Music education is a reflection of the musical literacy and cultivation of a country, a nation, and a society. The following are academic papers on music education that I carefully recommend for everyone. I hope it will be helpful to you. Music Education Academic Paper Part 1
On the Teaching of Ethnic Music in Middle School Music Education
Abstract:
Ethnic music refers to roots in the production labor and society of all ethnic groups. Traditional music in daily life, formed after long-term historical development, and has the characteristics of the musical form of the nation. National music culture has two major characteristics: homogeneity and continuity.
1. The importance of ethnic music teaching in primary and secondary schools
As a traditional culture and art, ethnic music is attracting attention from all walks of life. The new music curriculum standards also clearly point out: learning Chinese national music enables students to understand and love the music culture of the motherland and enhance national consciousness and patriotism; learning the music culture of other countries and nations in the world can broaden students' aesthetic vision and understanding The richness and diversity of the music culture of various ethnic groups in the world, and the establishment of equal multicultural values, world peace and development depend on the understanding and respect of different ethnic cultures.
The world-famous music educator Kodaly pointed out: School music education must first be firmly based on folk music. We must use the best music to educate students. The best music is folk music that has been refined over time, folk music full of beautiful fantasy and childlike romanticism, folk music that is richest in human true feelings, and folk music that is most capable of making people feel better. Folk music that keeps people's physiology and psychology in a peaceful, happy, positive and healthy state.
2. Analysis of the Current Situation of Ethnic Music Teaching in Primary and Secondary Schools
According to the survey results of two teachers, Xu Hao and Jiang Wei, on the current situation of ethnic music teaching in primary and secondary schools, it is shown that primary and secondary school students generally love music. Art, but not quite in love with music lessons. Among primary and secondary schools, 83.3% of students are most exposed to modern pop music, 10.3% are Western classical music, and 6.3% are Chinese folk music. It can be seen that there are few channels and opportunities for students to understand ethnic and folk music. Promoting national music culture is not only the responsibility of school education, but also the unshirkable responsibility of the whole society. Among the students who have the most exposure to ethnic folk music, 85% are primary school students, 15% are junior high school students, and 0% are high school students! It can be seen that students are not very interested in ethnic folk music, and whether the school pays attention to ethnic music teaching, It will directly affect students’ preferences for ethnic and folk music. The two teachers lamented: It is shocking that primary and secondary school students have such indifferent interest in ethnic music, such lack of attention, and such low mood!
3. Effective ways to carry out ethnic music teaching in primary and secondary schools
(1) Feeling national music through listening
In music teaching, we should follow the perception rules of auditory art, highlight the characteristics of the music discipline, and integrate "listening to music" throughout the entire music teaching process. With the development of science and technology, modern multimedia audio-visual means have entered the music classroom in primary and secondary schools. It is generally believed that teachers can make students intuitively and vividly experience music images through the use of film and television projections, visual images, photography, icon projection and other methods. . However, the author believes that this goes against the basic view that music is an art of sound and an art of hearing. Of all the famous music teaching methods in the world, none use vision to guide hearing, because vision affects hearing.
In the process of teaching ethnic and folk music, only by truly allowing students to listen to ethnic music can it be possible for ethnic music to remain in the hearts of students, and only then can ethnic cultural literacy be produced in students. changes. The author wants to make a loud statement: please do not use visual images to influence students to listen to music and experience music.
(2) Experience national music through rhythm
Rhythm is a musical activity that allows students to participate in music and experience music through physical movement while listening to music. In the teaching of ethnic music in primary and secondary schools, rhythm is one of the indispensable and effective ways to cultivate students' interests. Teachers should constantly collect representative movements from different regions and different ethnic groups as rhythm materials for national music teaching, such as collecting classic movements in production activity scenes.
For example, the folk dances of ethnic minorities such as Korean and Mongolian have their own rhythmic characteristics, which may be rough and bold or long and euphemistic. These materials can be used in teaching to guide students to understand the beauty of national music, which can greatly improve their understanding and love of national music.
It should be noted that rhythm is not imitation of movements and does not focus on body posture or appearance. Therefore, the focus of rhythm lies in participation, experience, feeling, and creation. In this way, students will experience the inner happiness when their body and music resonate.
(3) Experience national music through rhythm
Rhythm is a collective term that reflects the long-short relationship and the strong-weak relationship between sounds in music. Rhythm can exist independently of melody and can express human thoughts and feelings. Therefore, rhythm can appear as an independent art form and can be called the "first element" of music. In musical art, rhythm is the driving force that promotes musical expression and development.
The cultivation and training of rhythmic sense is an important part of musical sense and the basis of music training. The sense of rhythm is mainly gradually formed in students' feelings and experiences. Therefore, in the teaching of ethnic and folk music, it is necessary to emphasize starting from rhythm, combining language, rhythm, percussion and other techniques to mobilize all aspects of the body's functions, and fully Perceive the rhythm azimuthally, and introduce and understand music through rhythm, so that students can gain a more profound and comprehensive experience and understanding. These rhythms are the essence of national music and the only way to learn and master national music.
(4) Experience national music through improvisation
Orff believes that musical activities are the most natural and primitive behaviors of human beings, and improvisation is the oldest and most natural Music practice activities. Music teaching itself is a creative process of teacher-student interaction. Good music teaching must be full of creativity and be able to stimulate students' creative enthusiasm. It is very important for teachers to guide students to find and create music by themselves.
The best way to cultivate students’ creativity in teaching is to carry out music practice activities. The listening, rhythm, rhythm, etc. mentioned earlier are all beneficial creative music activities. These activities can activate students' desire for expression and creative impulse, show their personality and creative talents through active participation, and make their imagination and creativity more vivid. Thinking is fully developed.
The above methods are all aimed at cultivating students' interest in learning music. Interest is the basic motivation for learning music and the prerequisite for students to maintain close contact with music, enjoy music, and use music to beautify their lives. Everyone's musical talent is innate, and the ability to learn music and whether they can achieve success depends on acquired learning, education, environment, and the degree of exposure to music.
Promoting national music is the historical responsibility of music educators. However, this must be based on students' interest in music. Otherwise, promoting national music can only be a piece of paper. We should not only let students understand national music, but also improve their national cultural literacy. We should also let students realize its important position in the treasure house of world music and enhance their national pride.
References:
[1]Wang Yaohua. Introduction to National Music of the Century[M]. Shanghai: Shanghai Music Publishing House, 2003(02)
[2 ] Yang Limei. Kodály’s Thoughts and Practice on Music Education [M]. Beijing: Renmin University of China Press, 1994(10)
[3] Xu Hao, Jiang Wei. Survey on the Current Situation of Ethnic Music Teaching in Primary and Secondary Schools and Analysis [J]. Basic Education Research 2008(01)
[4] Li Dana, Xiu Hailin. Orff’s Thoughts and Practice on Music Education [M]. Shanghai: Shanghai Education Press, 2010(05) )
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