Sample reading notes for primary school music teachers (3 teaching articles)

After carefully reading a famous book, you must have a lot of insights worth sharing and need to write a reading article The notes were taken well. So how do you write good reading notes? Below are examples of reading notes for primary school music teachers that I have collected and compiled. They are for reference only. I hope they can help everyone. Reading Notes for Primary School Music Teachers 1

In music teaching, the new people-oriented teaching concept is the core of modern teaching concepts. Learners are the core of the entire curriculum. It is a teaching thought and teaching method that promotes subject development through students' active learning. Its essence embodies the characteristics of modern education.

Suhomlinsky said: “Letting students experience an emotion of personally participating in and mastering knowledge is an important condition for awakening teenagers’ unique interest in knowledge.” Students’ Interest in learning is the crystallization of the excitement of seeking knowledge and the sense of success. It is formed and developed in the process of teachers' continuous interest, inspiration, practice, creation and feedback. In teaching, teachers allow students to use speaking, listening, singing, doing, thinking and other activities to guide students from the simple and low-level interesting stage to the fun of seeking knowledge. In the teaching process, teachers should create realistic teaching situations according to teaching needs, and guide students at different levels to actively participate in the teaching process through listening, visual and other means. This is a very effective teaching method.

If "listening" is to guide students' initial association with musical images, then "seeing" is to further deepen this association into specific images. Music cannot be separated from listening, but it cannot just stay at the listening stage. Because music is always expressing, exploring and forming a certain artistic conception. If you overemphasize that music is an art of hearing and eliminate distractions to listen attentively, this will only focus on the individuality of the music art itself. If various auxiliary means can be used to diversify and help learners digest and absorb music, this will focus on the connection between music and other arts. It can broaden students' musical horizons and understand multiculturalism. These music-related fields communicate with each other and strengthen each other.

Educational psychologists believe that if learners can open multiple perception channels at the same time, it will be more accurate and more effective in grasping the learning object than opening only one perception channel. Such as dynamic, visual impact, etc. that participate in the perception and experience of music, and the results will be good. Therefore, the use of audio-visual teaching methods can better stimulate students' enthusiasm for learning music, thereby cultivating their divergent thinking and creativity. A survey shows that the benefits gained from audio-visual and listening-only, audio-visual is significantly greater than the effect of listening-only. The most important thing about the audio-visual teaching model is the active participation of students. The new curriculum also leaves a lot of room for students’ imagination and participation.

First, role change

That is, taking students as the center, changing the previous passive role, allowing students to take on certain topics, and giving students room to develop. Organize vibrant student participation. Bring happiness to students. Fill the classroom with laughter. Designed by students, supplemented by teachers. Teachers and students discussed together. The teaching capacity is large, students have clear impressions and benefit a lot.

Second, raising questions

This is when teachers ask students questions purposefully and selectively. The purpose of setting doubts is to inspire students' desire to explore. This is to guide students step by step to find the correct answer through exploration. "Doubts" can be designed to focus on the key points of teaching, to solve teaching difficulties, or to inspire and deepen impressions.

Third, the purpose of teaching

The fundamental purpose of music teaching is not just to let students listen to a few more good works in class, but to use limited materials within the limited teaching time. Teaching materials to stimulate students' interest in music appreciation.

Interest is an important motivation for students to learn. With this motivation, students can use many times the extra in-class teaching time to find several times more musical works than in the music classroom. Traditional music teaching focuses its content and attention on the interpretation or interpretation of Chinese and Western cultures in the past. Although these things are historical, the sense of history is too heavy, and it is too far away from the art of modern life to keep up with it. The pulse of the times. Unable to keep up with the pace and needs of students. For example, the audio-visual teaching model is integrated into the teaching, focusing on the development of students' innovative potential and emphasizing their innovation, so that students can not only hear the sounds, but also appreciate the images, thereby cultivating their temperament and deepening their interest in learning music.

Einstein once said: "In school and life, the most important motivation at work is the interest in the work, the pleasure in getting results from the work, and the appreciation of the social value of the results. Understanding. "So, as a member of basic teaching, we must constantly create new ideas that meet the needs of the times and the development needs of students. Reading Notes for Primary School Music Teachers 2

"The Story of Music" is a popular illustrated text about the history of Western classical music. It takes the music of the ancient Greek period as its source and tells the development of religious music and opera, and the development of musical instruments. Development, famous music genres and musicians, etc. Its main contents include: music in the ancient Greek period, the development of religious music, theater details, the development of opera, French opera catching up from behind, etc.

Derek William Van Loon, a Dutch-American, is a famous master of humanistic literature in the United States.

His books are beautifully written, knowledgeable and easy to understand. The wise words and insights are even more beneficial. He is an outstanding popular writer, a great popularizer of culture, and a master figure. He has written in history, culture, science, etc., and has many readers around the world. His representative works include "The Story of Music", "The Story of Humanity", "The Story of the Bible", "Tolerance", "The Geography of Fanglong", etc.

It is mentioned in "The Story of Music" that "since the force that promotes biological evolution is unchanged and can neither be added nor subtracted, then the effect of this force must be exactly the same. What happened Changes are only changes in appearance. "So, the process of evolution is actually a process of transformation, not progress. Goethe, who grasped the essence of the theory of evolution earlier, believed that plants do not evolve, but can only undergo deformation. In other words, only the organic tissues of plants undergo a series of changes. The idea that change replaces evolution should be a basic principle in our study of history, especially when studying the history of art development.

