The first-grade music teaching materials in the Kodály music teaching system follow the characteristics of music perception and children's perception of music, arrange teaching content step by step, and cooperate with a large number of game teaching forms to make music perception activities more vivid. Lively and full of fun; this kind of teaching paves a solid and effective way for the formation of children's musical thinking. Due to space constraints, this article only analyzes the characteristics of the Kodaly music teaching system in cultivating children's music perception ability from the perspective of music content arrangement in the first grade of primary school.

1. The first stage is to introduce rhythm learning through songs

(1) Reciting songs is accompanied by a variety of rhythm maps.

1. Learn catchy songs and ballads. 2. Move while reciting (including clapping your hands, clapping your legs, stamping your feet, walking, running, etc.) and feel the rhythm of the movements. 3. After you become proficient in reciting, use visual images such as big shoes, small shoes, big drums, small drums, large solid circles, small solid circles, etc. to draw your feelings about the rhythm of the language. 4. Replace the language of the ballad with onomatopoeia to further appreciate the length and shortness of the language rhythm. 5. Use percussion instruments to express the long and short rhythm of the language.

(Analysis: Introduce rhythm through language. Draw the length of the rhythm in the form of drawings. This method has been tried and tested in the early days of rhythm teaching and has been adopted by music teachers all over the world. But like this textbook , it is rare to divide the steps so carefully and the process so slowly. This has two advantages: (1) It can maintain the minimum difference in the music learning of the whole class; (2) This is the only way. , children's perception of rhythm can be comprehensive and profound)

(2) Rhythm spectrum appears.

1. Derive similar-shaped rhythm patterns from rhythm patterns such as large solid circles and small solid circles, for example:

Pay attention to the conscious arrangement of two beats for each card. 2. Learn a new song that only contains quarter notes and eighth notes, and let the children arrange the F-column rhythm score themselves. 3. Invite children to make up their own language based on the rhythm score.

(Analysis; the natural transition from the rhythm map to the rhythm spectrum makes the children not burdened, and also allows the children to have a more vivid understanding of the rhythm spectrum and not feel abstract.)

(3) Use stress to form regular movements, thereby eliciting the strong and weak characteristics of the second beat.

(Analysis: In the process of rhythmic movement, there will definitely be rhythms with obvious strength and weakness patterns. For example, to express the rhythm of the rotation of train wheels, the arms are stretched out for the first time, and the arms are retracted for the second time. , which coincides with the strength and weakness of the second beat. Use this opportunity to let the children experience the strength and weakness of the second beat. )

(4) The rhythm spectrum with bar lines appears. Enter the two-part rhythm practice at the same time.

(Analysis: We often have this experience. When music scores with bar lines are displayed in front of children for the first time, children tend to expand the visual experience of the bar lines; they like to pause at the bar lines, Affects the overall music. This textbook fully takes into account this characteristic of children. The rhythm spectrum appears first, and then the rhythm spectrum with bar lines appears. Because of the experience of the strong and weak rules of the previous step, this time on the second beat. Insert a bar line in between, and tell the children that the bar line only means the order of strength and weakness, so that the children will not think too much about the bar line. In addition, the foot beats and the hands beat the rhythm, so that the rhythm is balanced. Vocal training is naturally introduced)

(5) Rhythm spectrum with simple 2/4 time signature, such as:

(Analysis: At this time, children are familiar with the rhythm spectrum. The concept of two beats is only a strong and a weak action image, and does not involve time value, so only simple symbols appear to keep children's thinking at a simple and clear level)

(6). Introduction of quarter and eighth note rhythm names. Use the pronunciation ta for quarter note rhythm and titi for eighth note rhythm.

(Analysis: For first-year primary school students, it is difficult to understand the conceptual names of quarter notes and eighth notes. Therefore, ta is used as the rhythm name of quarter notes, and titi is used as the rhythm name of eighth notes. The rhythmic names of diaeresis are catchy, easy to pronounce, and lively and interesting, which is very consistent with the teaching principle of music teaching that emphasizes the active experience of music and despises the instillation of rigid knowledge)

2. Second. The stage enters the pitch identification learning of the five tones Sol, Mi, La, Do, and Re

(1) Learn the pitch and music reading of Sol and Mi.

1. Learn a song with only two tones, sol and mi, and combine it with the vivid rhythm spectrum and rhythm patterns in the textbook that describe the pitch and low direction of these two tones. For example:

2. Ask students to draw a curve chart of the high and low trends of the sound. 3. Learn one or two more songs with only two tones, Sol and Mi, and ask students to draw a curve diagram of the pitch of the tones, and at the same time actively identify the tune. 4. Use the aluminum piano as a learning tool to understand the position of the two tones Sol and Mi on the piano (Hungary does not have a dedicated music classroom for music lessons, and there is generally no piano in ordinary classrooms).

5. The teacher uses graphics to describe the pitches of the songs that have been learned. Pay attention to limit the number of music selections to the five pitch ranges of La, Sol, Mi, Do, and Re, and try to use progressive pitch levels. 6. Learn the gestures for the two tones of sol and Mi. 7. Conduct music notation teaching for SoI and Mi without clef or time signature.

(Analysis: The total amount of psychological energy used by children to learn a song is constant. When eight or nine notes appear in a song at once, they use all their psychological energy on eight or nine notes. The discrimination of nine tones is not enough. As a result, children who are new to music can only give up the discrimination of pitch and use their psychological energy on non-musical content, such as lyrics. On the contrary, if a song. It only consists of two notes, so they can naturally use this part of their psychological energy on how to distinguish the two notes clearly. In this way, the feeling of the two notes will be clear, and the ability to distinguish the two notes will gradually develop. From the perspective of music cognition, pitch discrimination is difficult. Pitch discrimination ability does not occur automatically and requires systematic learning. Teaching methods that conform to children's cognitive characteristics are an important prerequisite for effective pitch teaching. )

(2) Learn the pitch identification and notation of the two tones Sol and La, and integrate the pitch identification and notation of the three tones Sol, Mi, and La.

1. Learn the low trend curve of a new song with only two tones, Sol and La. 2. Learn Sol and La gestures. 3. Recognize the music score of Sol and La without clef or time signature, and use the aluminum piano to assist the teaching. 4. Learn a few songs based on the three tones of Sol, Mi, and La. Ask students to draw the pitch curve of the notes in the air with their hands, and also ask students to take the initiative to identify the tunes. 5. Integrate the intonation, gestures, and music reading of the three tones Sol, Mi, and La.

(Analysis: Just after learning the minor third intervals of Sol and Mi, instead of immediately starting to learn songs composed of the three tones of Sol, Mi, and La, you should first learn the songs composed of the two tones of Sol and La. This means that after understanding the third intervals of Sol and Mi, you first understand the second intervals of Sol and La. Only when the intonation of the three tones of Sol, Mi and La is integrated, the minor fourth intervals of La and Mi appear. The purpose of teaching steps and delicate cognitive processing is to prevent children from being overburdened with pitch discrimination. In this regard, the problem in our country is how to create two-note and three-note songs with beautiful melodies and vivid lyrics. /p>

(3) Understand the quarter rest and introduce the rhythm name "su" of the quarter rest. Using the three notes Sol, Mi, and La as materials, the rhythm of quarter notes, eighth notes, and quarter rests is integrated. ”

(Analysis: Since I have experienced the rhythm of quarter notes and eighth notes and the beat of two beats for some time, and I have also experienced the polyphony of rhythm repeatedly, in these musical experiences Basically, it should be said that the time is ripe to experience a more abstract duration - the quarter rest.

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