[Abstract] For young students studying vocal music, most of them have poor music knowledge and professional foundation. When they start learning, most of them rely on their own ears and do mechanical vocal exercises. Simply pursuing sounds and listening with your ears alone is the most harmful way to learn. Therefore, we should emphasize cultivating students' rational understanding and lay a solid foundation for a more comprehensive and reliable music major. That is, when students take the first lesson, they should pay attention to the basic rules of learning music, develop good study habits, effectively grasp the learning essentials, and grasp the subject topics and various requirements proposed by the teacher. [Keywords] Cultivate musical literacy, melody, rhythm, organizational structure. Introduction To learn music, you must first have musical literacy. The so-called musical quality refers to a person's keen hearing in music, a distinctive sense of rhythm and a good musical hearing. It’s what we often call pitch, rhythm, and musicality. To learn a song or aria, you must first understand the music score, cultivate students' accuracy in reading music, pay attention to the integrity of the music, analyze its organizational structure, sort out its layers and layers (distinguish the longitude and latitude), and sing like this Only when you get up can you have a basis and be more confident. In teaching, we must guide students to pay attention to singing the melody well, accurately grasping the rhythm, and comprehensively understanding the structure of the music. Pay attention to singing the melody well. Melody is the backbone of music, and various melodies are created according to the musical vocabulary in a certain mode system. But a melody doesn’t have to be one that’s instantly memorable and catchy. When we lower our heads and learn a piece of music, we should first pay attention to analyzing the structure, vocabulary and characteristics of the melody as well as the image and meaning embodied in it, so that we can sing it with the style and effect it should have. For example: Mr. Ding Shande’s art song “Missing My Mother” adapted from a Yunnan folk song and Mr. Qilpin’s art song “Rainbow Sister” adapted from a Hebei folk song are both adaptations of folk songs but in different regions and express different styles. The former adopts the musical structure of ABA, echoing from beginning to end. The singing melody adopts the feather mode of the Chinese pentatonic scale. Section A is in bE feather mode, and section B is in F feather mode. Paragraph A describes the feeling of longing, be honest and don't pretend to be nervous. With a steady breath, he sings his affectionate thoughts and expresses his inner sighs and desires. Moving from section A to section B is a change from thinking to doing. With a feeling of urgency, I finally boarded the ferry home, and worked together with the boatman to fight against the wind, waves and whirlpools, shouting in my heart that no matter how difficult or dangerous it was, I still wanted to see my mother's swan song. The whole song better expresses the daughter's infinite longing for her mother and her desire to see her again. "Rainbow Sister" was created by the Russian writer Mr. Zilpin. He was very interested in Chinese folk songs. He not only studied them in depth, but also adapted them using extremely concise modern techniques with Western characteristics, retaining the Chinese folk songs. The characteristics of the song enrich the color of the music and at the same time improve the artistic taste of these folk songs. The simple accompaniment of this work makes the singing lose its powerful support, and the burden of performing the work falls on the singer. He wanted to contrast and express the joy of getting married in March with the pain of losing his sister in August. The first and last two sections seem to recall the rainbow-colored sister Hua Rongyue, who looks like a fairy; and the real pain is placed in the middle of the song, and half of the Hm (humming) is added to express the emotion through sobbing. The emotions expressed between the two are different, and the composition styles are different, so for the singer, the grasp of the melody of the work must be accurate and in place. Accurately grasp the rhythm Rhythm and melody are closely related, and melody contains rhythm. Rhythm is the driving force for the survival of music. Rhythm combines scattered sounds into meaningful sections and shapes it into a meaningful musical score. Without this combination, music becomes a series of lifeless sound wave vibrations. , and thus fundamentally loses its meaning as art. Rhythm can be divided into free and rhythmic, regular and irregular. The priorities of music depend on rhythm, and more importantly, the ever-changing and endless innovations of music rely to a large extent on irregular rhythm. Melody is the backbone of music, and rhythm is its soul. In our daily teaching, it is not uncommon to ignore rhythm. Some people often do not distinguish between light and heavy beats, or even reverse them, fast or slow, with or without rhythm changes; in order to highlight the long tones and high notes in the music, they take a big breath and habitually destroy the phrases and rhythm; as for all kinds of The melody ornaments are even more casually sung, with no distinction between appropriation (see example 1a) and fragmentary notes (see example 1b). The vibrato does not vibrate according to two different pitches regularly, clearly, and evenly. It vibrates irregularly, unsteadily, and randomly. Example 1: There is also a very important component in rhythm, the rest, which is often discriminated against and even ignored by singers. There is a half-beat pause in these two paragraphs and there is no rest after the last paragraph (see example 2). Whether the author has some special details about this difference in details should really be considered, especially the two buts in the sentence before the end of the song. The two rests in the stanza are even more meaningful, showing Mei Niang's inner sadness. She has lost her words, as if tears are flowing into her stomach and she is about to choke; if you don't pay attention to the rests and cancel them, actually will weaken the expressiveness of the music. Example 2: Rests are also an integral part of musical works. They have the same value and meaning as notes and should not be ignored. We require students to strictly abide by the rhythm, not to advocate mechanical singing, but to make our singing more perfect, more confident and more convincing.

To understand the organizational structure of music, in terms of cultivating students' musical foundation, they should also learn some basic knowledge of music style and form. Body and form refer to the organizational structure of a musical work. According to the traditional format, its structure includes two-section, three-section, continuous, rondo, variation or mixed styles; its basic organizational elements include theme, section, phrase, section and For movements, common creative techniques include repetition, change, contrast, etc. Contrast includes material, speed, intensity and other aspects. Repetition techniques often appear in various pieces of music. It can be said that repetition is indispensable, while change and contrast are even more indispensable. Young students studying vocal music today should understand that only by receiving a good music education can they grow into true vocal art performers. As a teacher, you should ask students to consciously learn more music, and at the same time, you should also ask yourself to learn more first, and then teach more.