How to start music appreciation teaching from music elements

Feeling and appreciation are important areas of music learning. Strictly speaking, in each learning area, there are only two important ones, one is feeling and appreciation, and the other is expression. Creation, music and related culture all revolve around these two learning areas. In addition, judging from the music curriculum standards and guidance outlines of various countries around the world, foreign countries also attach great importance to the study of these two fields, because the main way for humans to come into contact with music is appreciation and performance, and the performance of music includes playing and singing. Before explaining the specific issues of music appreciation teaching, let us first review several key points about music appreciation in the 2011 version of the music curriculum standards:

1. Aesthetics and Music Appreciation

The 2011 version of the music curriculum standards added a "course nature" section, and the nature of music courses has more important guiding significance for the implementation of appreciation pedagogy. The new music curriculum standards continue to adhere to the basic concept of "aesthetics as the core", and "aesthetics" is more related to appreciation teaching. In the curriculum standards, aesthetics is the core, but emotional experience is actually the center. Therefore, in the field of feeling and appreciation, we mentioned the mood and emotional experience of music.

2. Humanity and Music Appreciation

In the humanistic part of the nature of the course, the first sentence mentions that "music is an important part of culture." However, in actual teaching, many teachers often use literature, words and titles to explain music in addition to music. In order to avoid this phenomenon, the new curriculum standards have added humanistic content, especially elaborating on the cultural attributes of music itself. If front-line music teachers do not have this understanding, music classes may deviate from the value orientation of music ontology and become a tool for other disciplines. In music appreciation teaching, many teachers are accustomed to explaining the work around the title. If there is no title, they will not know where to start. We have also mentioned this problem in the course standard training, and we must avoid understanding the music literally. There are also many teachers who believe that only literature and writing can be called culture, so music classes become geography classes, history classes, literature classes or social studies classes. Therefore, this issue is particularly emphasized in the nature of the course of humanities.

3. Characteristics of Music Sound

There is a sentence that appears twice in the music curriculum standards, that is, "Music sound does not have the certainty of semantics and the concreteness of the form of things." That is to say, there is very little of our life experience in music. Music itself is an art form that generates rich associations and an emotional experience that directly points to the human heart. It itself does not provide concrete life experience in our lives. Therefore, teachers must pay attention to this when conducting appreciation teaching.

4. Characteristics of Music Appreciation

Many people regard appreciation as a passive way of learning. In particular, practical philosophy has criticized activities such as appreciation and aesthetic appreciation as being too passive and lacking the initiative and autonomy of learning. In fact, the practical nature of the course covers four aspects: music creation, music performance, music communication and music appreciation. These aspects all have their own cultural background and are all practical content in our classroom teaching. Therefore, music appreciation is also a practical process, but this practice is different from singing and musical instrument playing. It mainly emphasizes "moving from the heart". Many primary and secondary school music teachers are keen on participatory appreciation methods,

especially at the primary school level, using the body, musical instruments, literature or other art forms to participate in appreciation. In fact, music appreciation is a process that gradually changes from dynamic appreciation to quiet appreciation, that is, from "body movement" to "heart movement". Participating in appreciation is helpful for students to initially understand music, especially for class teaching, which can be observed. But teachers must make it clear that music appreciation is ultimately achieved through quiet appreciation, listening attentively, and through the process of dialogue with music. Therefore, in junior high school and high school, music appreciation classes can no longer move purely for the sake of moving.

The ultimate goal of mass music education is to cultivate people who can actively participate in music activities. The main ways for people to participate in music activities are performance, including singing and playing, and music appreciation. However, appreciating music is not a blind appreciation. It is necessary to cultivate their sensitivity to musical elements through education and improve their understanding of musical works. Because music is uncertain, everyone's experience of listening to music is different. Teachers should develop this uncertainty of understanding of music in classroom teaching, and use various methods to let students gain their own understanding and feelings of music. Rather than passively accepting the teacher’s understanding of music. Therefore, the change from dynamic appreciation to quiet appreciation is the change from "body movement" to "heart movement".

Because many people criticize appreciation as being passive, many teachers have entered into a misunderstanding, thinking that appreciation classes require movement, and if they do not move, it is not a good appreciation class, and if they do not participate, it is not a good appreciation class. In fact, everyone has their own feelings about music. "Heartbeat" is the participation of the soul. The ultimate goal is to be moved and feel something in the heart after listening to the music. Teachers should pay attention to the appreciation class not to be too stylized and formal, and not to pursue "movement" too much. Instead, they should pay attention to the transformation process from "body movement" to "heart movement".

There is nothing wrong with involving students in teaching.

For students in lower grades, it is still necessary to help them gain musical experience through participation. However, teachers still need to consider what the ultimate goal of appreciation teaching is. In fact, "moving" is very external. It is limited to an understanding of rhythm and speed, not the entirety of music. The higher the grade, the more attention should be paid to inner participation. Therefore, in senior grade appreciation classes, we must work hard on inner participation and pay attention to the details of music.

5. The content of a musical work

There is always a debate about what the content of a musical work actually means. Some people think it is some situation outside of music, or a story, or a life experience, or something suggested by the title of the work. Others believe that music content is mainly an emotion experienced by people, or the formal elements of music. Each of these statements has its own truth, but in the music curriculum standards, we support the view that formal elements are the main content of musical works. The resonance and understanding of music generated through life experience and life phenomena are individual behaviors and cannot become the main learning content and pursuit goals. Understanding this, we can change the basic practices of our traditional music appreciation teaching and achieve better teaching results. This is the understanding of the music work itself, and it is also the basic requirement for the study and understanding of the ontology of music proposed in the revision of the music curriculum standards.