Ancient people and modern people are exactly the same, at least intellectually. We are not qualified to look down on our predecessors and regard them as primitive and low-level human beings. Although the predecessors did not have as many and advanced facilities as modern people, they still possessed the same excellent human qualities as us. Therefore, evolution does not necessarily mean progress or perfection, at least in the field of art. All human efforts can only promote changes in art forms. Therefore, studying history is not just about describing historical events. The key is to discover the laws and dynamics that lead to these changes.

However, it is a mistake to guide historical research from the perspective of evolution, and it should be replaced by the perspective of change. Art forms do not evolve but only change. This is the basic point of view when we study the history of music. As an art, music should be completely equal in its forms in each period, and should reflect the personality characteristics of the music creators in each period. Therefore, there is no reason why we think that the intelligence and artistic creativity of ancient people are inferior to those of modern people.

However, an important feature of the development of music is that because the sounds that form music (i.e., the vibrating air) cannot be preserved, we can never truly understand the musical forms of the past. Plastic arts are expressed with stones, canvases and paints; the ideas contained in poetry can be expressed in words and can be accurately recorded. But music is formed by vibrating air, so how do we preserve it?

Similarly, the truly outstanding "national music" produced in the past 100 years clearly bears the characteristics of the country that produced it. Tchaikovsky's music cannot express the scenery of the South African plateau grasslands or the undulating grasslands of Kansas in the United States, but can only express the scenery of the vast Russian prairie. The music of Borodin, Mussorgsky and Rizalsky-Korsakov is without exception. Even modern composers like Scriabin and Stravinsky always have certain characteristics in their works. After listening to them, you will immediately conclude: "This is something Russian." Although you don't understand what your basis is. Others, such as Rachmaninoff or César Guy, reflect more Western European temperament than Russian temperament in their music, but no one of them can completely break away from their Slavic roots.

In fact, when creating the book "The Story of Music", Fanglong always created from the perspective of all mankind. He has always strived to observe and narrate from the perspective of all mankind, transcending regional, religious, partisan and racial prejudices. He opposed any form of narrow-mindedness, including hyper-patriotism that distorted facts in order to glorify one's own nation.

Van Loon, he is by no means a mean person. For example, he did not criticize the harm caused by poverty to Mozart, the personality of Wagner, or the greedy nature of Paganini, because these things are not only It did not harm the divinity, but rather achieved their unique music to a certain extent. Another more typical example is his completely in-depth analysis of the untimely and eccentric character of Beethoven, which suddenly allows us to experience his compassionate feelings that are both divine and divine. Reading Notes for Primary School Music Teachers 3

In order to enrich myself and focus on the chorus topic in the studio of famous music teachers, during the winter vacation, I bought Teacher Yang Hongnian's "Children's Chorus Training". From this, I learned a lot about chorus.

With the continuous improvement of people's cultural quality and the needs of children's cultural life, the art of children's chorus as an elegant music art form has also been booming in our country. The beautiful and melodious chorus of nature can guide children into the rich and colorful world of music and cultivate good music perception. The establishment of a children's choir will help popularize music education and promote the all-round development of children. From the age of 6 to 12 years old is the child voice period. At this stage, the child's inhalation volume has increased, language ability has enhanced, vocal cord development has begun to become elastic, the vocal range has gradually broadened, the volume has gradually increased, the plasticity of the timbre has increased, and the mastery of pitch is also more sensitive.

The book "Children's Chorus Training" is aimed at children in primary school. It is divided into nine chapters and introduces the categories and training issues of children's voices in detail from many aspects, including breathing training in chorus, vocal training in chorus, and ** in chorus. *Ming training, the basic content of chorus training, pitch training of chorus, enunciation and articulation in chorus, how to deal with the problem of chorus sound balance, etc.

What impressed me most was the training issue in the second section of Chapter 1:

1. What is good singing

Correct singing posture , Correct breathing (breath) support, correct vocalization, accurate vowel state (vowel color), mellow timbre, full and concentrated vocal position, clear language, and accurate emotional expression.

The prerequisite for good singing is a good mental state. The process of singing is based on psychological feelings and uses the mental state to guide and control the movement process of the physiological state.

2. Several relationships of unity of opposites in chorus training

The unity of opposites between breathing and vocalization (i.e. the confrontation between breath and sound), the unity of opposites between vocalization and enunciation (i.e. the opposition between sound and vocalization) The combination of words), the unity of opposites of breath, sound, words and tune (including the unity of opposites of sound and emotion). Only by resolving these opposites and unity can we say that we can sing correctly. For solo singing, duet singing, etc. The same goes for choruses.

1. The rising of the voice itself is a confrontation between the breath and the sound. The correctness of the rising movement directly affects the expressiveness of singing. Therefore, the requirement for the choir is: "If the pronunciation is a little, the line will follow the point." This principle.

2. From an artistic point of view, singing itself is the movement of lines, not singing a series of vowels in isolation, so there is the problem of combining sounds and words.

3. In singing, no matter the breath, voice, or words can be separated from the expression of the content and emotion of the work. Vital singing is carried out in the movement of horizontal lines and melodies.

The above are some small gains I gained from reading this book. There is still a lot of knowledge I need for chorus rehearsal. We need to explore for ourselves. Famous teachers are actually around us, in a book that grows with us.

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