Music itself is the most contagious art. However, in the process of music teaching, we often lack due attention to the essential issue of subject characteristics, resulting in many counterproductive situations in teaching. For example, for the sake of training content in each section, emotional experience is often forgotten consciously or unconsciously, and technical drills are carried out blindly, which makes music teaching appear fragmented and boring. So, in the process of music teaching, how to change the teaching situation of music and better grasp the important and difficult points in music teaching?

1. Integrate aesthetic awareness and highlight subject characteristics

Music teaching is fundamentally an aesthetic education of art, rather than pure skill training. It is a basic education for all students. Quality education. Therefore, music education should guide students to participate in music activities, so that students can enjoy the satisfaction of success and gain aesthetically pleasing experiences, thereby making students love music, stimulating students' interest and desire to further learn music, and on this basis, making students have the ability to further learn Fundamental knowledge and abilities in music. It is necessary to make them understand the history of the development of music culture, lay the foundation for their sustainable development in music, and subtly promote their quality and comprehensive improvement.

2. Music affects skills, and skills are connected to emotions

Music is the most technical science. Without technology, there is no creation and high-level appreciation, and technology does not pass through hard work. It is difficult to learn to practice. This is the objective reason why aesthetics is easily lost, and it is also the reason why we emphasize aesthetic awareness. Some of the contents of music teaching are closer to aesthetics, some are further away from aesthetics, and some are purely skill training, but we should always pay attention to it. Only by finding the root of it can we have a steady stream of emotional vitality. For example, when teaching some continuous dotted notes, this kind of rhythm needs to be based on feeling, so it is difficult to strictly frame it. But if you understand the musical connotation of that song, with just a little hint, the teaching situation will change drastically, and at the same time, understanding and understanding will be connected.

3. Interest is the teacher, and self-study is essential

Essentially speaking, music puts people's overall psychological structure in a state of conscious, autonomous and free development. People first have emotions before they want to sing. A piece of music often has different feelings depending on the mood. Similarly, the development of musical ability must also be based on a proactive state, because aesthetic education is induced, not mandatory, which is why interest is emphasized. In addition, music as an art is often intuitive and has no clear answer. Music can be fast or slow, strong or weak. The subjective grasp of this ambiguity lies in your own thinking.

4. Create and use music to encourage unique insights

As an art of time process, music’s existence is closely dependent on human creative activities. In the three basic links of appreciation, performance, and creation, people's active participation is indispensable. In all musical activities and all emotional experiences, human imagination is indispensable. The essence and value of music lies in stimulating people's creativity. Music does not allow us to accept concepts and knowledge, but must use our own feelings to grasp it, otherwise it is meaningless. Teaching must pay attention to the cultivation of imagination, encourage unique insights, consciously increase creative content, and advocate the use of abilities and mastery of technology in expressing one's true feelings.

5. The understanding of musical notes is explained using metaphors

In teaching, the dots in dotted notes are compared to a certain note with a "little brother". The "little brother" needs to buy a half ticket to ride on the bus (of course the big brother in front has to buy a full ticket). In this way, the duration of the dot is always equal to one-half of the duration of the previous note, and is organically linked to the half ticket being half the price of the whole ticket. This can better overcome students' misconception that the fixed duration of the dot is regarded as half a beat.

6. Carry out music activities to deepen conceptual understanding

In the process of music teaching, it is not in line with the psychological characteristics of students to explain concepts too much or rely on one-way information infusion from teachers. Yes, students should be allowed to participate in the activities in person and feel the music personally. For example, when teaching students to recognize "crescendo" and "decrescendo" marks, teachers can design several music activities as follows: (1) Ask a student to play a percussion instrument, walk from the inside of the classroom to the outside of the classroom, and then return to the classroom to let the The students listen to the changes in the voice. (2) Ask students to imitate the sound of a train gradually approaching and receding, and experience the changes in the sound.

(3) Ask a group of students to sing a line first, and other students will follow in groups, and stop singing in groups to experience the changes in the sound. It is conceivable that students' experience of the crescendo and decrescendo in such activities is far more effective than the teacher's single lecture, and they deepen their understanding of knowledge concepts in the process of participating in music activities.

7. Tell typical deeds and evoke emotional expressions

The emotional factors of the teaching materials should be completed through the teacher’s analysis and performance and the students’ emotional communication during the teaching process. Students’ understanding of the songs Emotional expression is a very important part of music class, and it is also a difficult point. It is easy for students to learn a song, but it is not easy to express the emotion of the song accurately and truly. For example, learning to sing "The National Anthem of the People's Republic of China" can inspire students' respect for their predecessors by telling the touching deeds of their revolutionary ancestors, and then guide them to review and imagine how our athletes stood at the leadership position when they won the gold medal at the Olympics. On the podium, looking at the scene of the bright five-star red flag rising along with the solemn melody of the national anthem, one can understand the tearful mood of the athletes, arouse the students' own emotions to be integrated into the singing, and arouse the students' emotional expression, which can Express the songs better and sing the songs well.

To sum up, in order to make music teaching embark on a virtuous cycle, as music teachers, we should flexibly use a variety of teaching methods according to the changing teaching content and different levels of teaching objects, especially It is to grasp the key points based on the key points of the teaching materials, to change the situation where the essence of music is ignored, the teacher dominates everything and the students practice numbly, to turn the painful process into aesthetic enjoyment, and to capture the most precious feelings of music to imagine and create finished products. Make music teaching not just a classroom for teaching music, but a palace for creating music.