With the continuous deepening of the reform of early childhood education, people are increasingly aware of the important role of music education in early childhood education. Music education is not only about allowing children to master some musical skills, but more importantly Through music activities, children can achieve comprehensive and harmonious development of body, intelligence, emotion, personality and sociality. In other words, music education for preschool children is first of all a kind of basic human quality education using music as a means. With this purpose in mind, I actively carry out research, study and practice in music education. According to the spirit of the "Procedures", with the purpose of giving full play to the main role of children and promoting the comprehensive and harmonious development of children, children are cultivated from aspects such as "interests, feelings, performance, and abilities". In the process of a large amount of theoretical study, exploration and practice, and experience reference, children have achieved comprehensive and harmonious development, which also promoted a fundamental change in my concepts in educational work. For young children, music activities are first and foremost a way and means of self-expression. In the preschool education stage, we can explore the potential of children through music education, shape their healthy and lively personalities, and promote their comprehensive and harmonious development.
1. Change the focus of teachers' "teaching" to the focus of children's "independent" learning
In the past, music education was often teacher-centered and did not respect the subjectivity of children's learning. When designing educational activities, In the process of organizing education, it is not based on the physical and mental development needs and learning characteristics of children, nor does it consider that children have their own needs, interests and wishes. Instead, they are used as a container for receiving knowledge and skills. The teacher's task is to put them into this container. Injection and indoctrination are manifested in the specific education process, which means speaking and doing for children, without giving children time and space to think, imagine, understand, and create. Over time, children lose interest in music activities and become passive in learning. Without the teacher's demonstration, children appear at a loss.
How to change children’s passive learning into active learning, with this question in mind, I carefully studied the "Procedures" and related educational theories. In 2004, she completed the Kodaly education theory course training at China Women’s University. Mr. Zhang Xuemen, an expert on modern early childhood education, emphasized that music education should give children more opportunities for their own experience, free expression and free creation, and should not pursue formal achievements, and opposed forcing children to imitate mechanically. He pointed out that in teaching, children should first arouse children's internal needs to respond to musical works and stimulate children's initiative in learning music. I also conducted practical activities under the guidance of teacher Wang Dan from China Women's University. I carried out new practices with new theories. In practice, it has been found that in music activities, children can actively "listen" to music, which is the primary condition for bringing children into the world of music. But the current situation is that children are absent-minded and unable to concentrate when listening to music. How to help children "listen attentively" and "listen actively"? In order to stimulate children's interest and needs in "listening", I designed a variety of teaching methods, allowing children to listen with questions, listen with suspense of stories, listen while looking at the picture, it doesn't matter if they can't hear it, listen again, and constantly encourage and praise Children have developed a pair of ears that can listen to music, and they are encouraged to express their feelings after listening. In addition to cultivating children's interest in listening during teaching activities, we also arrange various opportunities to listen to sounds in nature and life (the sound of small rivers, the sounds of small animals, the sound of rain, the sound of walking...) throughout the day. Over time, children's interest and initiative in listening to music have greatly increased. Children in middle classes can distinguish "heavy", "soft" and "jumping" music, and can distinguish different changes in speed, intensity and rhythm.
Children’s independent learning in music activities should be a reflection of children’s wisdom, emotion and creativity. However, in previous teaching, teachers often demonstrated first and children imitated later, so autonomy and creativity were not achieved at all. To develop and develop. Through discussions, I changed the previous teaching methods, allowing children to appreciate, feel, and experience first, and create and express first. For example, when playing the music game "Fox and Chicken" in the middle class, while appreciating the work, the children are allowed to use their own perceptions to fully discuss the musical image of the fox, and collectively create and design different things such as the cunning of the fox, the weakness of the chicken, etc. The teacher only gives appropriate instructions and reminders for the movements of different emotions and images. The children change from passive acceptors to active participants, their self-confidence is greatly increased, and their creative potential is fully utilized. Another example is the music activities in small classes. When "the chicken comes out of the shell", the teacher boldly pushes the child to the front, allowing the child to observe and try to learn the dance movements of the chicken coming out of the shell. This participation process not only meets the child's emotional needs, but also the needs of the game. , the need to be a little master and the need to create, and enable children to achieve harmonious development in emotion, personality, intelligence, etc. Practice has proved that children are indeed developing individuals with huge potential. Children can only fully experience their own existence and value. In past music activities, some children always acted as actors, and some children always acted as audiences. Those children with good talents often had the opportunity to perform, while those with poorer conditions did not dare to perform because of their low self-esteem. Naturally, these children not only lose the opportunity to learn music knowledge and skills, but may also cause certain psychological defects. We should use music activities as a means to enable every child to participate in activities actively, proactively and confidently. Meet the needs of young children for self-expression.
Based on this thinking, I designed a "ladder" of small steps, put forward appropriate requirements, and personalized education as much as possible so that each child can develop at his or her own pace. For example, I designed a series of rhythm games with a low starting point and from easy to difficult: listening to the little bell and clapping my hands (that is, clapping my hands imitating the rhythm of the little bell). Big drum and small bell (that is, imitating the rhythm of the big drum by stomping your feet, and imitating the rhythm of the small bell by clapping your hands). The robot (i.e., listens to the bass and treble ranges of the piano and expresses them by stomping its feet and clapping its hands respectively). Small hands and feet (that is, according to the signs of small hands and feet on the map, use small hands and feet to express the corresponding rhythm with the music). The skill requirements of this group of games are not high, and the purpose is to allow children to easily and naturally enter music activities and experience success in artistic expressions that are not difficult.
