1. Principles of sight-singing and ear-training teaching combined with the training of actual musical works 1. "Extracting from music" is also the core content of the sight-singing and ear-training teaching method combined with the training of actual musical works. The so-called "extracting from music" means that the materials for the sight-singing and ear-training teaching content should come from actual works. Through the analysis of the works, the teacher selects the more typical parts that are suitable for sight-singing or auditory training, or Simplify, split, or quote directly to become classroom teaching content for training various musical abilities. 2. Returning to the perception "in the sound" Compared with "extracting from the music", "returning to the perception in the sound" is relatively easier to understand. It means that during the training process, students should also be allowed to listen to the music sound of the actual work, conduct a comprehensive audio-auditory analysis of the work, perceive various training contents from the overall sound effect, and gradually form the ability to comprehensively perceive music. When using excerpts of works for sight-singing exercises, it is also necessary to refer to actual speakers for listening and singing training to enhance students' understanding and expression of music. 3. Focus on training on the content of music works. On the basis of retaining traditional teaching methods, add comprehensive training on the content of music works, and gradually use this training as the main clue to form a diversified and multi-level teaching model and training method. It replaces the previous training model which mainly focused on listening and singing training and was divorced from specific musical images. For example, when training musical elements such as pitch, rhythm, beat, melody, mode, harmony, etc., materials from musical works can be used for training, and then these contents can be linked together to conduct a comprehensive audio-auditory analysis of the work, so as to To achieve the ultimate goal of developing and cultivating students' "ear for music". This is also one of the principles of this sight-singing and ear-training teaching method. 2. Characteristics of sight-singing and ear-training teaching that combines training with actual musical works. Sight-singing and ear-training teaching that relies on actual musical works has the following salient features: 1. It draws on a wide range of materials, both difficult and easy. In terms of selecting training materials, the There are countless works that can be used for this teaching method. First of all, from the perspective of the division of music periods, European medieval music, Renaissance music, to modern Impressionism, modern music, and our country’s traditional ethnic music can all be included in the content of classroom teaching; secondly, from the type of music works Generally speaking, vocal works, instrumental solo works and orchestral works can all be selectively quoted at different stages of teaching (referring to elementary, intermediate and advanced stages) and are applicable to the entire teaching process. 2. The teaching content is rich and the knowledge compatibility is strong. The sight-singing and ear-training teaching method combined with the training of actual music works can not only train students' listening and sight-singing abilities through the acoustic listening of the works, but also train students' listening and sight-singing abilities through the listening of the music works. Auditory analysis, understanding the knowledge of various music from multiple angles, assisting the teaching of other music subjects. For example, when we conduct listening and identification training on harmony connection, we not only need to hear the phonemes of the harmony, but also listen and identify the functional attributes of each chord. This is the category of harmony; another example is when we listen and identify multi-part melodies. During training, we can feel the regular progression of multiple melodies, and analyze these with hearing, which belongs to the category of polyphony. For example, when listening to the complete sound of a work, our teaching also needs to understand the paragraph structure of the work. To divide and summarize, this again belongs to the category of formal studies. When conducting sight-singing training, the music scores that students refer to are the original scores that have not been rewritten, which include not only vocal and piano scores, but also other musical instruments and orchestral scores. Therefore, while conducting sight-singing training, I also became familiar with musical instrument notation, score reading, etc. Another point is that through listening to speakers and training in the content of works, students understand the creative techniques and musical styles of composers from different periods and genres, etc. This also belongs to the category of music appreciation. Therefore, it greatly enriches the content of classroom teaching and enriches students' "musical ears". The most prominent feature of sight-singing and ear-training teaching combined with actual music works when the compatibility of music knowledge is strong.

