1. Changes in the nature and values of the curriculum

In the past, the guiding ideology of the syllabus was based on subject knowledge, formulated according to the subject system, and mainly focused on arranging the teaching content according to the logical relationship of the subjects, which was a basis for teachers' teaching. The content of the syllabus is divided into several parts, such as singing, singing tour (primary school), instrumental music, appreciation, reading music and solfeggio (middle school is basic music theory and solfeggio), and different requirements are put forward for these parts in different grades. Each part has a relatively clear system, and the requirements for knowledge and skills are basically the same as those for training music professionals, but the logical relationship is the same. The difficulty and emphasis of teaching are all in the system of knowledge and skills, and all the concerns are in the development of the subject system, without considering the requirements of students at all. This is the plan for cultivating professional talents. For example, in the music syllabus of full-time primary schools in nine-year compulsory education, the requirements for students in grades three to five in singing are: ① learning the breathing method of slow breathing and slow breathing; Learn to sing with breath support. (2) Learn Legato Singing and Tonal Singing. (3) Learn simple rotation and two-part chorus to achieve accurate pitch and rhythm, and gradually achieve harmony and balance of voices. It can be seen from these three articles that the requirements are completely professional and are in line with professional education. For example, "slow breathing and slow breathing; Singing with breath support, etc., professional music education is also required in this way, but the depth of the requirements is different, but its structure and system are consistent. This is just a few examples, and there are many similar professional requirements. The syllabus requires this, so it is logical for music teachers to carry out teaching activities according to the syllabus. It can be said that the syllabus used now is compiled according to the knowledge system of the music subject. The first consideration is how perfect and developed the subject is for the students, while ignoring how much the students can develop in music, which is divorced from the students' reality. In other words, the music deduced from the syllabus is an "elite culture", which only pays attention to the scientific nature and development of the subject itself.

The curriculum standard was born in the tide of the national basic education curriculum reform. It has distinct epochal and scientific features, is an open development model, is based on students' learning experience, and determines the subject content according to the development of students' psychological structure. It takes students' learning as the center and learning experience as the carrier, and closely links music learning with the emotional experience of students' life and social development. The first consideration of curriculum standards is no longer the development of the subject itself, but the development of students, so that students can enjoy the fun brought by music through learning, thus stimulating their creativity. It broke through the discipline system and changed from the discipline system to the field of learning, and cultivated the high comprehensive quality needed by ZI century. Ordinary citizens with basic literacy and ability who adapt to the development of modern society, not professionals who perform on the stage. It also embodies the educational thought of "the task of music education is not to cultivate musicians, but to cultivate people"-Suhomlinski (an educator in the former Soviet Union), and also embodies the change of value orientation, that is, from elite education to mass education, from subject knowledge-based to student development-based

In terms of the basic concepts of education and teaching, there are also essential differences between syllabus and curriculum standards. Although the syllabus has been revised and adjusted with the passage of time and the development of education, for example, the previous syllabus particularly emphasized "two basics" (that is, basic knowledge and basic skills), people found that aesthetic education was insufficient, especially influenced by the music education thought of "comprehensive music sense" in Germany and the United States at that time, instrumental teaching and singing tour (primary school) teaching were added to the syllabus successively. Although the syllabus also pays attention to the cultivation of students' interests and advocates "teaching students in accordance with their aptitude", this cannot change the basic nature of the syllabus for the purpose of education and teaching with systematic subject knowledge and skills learning. The curriculum standard is based on the realization of the value of music education, follows the characteristics of physical and mental development of primary and secondary school students and the law of aesthetic cognition, and locates the value of music curriculum in four aspects: aesthetic experience, creative development, social communication and cultural inheritance. Compared with the previous syllabus, it is more timely and targeted, and more comprehensive and scientific. From this, we can see more clearly that the music deduced from the curriculum standard is a kind of "mass culture" and a return from elite culture to mass culture.

Second, the change from teaching content to teaching field

The teaching content stipulated in the syllabus includes five aspects: singing, singing tour (primary school), instrumental music, appreciation, reading music and solfeggio, while the curriculum standard divides it into four areas, namely, feeling and appreciation, performance, creation, music and related culture, which not only integrates but also expands the content of the syllabus.

We can see that the integration of singing, singing tour, instrumental music and solfeggio in the past has enhanced the integration and reduced the overall difficulty, and there is no longer too detailed requirement for each item as in the past. Appreciation is integrated into feeling and appreciation, and students' feelings and experiences of music are valued. In addition, the curriculum standards expand creation and music and related culture, which is also increased according to the requirements of music education in the new era and the inevitable trend of implementing quality education. Creation embodies the spirit of an era and the reform direction of music education.

