Reflections on reading music education books Part 1
I recently read a book called "Li Lanqing's Writings on Music", which I couldn't put down. Centered on classic music works, it traces the life course and spiritual history of 50 Western music masters from Vivaldi to Gershwin. It condenses more than 300 years of European classic music into a pen, which is very unique.
This is a popular book that popularizes European classical music. It analyzes the lives, thoughts and creations of 50 famous composers from different historical periods, countries and styles spanning more than 300 years. The review, as well as the introduction of one of their respective representative works, to a certain extent, comprehensively and systematically summarizes the appearance of European classical music.
Li Lanqing was originally a comrade of the central leadership and was not professionally engaged in music work. This book is a book written by a music lover for the majority of music lovers (Li Lan Qingyu). Its most obvious advantage is that it is not overly professional or unfamiliar, but concise and clear, easy to understand, and reads very smoothly. Of course, when you come into contact with European classical music, you will inevitably encounter some unavoidable professional terms or concepts. Regarding this, there is a special appendix at the end of the book called "Music Knowledge and Terminology Explanation" for readers to refer to and solve their problems. Li Lanqing was originally an outstanding leader, and his knowledge, experience, and vision must be extraordinary. Now, as an ordinary person, he talks to people on an equal footing, which makes people feel more cordial and therefore more attractive.
The author has experienced all this when he fell in love with music because of the story of "Beethoven and the Blind Girl" when he was in elementary school. In his writing, he pays special attention to guiding readers' interest through vivid stories. The introduction to the musician's life and interpretation of his works in the book are turned into a beautiful story with twists and turns, which is refreshing; the profound and difficult to understand Yangchun Baixue becomes full of interest and makes people suddenly enlightened. For example, in the symphony "Farewell", because the musicians were eager to take a vacation, Haydn had an idea and a "Farewell" movement with obvious meaning was born, and Haydn's humorous personality also emerged on the page. Chopin's "Raindrops" was written one night while waiting for the return of George Sand. Listening to the drizzle falling on the sycamore trees outside the window, the drops of longing turned into a classic in the history of music on the piano keys, and also became the best song of melancholic Chopin. Interpretation. Facing the paintings of his old friend, Mussorgsky poured out his endless thoughts on the piano, and then the famous song "Pictures at an Exhibition" came to the world. Comparing the artistic conception and analyzing the music, the changes in the instrumental parts in the work, the simulation of continuous raindrops, and the theme of Xinbu Gallery are all impressive and unforgettable.
Strengthen aesthetic education, use beauty to attract kindness, use beauty to inspire truth, and use beauty to please people. This book plays the magnificent movement of Western classical music, guiding intellectuals and college students to enjoy the sea and jointly build a harmonious society with Chinese ritual and music civilization. Reflections on reading music education books Part 2
"Music Education" is a comprehensive music publication, covering music education, music theory, music works, music historical materials, music technology, music criticism, and academic exchanges , answering questions and other aspects of content, thoughts after reading music education.
Most of the foreign music education theories published in "Music Education" were translated and introduced by Chinese musicologists soon after the original works were published. These articles have broadened the professional horizons of our music educators and have My teaching work and teaching philosophy have had a positive impact; and the published academic research articles and discussion articles on a certain topic have played a certain positive role in the improvement of my music theory and music research. .
By reading "Music Education in Primary and Secondary Schools", I have a new understanding of the theoretical viewpoints of music teaching theory under the background of the new curriculum. At the same time, I also understand a lot based on my own teaching practice. Let's talk about it. My thoughts after reading it.
Taking students as the main body and allowing students to develop lively and actively is the soul of quality education. Interest is the emotional factor of learning, and participation is the action factor of learning. Interest is the "guide" of participation, and participation is the spring breeze that blows through the flowers of interest. In music classroom teaching, the essence of grasping the twin sisters of interest and participation is to establish the "subject" position of students in classroom learning.
1. Stimulate interest and guide participation.
The teaching effect of a class is closely related to the students' psychological state.
Lively, interesting and engaging teaching can not only stimulate students' enthusiasm for learning and interest in seeking knowledge, but also promote students' in-depth thinking, so that students can participate in activities with a positive, proactive attitude and strong energy from beginning to end. Interest can focus students' attention and promote students to study unremittingly. In music teaching, there are many ways to stimulate interest, such as story method, game method, situational method, discussion method, projection method, etc. However, according to the content taught, it should be novel, unique, colorful, and used well, which will make students interested. The excitement of acquiring knowledge. Vocal practice is an important part of the music classroom teaching process. After reading "Music Education After Reading". The quality of the "opening" often has a positive and negative impact on students' subsequent learning.
