruments first. You can show the triangle, hand bell and jingle bell in front of the students, and then use them to knock out the dichotomy rhythm respectively. After listening, the students said, "The triangle and the bell are bright, and the reverberation is long. It's good to use binary notes, but the bell is short and unpleasant. " Knock the bell at quarter and eighth rhythm, and the students will say, "It's not nice, it's too noisy, and the sound is not clear." At this time, I asked the students: "The reverberation time of triangle iron and ringing bell is very long. How should we arrange the rhythm for them to give full play to their characteristics? " The student replied, "Be sparse". Then they took out wooden fish and sand balls and hit them with a dichotomy rhythm. The students said, "Teacher, wooden fish and sand balls have short echoes, so we should listen to them in a more intensive rhythm."
When students understand the performance of percussion instruments, they are asked to assign percussion instruments to the music they have just learned. Students weave triangle iron and bells quickly, and wooden fish and sand balls have a dense rhythm. When they played their own percussion scores, they were all in high spirits and the classroom atmosphere was very active. Through continuous practice, this training method can effectively cultivate students' flexibility and sharpness of thinking. Because these trainings not only require students to play their own rhythm correctly, but also have horizontal coordination, which is also the ability that students must have to sing chorus and perform ensemble well.
Third, rhythm training.
In order to enable students to master the rhythm, it is necessary to constantly change techniques for rhythm training. Conditional schools can make courseware according to the change of rhythm and display it on the big screen through computer; Unconditional schools can use slides to make a big screen, or write directly on the soft blackboard, so that students can have an intuitive feeling.
Introduce "fun" with "novelty": for example
Run, run, jump, jump, run, jump, and be healthy!
On this basis, Kodaly's rhythm training method can be adopted, that is, the quarter note is "tower", the eighth note is "ladder" and the sixteenth note is "Li". According to the characteristics that students hate mechanical "preaching" and like various forms, novelty and variety, and love singing, they can read the rhythm first, then sing the song, and then match the action form. This method can attract "interest" with novelty, enliven the classroom atmosphere and stimulate students' interest in learning.
Action: "Tower" clap your hands; The right hand of the ladder points to the palm of the left hand; "Ladder in the ladder" ("Li" slaps his legs with both hands) clap your hands first, then clap your legs, and then clap your hands.
Look at the rhythm of the action: the teacher rhythmically does the racket action: XX | XX |, and the skipping action: XX | XX |. Let the students take pictures of the teacher's movements and rhythms through the visual racket.
Position training: If you practice the rhythm of clapping, patting your legs and stamping your feet, you can divide it into two parts, one for two groups and two for two groups, or you can practice with both hands and feet.
Fourthly, harmonica teaching.
At present, musical instrument teaching has become an indispensable teaching method to cultivate children's quality, because whether it is harmonica, organ or clarinet, it will bring endless fun to students and let them increase their knowledge in "fun". James Searle, a famous contemporary American music education psychologist, pointed out that "instrumental music teaching can be said to be a bridge to better experience music, and it is actually a wide range of music learning fields". This incisive conclusion has strengthened my confidence in instrumental music teaching. In teaching, I realized that playing skillfully in musical instrument teaching can not only improve students' reading and recording ability, but also exercise students' expressive power. For example, in harmonica teaching, beginners should not rush to practice playing, but should tell students the correct playing method, how to hold the harmonica, and then play, distinguish between treble and bass, with treble and bass facing the right face and bass facing the left face, and draw a simple picture on the blackboard. The sound played at "1" is "do", and then draw a simple playing chart.
Then watch the teacher's gestures fluctuate and breathe. This method is easy for students to accept at first sight (in qualified schools, it can also be taught by organ, because it has a fixed keyboard and a fixed pitch, which makes it much easier for students to learn). After learning to play scales, you can find some short tunes to practice. From the shallow to the deep, students' playing ability will continue to improve. In addition, in order to let every student stay, some students with good ball skills are selected as small counselors to help each other learn in their spare time; In class, students take turns to perform and play in front of the podium, which not only exercises their courage, enlivens the classroom atmosphere, but also improves their visual spectrum ability, consolidates their knowledge of music theory, reduces the burden on students' vocal cords and protects their voices. Some students are born singing out of tune or hoarse. Since they learned to play the harmonica (organ), they not only have much better intonation, but also sing out of tune. This not only improves students' interest in learning music, but also enhances their confidence in learning music and improves their musical ability.
Fifth, rhythm training
Let students feel and understand music with the rhythm and melody of music. To understand the musical image created by music, students can generally be guided to feel and understand music by teachers' demonstrations, watching wall charts and listening to tape recorders. Conditional schools can also use computer multimedia to demonstrate the music image to be expressed, so that students can have an intuitive feeling and express the theme of music with the rhythm of their bodies, so that students can "move" in music, perform and do it themselves, and deepen their understanding of the music content. Because students are fully familiar with and fully understand music works, they are not satisfied with listening or singing, but have a strong desire to express music and emotions, so it is also essential for teachers to guide students purposefully. Teachers can make necessary demonstrations according to students' different age groups, and help students understand the music image with their own eyes, gestures and dance movements. For example, in the lesson of Little Bee, students can deepen their understanding of music with the rhythm of music, express and imagine the busy scene of bees collecting pollen and brewing nectar with actions, and mobilize their creativity. If you appreciate the lesson "Lovely Animals", you can first show music pictures through computer multimedia, so that each student can choose an animal according to his own feelings and understanding of music, such as horse, elephant, tiger, lion, rabbit, kitten, bee, turtle and so on.