In primary school music classroom teaching under the new curriculum environment, teachers boldly innovate, students express their individuality, and classroom teaching is full of vitality. However, after calming down and reflecting, there are some phenomena that are "seemingly alienated" from the new curriculum. Therefore, we must use music as the carrier and rich content, form and emotion as the main process to reflect the musicality of the classroom and at the same time reflect the essence of the music curriculum.

Keywords

In primary school music classroom teaching under the new curriculum environment, teachers boldly innovate, students express their individuality, and classroom teaching is full of vitality. However, after calming down and reflecting, there are some phenomena that are "seemingly alienated" from the new curriculum, such as: excessive emphasis on "discipline synthesis" and losing the "nature of music"; excessive creation of "interesting atmosphere" and lack of "skill support"; Pursue "music creation" and forget "improvisational imitation". The reason is largely due to an insufficient understanding of the new curriculum concept, which must be paid attention to. Faced with the phenomenon revealed in music classes, we can't help but think deeply: What is an excellent music class? How to better reflect the musicality of music classes? How to avoid those flashy things.

1. Specific manifestations of the lack of standardization in music classes:

Scene 1: Over-emphasis on “discipline synthesis” and losing the “true nature of music”

The new curriculum proposes synthesis It is a basic concept of basic education. It is a development trend of modern education and an extension of the subject system to the field of learning. On the other hand, as a major category of art, music also has a natural close connection with a wide range of cultural fields, which also makes it possible to integrate music courses with other non-art courses. But the integration of music courses must be music-based integration. The implementation of the comprehensive principle in music courses should highlight the characteristics of the subject and reflect the integration based on the music subject standard. For example, in various primary school courses, Chinese, art, physical education, etc. are more or less related to music, which also makes the connection between music teaching and these courses possible. But this is no reason for a hodgepodge synthesis.

Case 1: In many music teaching and research classes, most of which are music learning and singing classes, there is a phenomenon of reciting lyrics. For example: In the lesson of learning to sing "Sweet Secret", after learning the melody of the song, the teacher said: "Let us recite the lyrics emotionally with gratitude." Then the students began to read aloud in the Chinese class. , after reading, the teacher said: "Students read well, but the emotion is not enough, try it again!"... I have heard lessons like this many times.

I would like to ask: without the body of music, the integration between disciplines is highlighted, the mobility is highlighted, and the students' versatility is presented on the surface of the classroom. Is this the ideal state of classroom teaching we are pursuing?

Commentary: In this case, the teacher’s spirit of practicing subject synthesis is certainly valuable, but the method and form are questionable. We should grasp the scale of "comprehensive". Music class is music class and should have the subject characteristics of this subject.

Scene 2: Excessive creation of "interesting atmosphere" and lack of "skill support"

Case 2: This is a new song teaching class, teaching "Prairie is My Home" . When the new lesson was introduced, the teacher asked: "Do you like taking the train?" "Yes!" "Now the teacher will take everyone to take the train and sing songs to travel to the prairie of Inner Mongolia." The students' emotions were immediately aroused. , and is very dedicated to imitating the rhythm and sound effects of the train. When they arrived at the destination, the teacher asked the students to learn the dance steps of the little cavalry for a while, and then asked the students to learn the milking dance. The music classroom became a sea of ??joy, and the students were very happy. There was endless laughter, and the music was just used as background music. After a class, only a few people can sing the song "Prairie is My Home". What the students focus on and experience is only the superficial happiness brought by the process of this activity rather than the music itself.

Question: Without skill training focusing on music elements to highlight students’ interests, the classroom surface presents a lively scene. Is this the ideal state of classroom teaching we pursue?

Commentary: The new curriculum points out that students should be allowed to move from "knowing how to learn music" to "how to learn music". It would be unimaginable without certain musical skills to back it up. In this case, the teacher excessively pursued the principles of music interest as motivation and emphasis on music practice, which highlighted the interest and entertainment of music, but ignored the "soul" of music - musicality, which is the most fundamental aspect of music. Things that take precedence over music classes, the effect can be imagined. It is true that interest is the basic motivation for learning music and the fundamental way for students to maintain close contact with music. In the teaching process, teachers should create pleasant music situations through various vivid music practice activities, and use interesting musical images and colorful melodies, rhythms, timbres, harmonies, etc. to move students emotionally and feel them. Practice, learn by reason, cultivate and mobilize students' awareness of participation, so that students can learn through music, learn music, enjoy music, and use music to beautify life. But if it is purely a superficial and formal teaching method based on interest for the sake of interest, then the improvement of students' aesthetic ability will be empty talk. Therefore, as a front-line teacher, it is important to correct the thinking of music education, deeply understand the new curriculum reform's idea of ??"dilution" rather than "weakening" in the teaching of music knowledge and skills, and strictly control the word "degree".