2. Induce feelings and mobilize participation.
Judging from the current status of music teaching, most teachers have paid attention to cultivating students' independent abilities in the classroom. However, there is still a phenomenon of "filling the whole class" in some cases. In this way, students are in the position of receiving and understanding mechanically, and they cannot experience the joy of participation, the fun of thinking, and the joy of success. Sight-singing teaching has always been a weak link in music teaching. When performing sight-singing exercises, the past practice was to teach students to recognize the roll call and do some auxiliary rhythm exercises before sight-singing.
For example, introduce the melody characteristics of the song score, certain musical symbols that should be paid attention to, and pick out the important and difficult points in the song for preparatory sight-singing exercises. Practice repeatedly until you "learn". The advantage of this is that students gradually learn about music scores and music theory knowledge from unfamiliar and difficult situations. The disadvantage is that because students know the key points of teaching in advance, the classroom atmosphere is very inactive or even uninterested. It is recommended that teachers try it in teaching. Guide students to improve their ability to discover and solve problems.
3. Make timely evaluations and actively participate.
Paying attention to the evaluation of student learning in music teaching is a catalyst for motivating students at different levels to learn. For students with good quality, because their success rate is relatively high and their self-confidence is relatively strong, their learning can be evaluated more strictly, which will help encourage them to be more diligent. For students with poor quality, their shining points should be captured, such as individual A tone-deaf student is not good at singing, but is better at playing the harmonica, recorder, and percussion. The teacher should evaluate it in a timely manner: Very good, and we need to practice more in the future. ?It stimulates the self-confidence of underachievers and promotes the participation awareness of underachievers. With the help of teachers, students can improve themselves at different starting lines.
In short, "Music Education" is expressed in a rich form of classroom teaching, which has well helped our music teachers organize their teaching ideas, improve their educational concepts, and actively explore the combination with practice, paying special attention to the Teaching theories and research results are applied to actual teaching to guide teaching work. At the same time, we also focus on summarizing teaching experience to a theoretical level.
After reading this magazine, I was deeply touched and left me with a lot to think about. I will continue to read to the end and learn as much as I can. Reflections on reading music education books Part 3
This summer, I used my vacation time to read the book "Classic Methods of Music Classroom Teaching" edited by Qin Dexiang and Du Lei. This book mainly introduces the six most commonly used teaching methods in primary and secondary schools: Dalcroze's body rhythm teaching method, Kodaly teaching method, Suzuki teaching method, Karabo-Cohen teaching method, comprehensive music sense course teaching method, and Orff teaching method. Classic methods of music classroom teaching. Among them, I am more interested in the comprehensive music sense course teaching method.
I have benefited a lot from the ten rules mentioned in the comprehensive music sense course teaching method. For example: when students answer questions blindly, don't accept it immediately, but ask in surprise:? Are you sure? Why do you answer like this? Behind these questions is to inspire students' thinking and guide students to Explore questions and answers in depth to effectively tap into your students' creativity.
In previous classroom teaching, we often fell into a strange circle. We liked to think about the class from the perspective of the teacher and control the class. When students answer questions in class and cannot get close to the answers, as a young teacher, they always seem anxious and tend to interrupt students or deliberately guide students. Although this can complete the content of a class, it often ignores students' learning and thinking styles. If things go on like this, it will be a big blow to students' learning enthusiasm and creativity. From this book I found many ways to deal with this problem.
In addition to the above methods, you can also respect students' fantasies and cultivate their interests and curiosity; give students more words of encouragement, some trusting pats on the shoulders and some comforting smiles; you can never satisfy your own teaching methods and teaching materials, otherwise It will become rigid and so on.
The essence of music is an artistic activity with distinctive personality and high creative quality. Whether in music creation, music performance or music appreciation, the participation of musical creativity is required. Without musical creativity, there will be no development of musical talent. ?It is better to teach a man to fish than to teach him to fish? Each of our music workers should use innovative teaching concepts in teaching practice, constantly explore and research new teaching methods, develop students' creative thinking, and make students actively Independently contact music, participate in music, and create music, cultivate students' good humanistic qualities, and lay a good foundation for students to love music, learn music, and enjoy music throughout their lives.