This integration and expansion highlights the artistic features of the aesthetic experience of musical hearing, while downplaying the professionalism of skill practice and theoretical knowledge. Because the difficulty of knowledge is reduced, it can stimulate students' interest in participating in music performance and investing in music exploration. It can also be seen that the new curriculum standards attach importance to developing students' creative thinking ability and improving students' humanistic quality through music teaching activities.

Third, the change of teaching requirements

The current music teaching syllabus for primary and secondary schools and the various versions of music teaching materials compiled based on it are deeply influenced by professional music art colleges in terms of content, style and requirements, and pursue comprehensive, systematic and difficult. This is not only beyond the existing level and acceptance of primary and secondary school students, but also beyond the needs of primary and secondary school students in music development. In the arrangement of style, all kinds of music knowledge are often divided into pieces, and students are exposed to only some isolated knowledge points instead of real and complete music. For example, in the syllabus, the study of music theory knowledge is listed as a special item, which is called the fourth item in the Z-plane curriculum standard that reading music is only "performance" (the first three items are: singing, playing and comprehensive art performers). The general requirements for reading music in junior high school are: ① On the basis of primary school, continue to learn the knowledge of notation or staff. The first-tone roll-call method is used in staff teaching. ② Through music practice, we can further cultivate the ability of listening to rhythm, melody and solfeggio score. The requirements for grading are as follows: ① Review and consolidate the knowledge of reading music in primary school. (2) to learn music marks such as hold tone, syncopation, triplet and decorative tone. ③ Learn from key signature and know the position of roll-call on the keyboard. ④ Write rhythm and melody short sentences. (5) improve the ability to read music, and the professional requirements here are comprehensive and profound.

The requirements of the curriculum standards for grades 7-9 (that is, grades 1-3 of junior high school) in reading music scores are as follows: ① Learn to sing music scores with familiar songs and music. (2) can follow the piano or recording solfeggio score. ③ Consolidate and improve the ability of reading music and using music scores.

Compared with the five requirements in the previous syllabus, the difficulty of these three items in the curriculum standard is greatly reduced. From the first point of view, you can sing first and then read the music, which is contrary to the conventional teaching behavior in the past. In the past, singing was all about knowing the music before singing. The reason is: How can you sing without knowing the music? Therefore, in the classroom, students are often able to sing directly when teachers are still tirelessly teaching music scores. The second item in the curriculum standard is to train students to "be able to follow the piano sound or record and solfeggio music score", which is not allowed in previous teaching, thinking that this is to train students' "dependence" thinking and not to pay attention to "double basics". In the past, the solfeggio score was: the teacher gave the students a standard pitch, and then the students sang in cantata. After the whole score was sung, the pitch error was not more than half a tone before it was qualified, and its professional requirements were very high.

Curriculum standards focus on students' feelings, experiences and music learning experiences, and no longer require students to memorize music knowledge. It makes students understand that music is not a science, but a culture and an indispensable part of people's lives. It allows students to understand the role of music elements in music performance, understand the background, culture, genre and style of music, and let students learn to learn and be happy for life.

fourth, the change of students' learning style

in the past few decades, music teaching has basically adopted a one-way indoctrination model, which has hampered the development of students' personality and the improvement of their comprehensive musical ability. According to the characteristics of this subject, curriculum standards advocate experience, imitation, inquiry, cooperation and comprehensive learning, emphasize students' dominant position in teaching activities, pay attention to creating a teaching environment that is convenient for teachers and students to communicate, and establish an equal and interactive teacher-student relationship. Teachers no longer appear with absolute authority, but admit that everyone has a unique learning style; Based on students' direct experience, students learn independently and exploringly, instead of paying attention to results and process. Realize the change of students' learning style, change the passive learning style of single memory, acceptance and imitation, and make sure to be student-centered, open and democratic. A fair and high-quality music learning method that combines social life, social development and life experience

The core of the new round of teaching reform is "people-oriented, student-oriented". To embody this core, we must change the teaching concept, which is the premise and key of teaching reform. Teaching concepts play a guiding and commanding role in teaching activities, so what new teaching concepts are needed in the new curriculum and how to establish teaching concepts suitable for the new curriculum have become urgent issues to be discussed.