2. Paying attention to children's exploration and development
Bruner believes that the discovery method can stimulate wisdom potential, cultivate intrinsic motivation, and is conducive to learning discovery skills and memory retention. Because children are young and have poor persistence and patience, they cannot explore for a long time in situations where they cannot see progress. Therefore, I purposely create an environment that is conducive to children's exploration, discovery and active operation to stimulate their inner drive to explore. . For example, exploring internal drive in young children's cognitive segmentation. For example, in the process of children understanding the rhythm of segmentation (| The language rhythm of "Come on". Guide children to look for such a rhythm around them.
For example, when a mother has a toothache, she covers her face and says, "| Oh, wow, | Oh, wow,|" when grandpa pulls out radishes, "| Ouch, ho, | Ouch, ho," and so on. . Tell the children what syncopated rhythm is and guide them to try to play the syncopated rhythm on the xylophone. Play the song "Hua Xiaochuan" and guide the children to focus on finding the syncopated rhythm and listen to the music. Inspire children to creatively express the syncopated rhythm of the boatman's movements by stomping their feet, turning in circles, spreading their hands, etc. Guide children to use xylophones, aluminum pianos and other musical instruments to accompany "Boat Rowing". In addition, I also let the children tap bottles with different amounts of water and homemade noisy toys to make them feel the difference between high and low sounds; let the children listen to and distinguish the sounds of mi, sol, and la in the game of "Little Animals Find a Home" High, acquire a good sense of pitch; during free activities and corner activities, let children try to play familiar songs on the xylophone. In this process, children see the xylophone with their eyes, listen to the pitch with their ears, operate with their hands, think with their brains, and show a focused learning attitude. Good psychological qualities such as independence, self-control and responsibility are also cultivated in the children.
After sensing the rhythm, I asked the children to use various parts of the body to express it, such as clapping, stamping their feet, shaking their bodies, etc., and then taught the children to recognize two beats, four beats, and three beats while listening to music. Tell the children how many beats it is, and let the children clap their hands while listening or clap their hands while singing. These are the children's way of expressing their feelings and understanding of the rhythm with beautiful movements with or without musical accompaniment. Come out, this kind of expression is free and flexible, and does not need a teacher to teach you. The teacher just guides you. Pony running, turtle crawling, windy, raining, train driving, flying airplanes, riding bicycles, rowing boats, etc. all allow children to clap with their hands, stamp with their feet, and use their bodies to express themselves. When letting children recognize the second beat, you can let them listen to "March", which is majestic, neat and powerful; when recognizing the four beats, let them listen to some more soothing songs, such as "Little Bird", "Little Swallow", etc. When you know three beats, play some waltzes for the children to perform. In addition to using physical expressions, I also let the children make full use of percussion instruments. First, let them understand the sounds of various instruments, whether they are crisp, rich, long, or short, so that they sound particularly nice when struck. Then let the children give their own feedback. Pair small pieces with accompaniment and practice ensemble playing. After the children have become proficient in the above content to a certain extent, I let the children try to create their own rhythms. In addition to these educational trainings, I also intersperse the practice of children's music quality into daily life, such as enjoying beautiful music during the morning physical examination, which not only cultivates sentiment, but also enables children to wake up as soon as possible and have a happy mood to welcome the new year. The day comes. After drinking water in the morning and during recess, play a lively nursery rhyme and let the children make beautiful rhythms along with it, which will enhance the children's interest in music and develop their movements. Over time, the children have greatly improved in terms of their love for music, their sensitivity to music, and their rhythm.
3. Cultivate children’s creative consciousness
In song teaching, I abandoned the boring and boring teaching method of teachers teaching children to sing a sentence, and worked hard to study the Kodály education theory. Thinking, I found effective ways to teach songs while learning and exploring. For example, in the teaching activity of the song "Spring Rain and Sand", I taught it randomly on a rainy day. First, I guided the children to observe the way the spring rain fell and listen to the sound of the spring rain. Then I turned the spring rain into a very beautiful little poem. The children were intoxicated with it. Under the teacher's step-by-step guidance, the children learned it with strong interest. song. In teaching, I also pass on a message to the children, that is, creation. As long as it is beautiful and happy, we can turn it into poetry, songs or even musicals.
Since then, the children's interest in creating has become stronger. With the continuous guidance and encouragement of the teacher, the children's creative ability has been significantly improved.
4. Correctly grasp the relationship between "teacher-led and child-centered"
The phrase "teacher-led and child-centered" very incisively summarizes the correct teacher-led approach to educational activities. relationship. In other words, teachers exert educational influence on children towards established goals, but teachers cannot replace children’s practice or development. In practical activities, teachers are often confused about how to grasp the proportion and scale of teacher leadership and children's initiative. Through practical research, I realized that when implementing activities, teachers should be flexible and adjust their participation and guidance activities according to the needs of children at any time. When children show that they can perform activities independently, teachers should reduce participation and guidance, and when children show that they need help, teachers should increase participation and guidance. The above are just my experiences in music teaching. In the future education and teaching, I will conduct more in-depth study and exploration to make music education a happy game paradise for children.