Yangliuqing's lecture notes

It is necessary for teachers to prepare detailed class notes before teaching activities. With the help of class notes, we can improve our teaching ability quickly. How should I write a speech? The following is my carefully compiled "Yangliuqing" speech, for reference only, I hope it will help you.

"Yangliuqing" Lecture Notes 1 I. teaching material analysis

Yangliuqing is a southern folk song. Although students have been exposed to folk songs since the first year of high school, they only stay in the understanding of music genre, and have not studied the style of folk songs in depth, especially because of regional differences. It is difficult for children in the north to understand the style of southern folk songs. According to the requirements of curriculum standards and students' learning situation, I have determined the objectives of this class as follows:

Emotional attitude and values: from singing the folk song "Yangliuqing", I feel the praise of Jiangsu people for a better life and stimulate students' love for their hometown.

Process and method: Let students fully experience and taste the style and characteristics of Jiangsu folk songs in music practice activities such as "listening, speaking, singing and speaking".

Knowledge and skills: singing with a light and elastic voice and artistically singing Jiangsu folk song "Yangliuqing".

On the key points and difficulties in teaching;

Key point: sing this Jiangsu folk song with a lively voice.

Difficulties: sing the lyrics well and experience the characteristics of Jiangsu folk songs.

Second, oral teaching methods

In the classroom, I pay attention to the development of students, pay attention to the state of each student's participation in music activities, find students' interest points in music practice activities such as "listening, speaking and singing", give full play to the potential of music, and let students become active participants and creators in music activities. I used several teaching methods in my teaching:

1. Audio-visual combination method: In the two links of listening to lead-in, experiencing dialects and expanding the interest of folk songs, the exquisite Flash animation of Jiangsu folk songs "Beauty of Taihu Lake" and "Jasmine Flower" and the vivid and interesting teaching courseware of Jiangsu folk song "Yangliuqing" were played respectively. Make full use of modern educational AIDS to enrich students' direct experience and perceptual knowledge, so that students can obtain the appearance of sound and rhyme, at the same time enhance their intuition and understand the contents of lyrics more comprehensively and fresh.

2. Comparative feeling method: Comparative feeling method can give people a very vivid image and a very strong feeling. In the process of experiencing dialects, I guide students to read all kinds of lining words and understand the role of lining words in comparative feelings through the way of strong and weak contrast and fast and slow combination. Obviously, this song "Yangliuqing" is more vivid and interesting because of these words.

3. Experiential learning method: Music teaching advocates listening to music works completely and fully, so that students can get pleasant feelings and experiences in the process of music aesthetics, inspire students to fully expand their imagination in the state of positive experience, and protect their independent opinions in music experience. I invite students to talk about their feelings and new discoveries after listening to the introduction, experiencing dialects and learning to sing. After learning to sing completely, students can creatively use body language to participate in performances, so that students can fully experience and taste the style of Jiangsu folk songs in music practice activities such as "listening, speaking and singing" and stimulate their love for their hometown.

Third, theoretical study.

Consciously guide and infiltrate learning methods in teaching, create music scenes, stimulate learning interest, experience music through various forms such as "listening, speaking and singing", exchange and interact, sublimate emotions, and cultivate students' aesthetics from the perspective of music. The specific learning methods are as follows:

1, autonomous learning and active exploration: students actively participate in the whole learning process in two links: listening introduction, experiencing dialects and learning to sing. To discover the charm, appreciate the interest, find difficult phrases and learn to sing efficiently.

2. Happy acquisition of communication and interaction: In the process of solfeggio and ear training, students summarize the melody tonic through communication and interaction, understand the unique national pentatonic sound pattern in China, and learn the melody characteristics of Jiangsu folk songs.

3. Create performances and fully experience: inspire students to create dance movements and participate in song performances. The voice and body language are used to simulate the sound and action of plucking the strings, and a branch is added in the last section to add artistic effect, so that students can fully experience the cheerful, lively, enthusiastic and funny characteristics of Jiangsu folk song Yangliuqing with the rhythm of body and the singing of branches.

Fourth, talk about the teaching process

The first process, "listen to the introduction and experience the dialect" begins. First, I invite students to listen to a Jiangsu folk song "The Beauty of Taihu Lake". While watching the beautiful Flash animation, I feel the delicate, soft and swaying characteristics of Jiangsu folk songs. Next, it is introduced to the learning and singing of Jiangsu folk song Yangliuqing. After listening to the song for the first time, let the students know that this song "Yangliuqing" is sung in Jiangsu dialect and is a popular folk tune in Yangzhou, Jiangsu. Let students reproduce the lyrics intuitively and clearly in vivid teaching courseware. After listening to the song again, the method of strength comparison and speed combination can guide students to read the interlinings in the song, help students find, experience and understand the role of the interlinings in the song, and realize the praise of Jiangsu people for a better life and their love for their hometown in reading the lyrics.