1. What are the elements of music?

When learning music with a musical way of thinking, you should not only pay attention to pitch, intensity, length and timbre. Rather, these aspects must be organically combined to form rhythm, melody, harmony, timbre, intensity, speed, mode, texture, musical form, etc. These are the elements of music and what teachers should guide students to learn.

Teachers should not be limited to explaining the pitch, length, strength and timbre of sounds, but should pay more attention to the gradual development of these elements, including rhythm, melody, harmony, dynamics, Speed, mode, musical form, etc. When theoretical knowledge is combined with musical practice, the depth of musical works is discovered.

2. How to pay attention to music elements

The younger the children, the more they can pay attention to the intensity, speed and rhythm changes, so teachers of these music elements can start from a low level. Begin to guide students to pay attention as early as grade. As for the level of the melody, you can add it in a little later. After junior high school and above, you can go deeper and pay attention to harmony, musical form, mode, etc. Timbre can be distinguished from an early age. Learning a musical instrument is an experience. Once gained through experience, students will be able to remember it. Of course, the timbre itself is not isolated. Music appreciation is the appreciation of the combined musical elements. As for music itself, if there is no audience, then nothing exists, it is just a work. Some people listen to it, but different people will get different musical feelings when they listen to it.

1． Music Language

Music is not a universal language in the world, it is an integral part of culture. Each musical work contains its own cultural characteristics and cultural identity. In appreciation teaching, teachers should spread music from different music cultures to students, which is also one of our goals. This is why textbook builders provide students with various types of music works instead of providing the same type of music works. Music is not the only language of mankind. From this perspective, the music curriculum standards require that in addition to promoting one's own national culture, one must also understand the diversity of world cultures. As an integral part of culture, music is not about understanding the customs, architecture, living habits, and growing environment, but about understanding the music itself and the language of music.

2. Music Emotion Music directly points to the human soul, and music itself has emotions. Taking aesthetics as the core, aesthetic education, emotional education, and the cultivation of emotional experience are actually centered on emotional experience. The ultimate goal of singing, playing and appreciating is to experience the human emotions of different regions, different cultural backgrounds and different eras contained in music.

Music has no specific emotions, which means there are no definite emotions in music. During teaching, many teachers will ask questions like: "What does this work express?" The student's answer can only indicate his personal reaction, but does not represent the fixed mood and emotion of the work. Of course, a piece of work may have an emotion that everyone tends toward, such as joy or sadness.

Where do the emotions in music come from? The emotions in music are the emotions evoked by the listener, so students should be mobilized to experience the rich emotions in music. What affects emotions are the basic elements of music. Judgment of emotions is human instinct and does not require education to acquire. But a rich experience of emotion needs to be obtained through education, because he needs to have a keen perception of musical elements.

3. How to learn music using musical thinking

1. In-depth understanding of the meaning of music elements

As for the composition of music elements, there are six elements in the 2001 version of the music curriculum standard. The 2011 version of the music curriculum standard added rhythm and mode. These are broad concepts of elements, not narrow ones. of. Music appreciators must first understand music issues. Teachers should not often ask questions based on a broad concept. In the teaching process, the understanding of music elements must be clear.

There are not many typical elements in a work. If there are eight elements in this work, not all eight elements have characteristics.

2. Be good at discovering unique musical elements

Be keen to feel the musical elements, and it is a unique feeling. This "unique" requires that when appreciating a work, you must Understand the uniqueness of the musical elements in this work, and as long as you master this principle, there will be no bad appreciation classes. There are unique elements and characteristics in a work, but not all elements have characteristics. The feeling and appreciation part of the music curriculum standard mentions the issue of music style. Music style is the uniqueness of music elements, and the uniqueness of music elements constitutes music style. Therefore, teachers should be good at discovering unique expressive musical elements in musical works.

Teaching staff can bring a lot of guidance and inspiration to teachers, but teachers cannot completely rely on teaching staff for lesson preparation and teaching. Teacher Li Cun based on the teaching reference, paid attention to the teaching material itself, and then prepared the lesson by studying the score. In this process, teachers listen to and pay attention to the score and conduct in-depth research on the works, bringing students more experience of the music itself and related culture, and exploring the connotation of the works.

4. How to appreciate music starting from the musical elements

1. Remember the theme of music

The most basic requirement for music appreciation teaching is that students should be able to remember the theme of the music after listening to the music work, and know that they have heard it and the teacher has said it when they hear it again. Secondly, you can tell the characteristics of this music and some related era and creative background.

The biggest characteristic of music is that you never tire of listening to it. Among all art forms, only music has this characteristic. Whether it is reading novels, watching dances, or watching movies, if you watch too much, you will get bored. No one will actively want to watch it after five times, but listening to music five times is not enough. Music psychologists once conducted a test and finally concluded that any piece of music will never be forgotten after listening to it 90 times. Therefore, the accumulation of musical experience represents the basic state of a person's musical literacy, and the accumulation of musical experience is obtained through listening. Why does remembering the topic come first? Because in terms of musical cultivation, accumulating musical experience is the first priority.

A person's musical literacy is directly related to the accumulation of musical experience. This person has great musical accomplishment and high musical quality, but he only knows theory and truth, which is far from enough. For the general public, the more musical themes accumulated in the mind, the better the person's musical accomplishment.

Memorizing music themes and even being able to sing many symphony themes shows that a person is very artistic and musically literate