Scene 3: Excessive pursuit of "music creation" and forgetting "improvisational imitation"

Case 3: Listening to a singing lesson "Celebrating the New Year". After playing "Long Dong Qiang", students became familiar with the song through activities such as rhythm and accompaniment, and were guided to use their own creative methods to accompany the song and use their own designed dance moves to express the song. Then the teacher asked: "What other ways can we express songs?" Although the class was lively, looking back, how many things really belong to the category of music, and what did the students really learn through practice?

I would like to ask: out of the scope of music, the surface of the classroom shows the rising enthusiasm of students for creation. Is this also the ideal state of classroom teaching we pursue?

Commentary: We must correctly handle the relationship between creation and imitation. The music creation activities of primary school students often start with imitation, and imitation is the only way to create music. Through imitation, creative learning can be carried out step by step from easy to difficult. Improvisation refers to a kind of music creation behavior produced by students based on their feelings at the time. It is a temporary creation that does not require preparation in advance. It is often associated with improvisation. Therefore, we must pay attention to the use of improvisation in teaching.

2. Strategies for returning to the basics of music teaching

"Return" refers to restoring the original appearance of music education. Music classes must reflect ontology, that is, music teaching must be music-based. Music education is education with aesthetics as its core. Specific strategies for how to better return to music-based teaching include the following aspects:

(1) Use "music performance" with caution in the classroom

Music classroom teaching should be a process that continuously stimulates students’ interests. Primary school students think mainly in images, are curious, active, and have strong imitation ability. In music teaching, according to their psychological characteristics, teachers appropriately use performance methods to let students play the roles in music, which can shorten the distance between students and music, help students understand music more deeply, and gain aesthetic appreciation in music activities. of pleasure. However, in recent years, especially since the launch of new curriculum practice activities, this performance method is often seen in music classrooms and has gradually become a fashion in music teaching. Many music teachers are competing to use it and never tire of it. In order to overcome the above-mentioned practices and make music classes music-oriented, we should pay attention to the following two aspects in specific implementation:

⒈Music and performance cannot be equated

In teaching In it, the primary and secondary relationship between the two must be corrected, so that the performance is a natural expression of emotions and spontaneous expressions of movements after understanding the music, and it must not be far-fetched or attached, nor can it form a certain mindset. , gradually entering a kind of programmed teaching.

⒉You can’t “just do whatever you want”

In the open music classes under the new curriculum standards, what I heard most was the teacher’s tender words of encouragement: “You want to do it?” Just do whatever you want." At first glance, it seems that we attach great importance to students' autonomy and respect their individual development. In fact, if teachers cannot provide certain knowledge on a regular basis and simply allow students to develop "freely", students will not make much progress. Although students get a certain amount of happiness in this process, this happiness is meaningless for a real new music classroom.

(2) Pay attention to both the standard of music and the autonomy of students

"Chinese Music Education" once published: In American primary school music classroom teaching, students are allowed to participate in instrumental music rehearsal classes Observe who made a mistake in rehearsal and what went wrong? Everyone watched the rehearsal attentively, and those who practiced did not dare to neglect it. Then, the teacher asked: "What was the problem just now?" Then the students spoke enthusiastically. In this American teacher's music class, students are not passive recipients of information, but active and active explorers of knowledge. When problems arose in the rehearsal, the students were focused, actively observing, and thinking actively: "They did not tune the piano or tune the strings before playing! They did not make eye contact with each other before each chord!" They learned through discovery. Knowledge skills, learn to discover in acquiring knowledge.

Students personally participated in the experience, and they concentrated on looking for errors in the rehearsal. The teacher did not tell the students anything, nor did they ask the students to name the title, rhythm, creative background, sections, and emotions of the music. Characteristics, scenes, etc... these are not the ultimate goal of teaching. Classroom teaching is not only about teaching something, but more importantly, allowing everyone to participate in the experience. These contents are felt and experienced by students through personal participation. Only through personal practical experience can knowledge be remembered for a long time; only through personal emotional experience can methods be mastered easily.

(3) Do not make the subject comprehensive while neglecting one and losing the other

The comprehensive study of music is based on the characteristics of the music subject itself and the needs of the all-round development of people. It is a music-oriented comprehensive study. . In actual teaching, synthesis that deviates from the music standard often occurs. To reflect the comprehensiveness of the subject in music classes, we should make reasonable choices based on the learning goals, and we must do so in moderation.

While highlighting students’ participation, pleasure, and emotion in the classroom, we should not forget to put the ontology of music in the first place, which requires us to make greater efforts. It is necessary to correctly handle the relationship between technology, art, aesthetics and education, and to formulate a corresponding scientific music education evaluation system. The new curriculum reform is a long-term and continuous process. The essence of the new curriculum reform must be truly understood and based on the actual situation held in the current basic education field. It cannot be achieved overnight, let alone go from one extreme to the other. Therefore, as a worker engaged in music education and teaching, you should still continue to study and research, strive to understand the basic spirit of curriculum reform, correct the thinking of music teaching, and constantly reflect on teaching. Only in this way can we withstand the baptism of wind and rain on the course of curriculum reform and move from swing to balance.