The second process is "learning singing and performing arts". Next, in the process of "learning singing and performing arts", I designed four small links: "solfeggio, reading music, lyrics, artistic processing and creative performance". In the "Solfeggio Music Score" section, after solfeggio, students find out which tones are composed in the melody. Through active exploration, they found that the melody law is composed of do, re, mi, sol and la, and understood the unique national pentatonic style in China, and that most Jiangsu folk songs appeared in the form of pentatonic style. In the two links of "lyrics and artistic treatment", I write lyrics from slow to fast to reduce the difficulty of learning to sing, and give timely inspiration and guidance to students' questions, so as to learn and teach better. When dealing with art, students are guided to sing this song artistically with beautiful heritage and short sounds of elves. In the "creative performance" session, I first inspired students to create several dance moves to perform the first two phrases of the song and expand their imagination. Next, students are required to develop rich imagination, simulate the sound and action of plucking the strings with human voice and body language, and create three or four phrases of the song. And add a branch in the last section to increase the artistic effect. The collision between teachers and students inspired the spark of creation. With the rhythm of the body and the singing of the branches, students fully experience the cheerful, lively, enthusiastic and funny characteristics of Jiangsu folk song Yangliuqing. Through the above teaching links, the difficulties in teaching can be effectively solved, and students can learn to perform this Jiangsu folk song Yangliuqing artistically with lively voices in music practice activities such as "listening, speaking and singing". The third teaching process is "expanding and tasting folk songs". Finally, by reviewing the Jiangsu folk songs that students know, and appreciating the Jiangsu folk song Jasmine, we can expand and extend it. I asked the students to review "Do you know any other Jiangsu folk songs?" The students recalled the shepherd boy they had learned in the first grade, and the jasmine that a few students were familiar with. Then, I lead the students to learn more about Molly. This song has become a business card not only for Jiangsu, but also for China. Nanjing, the capital of Jiangsu Province, takes jasmine as the city song. By enjoying the teaching courseware Jasmine with famous scenic spots in Nanjing, Jiangsu Province, we can stimulate our love for Jiangsu folk songs and hometown.

One side of the soil and water, raise one side. Our national music will be as beautiful as jasmine. I believe that by learning to sing the song Yangliuqing, students will fully experience and taste the characteristics of Jiangsu folk songs, and at the same time feel the praise of Jiangsu people for a better life and inspire their love for their hometown.

"Yangliuqing" lecture notes 2 1 article, closely related to the characteristics of teaching materials.

"Yangliuqing" is a Jiangsu folk song in Unit 3, Volume 8 of the standard vocal version of compulsory education curriculum. By praising the party, this song expresses the joy brought by a better life and the love for hometown. The tune of the song is pentatonic Gong Diao, and the whole song is cheerful, lively, enthusiastic and funny. Liner words occupy a very important position in songs and are an important means to expand phrases.

Second, combined with the actual situation of learning

In the Curriculum Standard, the fourth curriculum design idea is that the compulsory education stage is a period of rapid physical and mental development of children and adolescents, and it is also an important period for receiving music education, improving music literacy and promoting healthy physical and mental development throughout their lives. In order to adapt the music course to students' psychological development level and musical cognitive characteristics, this course divides the nine school years of compulsory education into three periods, namely, the lower grades of primary school (1-2 school year), the middle and upper grades of primary school (3-6 school year) and junior high school (7-9 school year). On the basis of analyzing the differences of students' physiological and psychological development and the cognitive characteristics of music learning in different classes, under the guidance of the overall objectives of the course, the objectives of each class are defined as the basic basis for the design of content standards in different classes and different teaching fields. The content standards of different levels in the three learning periods are interlocking, step by step, complete and orderly.

According to what to determine the gradient series? How to realize gradient progression?

Primary and middle school students in compulsory education are facing physical and psychological development, and the different characteristics of their music education are the reasons that determine the gradual gradient.