3. The significance of sight-singing and ear-training teaching combined with the training of actual musical works 1. To assist professional teaching and lay the foundation for music activities. The teaching method of sight-singing and ear-training combined with the training of actual works is not only for performance majors, but also for creation and theory. Professionally speaking, they can all play a role in assisting professional teachers in teaching and achieve good results. Specifically, the content taught in the sight-singing and ear-training classes can enable students majoring in music performance to improve their pitch and rhythm abilities, and also experience the true musical performance of band ensembles and choruses through many trainings of multi-voice cooperation. Thereby promoting the improvement of professional abilities; for students majoring in creative writing and theory, due to the rich sound in the sight-singing and ear-training classes, the teaching content is arranged from training to inspiring and guiding analysis, so that they can In sight-singing and ear-training classes, you can gain some basic knowledge in professional courses. Therefore, the sight-singing and ear-training teaching combined with the training of actual works has practical significance of assisting professional teaching and laying an important foundation for various musical activities. 2. Develop music perception and cultivate musical aesthetics by combining sight-singing and ear-training teaching methods with actual work training, extending the scope of "ear training" to every detail of music, and conducting in-depth auditory analysis of works. This teaching method not only frees students from the relatively simple listening and singing training, but also enriches the classroom teaching content with more knowledge; it also allows students to obtain more music information during the listening process, which is very important for developing students' Music perception and cultivating students' music aesthetic ability undoubtedly have positive effects and practical significance. 3. Keeping pace with music, the sight-singing and ear-training teaching method that is conducive to subject development and combined with the training of actual musical works can always maintain consistency with the pace of music development. No matter how far music develops, as long as our teaching principles remain unchanged and the core content of teaching remains unchanged, any musical works can be introduced into our classrooms to expand our teaching content and enhance our musical ability training. This is consistent with the research direction of sight-singing and ear-training. Therefore, it can be said that the implementation of this teaching method is of great significance to the development of the discipline of sight-singing and ear-training. 4. The teaching method of sight-singing and ear-training combined with the training of actual musical works. On the premise of retaining the traditional teaching method, the teaching of sight-singing and ear-training combined with actual musical works requires the following changes in teaching methods: 1. Use multimedia-assisted teaching in In teaching, playing actual sounds instead of using piano alone to assist teaching can make up for the lack of timbre and sound training in the teaching content. At the same time, multimedia is also the most important tool and means of this teaching method. For example, when training melody dictation, you can choose the viola solo or lead phrases in a certain work for students to dictate, and require students to use correct notation. In this way, students not only train their ability to distinguish pitch and timbre, but also gradually become proficient in notation methods for different musical instruments. 2. Design question ideas to carry out teaching. Teaching in the form of questions, answers or choices is another teaching method of this teaching method. The questions are designed from shallow to deep, from surface to point, and according to the rules of hearing, students can go from unfamiliar to familiar music, and then capture the details in the music. In this process, students gradually master the content of the work. When encountering more complex and difficult-sounding questions, teachers can list the answer options for students to judge. This not only avoids a single teaching form, but also highlights the key points of auditory training. 3. Use the original scores of the works for teaching. In the past, when teaching sight-singing and ear training, the scores of the works involved were basically adapted scores, or they were transposed to facilitate singing, or the textures were simplified into piano textures. , easy to play on the piano. Most of the sight-singing content is based on music scores in G clef and F clef. Notations for transposed instruments and orchestral scores are rarely used. Therefore, the sight-singing and ear-training teaching method combined with the training of actual works is to conduct sight-singing and sight-singing exercises in the form of original music scores to train students' music reading abilities.

5. The sight-singing and ear-training teaching method combined with the training of actual musical works. In the sight-singing and ear-training teaching at different levels and stages, the training of students' "listening" and "singing" abilities in combination with actual musical works needs to be carried out in several steps. , the following is a brief introduction to the auditory training methods in the primary stage of sight-singing and ear-training: 1. Primary stage The primary-stage sight-singing and ear-training training mainly requires students to master simple beats, rhythms and melody phrases, and to be able to model and sing them. Below, take the English song "Edelweiss" as an example (see score example 1), focusing on ***two classes for ear training. The first step: play the sound for the first time, and ask a set of knowledge questions after the playback. (The teacher can also explain it directly before playing it) Question 1: Is this song a Chinese song or a foreign song? Question 2: What is the title of the song? Step 2: Ask questions before playing, and give answer options, so that students can listen to the sound a second time with questions. (If you answer a question incorrectly, you can listen to it again the next time) Question 3: Is the beat of this song 2/4, 3/4, or 4/4? Question 4: Is the tempo of this song fast/medium/slow? Question 5: What are the starting and ending sounds of the melody of this song? What tone levels are used in between? arranged into a musical scale. Question 6: What are the shortest and longest notes in the rhythm of this song? Step 3: Play the sound for the third time and ask students to play or sing the melody pitch on the piano and write it down silently. 2. Intermediate stage: Take "Anitra Dance" as an example. Step 1: Before playing the sound, the teacher will give a simple introduction to the work, ask a set of questions, and require students to answer after listening to it for the first time. A set of general questions: Question 1: The key, beat, and speed of the music (including both terminology and notation) Question 2: The paragraph division of the music? Question 3: What is the instrument arrangement of this song? Question 4: How to enter the rhythm of the theme? Question 5: What instrument is the theme played on? Question 6: What special playing method is used in the music? Based on the students’ answers, the teacher can use courseware to display the structure diagram of the entire piece of music (see Figure 1). Wrong answers can be corrected by the teacher and will be corrected when the sound is played next time. Step 2: Play the sound a second time and ask a specific set of questions. Rhythm category: Question 7: The main rhythmic motives in the theme melody are (multiple choices available): Question 8: In what rhythm does the ornamental sound in the middle of the music appear? A. The upbeat of option B in the above question B. The upbeat of option A in the above question C. The upbeat of option C in the above question D. The third beat of the weak beat in option A in the above question Question 9: The accompaniment part that runs at the same time as the theme How many rhythm types are there? What are the differences? Step 3: Dictation is mainly to record the theme melody and harmony in the score. The piano can be used to simplify the textural performance and allow students to dictate and then proofread. Conclusion Above, this article has expounded the teaching principles, teaching characteristics, teaching significance and teaching methods of sight-singing and ear-training training based on example works, and has preliminarily explained and demonstrated the necessity of sight-singing and ear-training classroom teaching that combines training with actual works. I hope it can provide new ideas for sight-singing and ear-training teaching in the future and play a role in promoting the development of the subject.