1. Is teaching the process of curriculum transmission and implementation, or the process of curriculum creation and development

This teaching reform is carried out under the background of curriculum reform and is an echo of curriculum reform. Therefore, the relationship between teaching and curriculum is a pair of relationships that must be straightened out and handled well in this teaching reform. In this relationship, curriculum is the main aspect of contradiction, and curriculum view is the dominant factor. The view of curriculum determines the view of teaching, and therefore determines the depth and breadth of teaching reform. However, is the curriculum a "shackle" or a "springboard" for teaching? Is it a "controller" or a "promoter" of teaching? In the traditional concept system of teaching theory, curriculum is understood as normative teaching content, which is compiled according to disciplines, so curriculum is defined as the sum of disciplines or disciplines. This means that the curriculum is only concerned by the government and subject experts, and teachers have no right or need to think about curriculum issues. Teachers' task is only teaching. Curriculum and teaching have become two separate fields. Curriculum is the entity or content of school education, which stipulates what schools "teach", while teaching is the process or means of school education, which stipulates how schools "teach". Curriculum is the direction, goal or plan of teaching, which is stipulated in advance before the teaching process and outside the teaching situation. The teaching process is the process of faithfully and effectively transmitting the curriculum, and no adjustment or change should be made to the curriculum. Teachers are only the expositors and transmitters of established courses, while students are only the receivers and absorbers of established courses. This is the teaching concept advocated by traditional courses. Curriculum is an "autocratic" party, curriculum becomes a kind of instruction and regulation, teaching materials become the Bible, and teaching becomes the controlled and dominated party. Curriculum and teaching are in binary opposition, and they are mechanically, unidirectionally and linearly related. In this way, the curriculum is becoming isolated, closed, shrinking, difficult, complicated, biased and old, and teaching is becoming rigid, mechanical and boring. Under this background, the so-called teaching reform can only be a peripheral war, "dancing in chains", and the vitality and subjectivity of teachers and students cannot be fully exerted. In a word, this kind of reform can only make a fuss about methods and forms at most, but it is impossible to make a substantive breakthrough.

when the curriculum changes from "autocracy" to democracy, from closed to open, from expert research to teacher development, and from subject content to student experience, the curriculum is not only a "text curriculum" (teaching plan, syllabus, textbooks and other documents), but also an "experience curriculum" (a curriculum that teachers and students actually experience, feel, comprehend and think about). This means that the content and meaning of the course are not the same for everyone in essence. In a specific educational situation, every teacher and student has his own understanding of the given content and his own interpretation of the meaning of the given content, so that the given content can be continuously changed and innovated, so that the given content can be continuously transformed into his own course. Therefore, teachers and students are not external to the curriculum, but an organic part of the curriculum, the creator and subject of the curriculum, and they participate in the process of curriculum development. In this way, teaching is not only the process of curriculum transmission and implementation, but also the process of curriculum creation and development. This is the teaching concept advocated by the new curriculum. Therefore, the teaching process has become a process of continuous generation and transformation of curriculum content and continuous construction and promotion of curriculum significance. In this way, teaching and curriculum are mutually transformed, promoted and organically integrated with each other. Curriculum has thus become a dynamic and growing "ecosystem" and a complete culture, which means a major change in the concept of curriculum. In this context, teaching reform can really enter the core of education, become the dynamic force of curriculum reform and development, and become the process of teachers and students pursuing subjectivity and obtaining liberation and freedom. This is the teaching reform called by the new round of curriculum reform! This is a kind of "liberation" brought to teaching from the curriculum level, which will make the teaching process truly become a personalized creative process for teachers and students.

second, is teaching a process in which teachers teach students to learn, or is it a process in which teachers and students communicate, interact actively and develop together?

The relationship between teaching and learning is an essential issue in the teaching process, and it is also a major theoretical issue in teaching theory. Teaching is the unity of teachers' teaching and students' learning, and the essence of this unity is communication and interaction. Based on this, the new curriculum regards the teaching process as a process of communication between teachers and students, active interaction and common development. Without communication and interaction, there will be no teaching, and those "teaching" that only have formal expression of teaching without substantive communication are false teaching. Positioning the essence of teaching as communication is a radical change in the teaching process and a major breakthrough in the traditional teaching view.

in traditional teaching, teachers are responsible for teaching and students are responsible for learning. Teaching is a one-way "training" activity for teachers and students, which is manifested in the following aspects: first, teaching is the center, and learning revolves around teaching. Teachers are the possessors of knowledge, so they are the masters of the curriculum. The so-called teaching means that teachers impart their own knowledge to students. The relationship between teaching and learning becomes: I speak and you listen; I ask, you answer; I write, you copy; I give, you take. In such a class, "bilateral activities" have become "unilateral activities", teaching has replaced learning, and students are taught instead of learning by themselves.