Pupils' cognitive activities have developed from randomness and unconsciousness to randomness and consciousness, and their cognitive level has developed from concrete images to abstract generalization. Their emotional will is constantly developing, their personality is constantly strengthening, and their moral consciousness is gradually developing from focusing on behavioral effects to focusing on behavioral motives. 7-9-year-old children's aesthetic attitude towards music is in the "realistic stage", and their naive and happy nature spontaneously produces a musical aesthetic attitude characterized by "similarity" and "personification". In the lower grades, students' experience of music through "games" is obviously increased, their sensitivity to rhythm is rapidly improved, and they can respond to rhythm and melody through body movements. The middle school stage is the best time to develop music perception. The sense of action and hearing is significantly enhanced, the expressive force of rhythm and melody is more abundant, the understanding of music is enhanced, and people begin to show the same likes and dislikes of harmony as adults. As this is a Jiangsu folk song, if students want to learn it for children in Xinjiang, they will face the following problems:

1. For children in northwest Xinjiang, the style of Jiangnan folk songs is relatively unfamiliar. It is not difficult for fourth-grade children to complete the intonation, rhythm and artistic conception of this song, but it is the most important thing to sing this song with more local charm in Jiangsu.

2. The impact and influence of pop songs on today's children makes the distance between folk songs and students more distant. How to find points of interest so that students can fully feel the charm of folk songs is worth thinking about.

Third, strive to innovate ideas.

Starting with the singing styles of Jiangsu dialect and Jiangsu folk songs, combined with the basic concepts of music aesthetics as the core and hobbies as the driving force in the new round of curriculum standards, starting with the words "fun" and "taste", in the links of "introducing new lessons with interesting words" and "singing in dialects to enhance charm"-finally, by listening to folk songs from different regions, the purpose of test feedback is achieved.

Fourth, talk about the objectives around the curriculum standards.

Curriculum standards advocate students to pay attention to "emotional attitude and values", "process and method" and "knowledge and skills" as an organic whole. Too much emphasis on one aspect or neglect of the other will make teaching biased. In the current music teaching, the realization of teaching objectives is often ignored, or one aspect is highlighted or exaggerated blindly, which leads to one kind or another problems.

The design of classroom teaching objectives should closely focus on music teaching activities, so the choice of teaching forms should be subordinated to the teaching objectives, and the implementation of teaching methods and means should also be subordinated to the teaching objectives, with clear pertinence and purpose. This shows that how to achieve the set goal in the classroom is not a simple matter, it contains two meanings: first, the teaching goal setting itself has three-dimensional goals; The second layer is the relationship between three-dimensional goals and teaching goals, and all means, methods or teaching forms should closely focus on the realization of goals. In addition, the teaching goal is not empty, but concrete. Teachers must think about what they want to teach and what effect they want to achieve. Teaching plan, teaching design and teaching process can only be produced after the teaching objectives are established. Some teachers often ignore the teaching content, look at the teaching reference first, and then arrange courses according to the objectives in the teaching reference, which is putting the cart before the horse. The goal setting should start with the music content, and through the goal set by the music content, we should also take into account the accumulation of experience and the continuation of knowledge alternation before and after to avoid the interruption of ability. Judging from the present situation of music teaching, teachers do not set their goals from the music content, which will make the set goals inconsistent with the teaching process and easy to get out of touch. Rich and interesting activities in teaching are all for music content. Some activities seem lively and take into account students' interests, but they do not play the role of experiencing and expressing music content with set goals.

1, process and method:

Can join Jiangsu dialect, and the songs sung are sweet.

2. Emotions and values:

Through duet, body imitation and other music practice activities, students can feel the style characteristics of Jiangsu folk songs and stimulate their love for China folk songs.

3, knowledge and skills:

Understand the role of lining words in folk songs.

Teaching emphasis: Experience the local charm of Jiangsu folk songs in various forms.

Teaching difficulty: sing a song accurately with multiple tones in one word.

Fifth, self-study theory and learning methods.

Students' singing, appreciation, performance, synthesis and other activities need to be felt and experienced in music practice. Students are the main body of activities, and teachers are the effective organizers of teaching, playing a leading role, and making appropriate adjustments to the content of activities at any time. One thing that should be paid attention to in music practice is that not only students should actively participate, but also teachers should actively integrate with students, so as to obtain first-hand teaching materials and learn from each other, which is of great help to future teaching plans and arrangements. Especially in the compulsory education stage, primary and secondary school students are in the developmental stage both physically and psychologically, and they are more eager to explore and experience things of interest. In this class, I guide students to participate in music practice activities according to these characteristics. Through listening, model singing and independent exploration, students can participate in practice step by step from the simple to the deep, and let them feel the singing style and local charm of Jiangsu folk songs.

Sixth, the process of passion and interest theory.

Teaching process:

First, the momentum rhythm, preliminary perception

1, the teacher takes the students to accompany the music with three fixed rhythms.

2. Students memorize three fixed rhythm types.

3, students in groups with music to do multi-part rhythm to accompany songs.

Second, if it's interesting, introduce new courses.

1, reveal the topic, the old teacher sings and the students perceive the characteristics of the song.

Just now, we used several groups of music with fixed rhythm to accompany it. It is a Jiangsu folk song "Yangliuqing". This folk song is a popular folk tune in Jiangsu. The lyrics in the song are very distinctive. Let's sing it once. Please listen to the lyrics of this song. What impressed you the most?

2. Learn the preposition "A NIA"

The words "Qingniya, Benniya and Songniya", which we have just heard and appear repeatedly in songs, are called lining words in our folk songs. Although they have no practical significance in songs, they play a very important role in highlighting the national style and local characteristics of songs, in rendering the atmosphere of songs, activating the mood of singers and setting off the melody of songs.

Let's feel it together.

3, students are free to choose the contrast between strength and weakness, and read the interlining part with the teacher.

4. clap your legs with the teacher. After reading the mezzanine, clap your legs and clap your hands.

5, teachers and students sing music together, interactive search for the fun of song melody.

Learning to read music should be closely combined with singing, performance, creation, appreciation and other activities, with music as the carrier and on the basis of students' perceptual accumulation and cognition. The Standard requires students to read music with familiar songs or music, or to learn by playing musical instruments. In other words, students learn to read music mainly through music practice activities, rather than through special music reading practice. Taking vivid music as the carrier, reading music on the basis of students' perceptual accumulation and cognitive music is much better than simply conducting special "reading music training" and "solfeggio practice". In the activities of enjoying music, teaching singing songs, playing musical instruments and creating music, combining these music practice activities to teach reading music is to learn reading music "by the way" while teaching singing songs, rather than learning reading music by teaching singing songs.

Thirdly, dialect singing enhances charm.

Teacher: Teacher Lu will reward you with my singing! I want to sing a new version of Yangliuqing. do you want to hear it ? Where is the applause?

1, the teacher sang it against the dialect. Listen to the difference between this performance and the first performance.

Student's reaction: The teacher sings differently, and the teacher doesn't use Mandarin. ......

Teacher: Yes, when the teacher sang for the second time, the most important thing was to join the Jiangsu dialect to sing this song. This makes the Jiangsu flavor of this song stronger. Let's feel the dialect characteristics of Jiangsu again.

2. Play the courseware and learn the pronunciation of key words respectively.

Chen mocheng

Early morning dew

Didi ant

Dot on the leaves of wheat seedlings

Shaqugu

Shizi brothers

4. Listen to the teacher and read the lyrics completely in dialect.

5. Teachers and students read the lyrics aloud (hint: keep the same voice as the teacher).

6. The teacher sings with "Nia" in the high position, and the students read the lyrics completely in the high position.

7. Read the lyrics with action.

8. The teacher plays the piano and sings, and the students learn to sing the first paragraph of dialect lyrics.

9. The whole class sings slowly along with the accompaniment, and the teacher corrects inaccurate phrases.

10, boys and girls sing it again.

1 1, students evaluate each other.

12, all students sing it out completely.

Fourth, practice participation and performance charm.

1, students watch beautiful pictures of Jiangsu, accompanied by background music "Wuxi Live".

Jiangsu, a beautiful paradise on earth, has created a delicate and feminine character of Jiangsu people. So their songs are always gentle and sweet.

Which student can show such delicacy and femininity with actions?

2, students with the teacher to show the beauty of the body-soft.

3, guide students to express the beauty of the voice-sweet

A, the teacher sings compared with the model, and the students observe the change of the teacher's mouth shape.

B, the students lift their laughter muscles and sing with sweet voices.

4. Perform (body or singing) in your favorite way.

Fifth, test the feedback and summarize the sublimation.

1, please listen to some folk songs from different regions and find out which ones are Jiangsu folk songs.

Teacher: Today, we learned the Jiangsu folk song Yangliuqing in dialect and felt the delicate and sweet singing style of Jiangsu folk songs. Next, the teacher will test everyone, let the students listen to several folk songs from different regions and which one is Jiangsu folk song.

The first song: Xinjiang folk song Peony Khan

The second song: Shandong folk song "Keeping Cold Tone"

The third song: Jiangsu folk song tea things

2. Summary:

Students, China's folk songs are profound, but there are also some beautiful folk songs, because no one has sung them for a long time, and they will soon disappear in our own country. I sincerely hope that students can pay more attention to the folk song art of our country in their future study and life, so that it can bloom on the world stage forever!