Huang Meihua currently teaches in the Second Affiliated Primary School of Nantong Normal School in Jiangsu Province, a special music teacher in Jiangsu Province, and a famous teacher in the National "Ten Thousand Talents Plan". He has won the title of National Model Teacher and the first prize in national, provincial and municipal teaching competitions. Participated in the compilation of more than 50 primary school music textbooks and teaching materials.
Flower Basket (Music Grade 3 Volume 2) Tutor: Huang Meihua
For 34 years, I have been teaching. I have always adhered to the belief that "classes are bigger than the sky", and have worked hard to explore "music teaching in the cultural context", striving to make the classroom a poetic place and a place where teachers and students can fly. Hungarian composer and music educator Kodai has a famous saying: "Music teachers in small towns are more important than opera house conductors." As music teachers, we should use our wholehearted dedication and teaching innovation to promote the all-round development of students.
Culture is the soil for music growth
"Music teaching in a cultural context" is a teaching proposition I put forward after years of exploration. Nanjing University of Arts Doctoral Supervisor Professor Guan Jianhua commented on my teaching special article "Music Teaching in Cultural Context" (published in "Jiangsu Education"): "Teaching music as culture or music in culture is proposed by music anthropologists, and has now become an important concept of international music education. Why is the concept of music as culture important to music teachers? That is because each of us grows in a certain environment, and music also grows in a certain cultural environment. Understanding a kind of music naturally requires understanding how this kind of music grows in its culture. Just like understanding a certain plant, you must first know what environment, soil, season, and climate it grows in. Understanding music is understanding a culture, which is a very important concept. "
In my opinion, music education in the basic education stage not only teaches "ABC of music", but also should turn to "Music Education of Culture", which is the general trend of today's international music education and Chinese music education. Professor Guan Jianhua’s view is also the practical path I have been pursuing.
is based on the contextual activities of composers and performers. Starting from musical elements, teachers should pay attention to "how to teach". For contextual activities based on the viewer, we should focus on how students "learn" based on their physical and mental characteristics. Teachers should be good at creating situations to help students enter the music world smoothly, use the combination of maps and audio-visual to open aesthetic channels, use the help of dramatic performance to deepen emotional experience, and use percussion instruments to participate in the performance to understand the style of the music, etc., so that the viewers can have richer emotions and more active thinking in music teaching with rich cultural context. Students can't help but participate in it, listening and thinking beautifully, singing and creating happily, and constantly improving their musical literacy. Only when the audience is fully focused and actively engaged can the vitality of music be fully revitalized and the educational effect of music is fully demonstrated.
Find the entry point of culture
I first went to the podium in 1987. At that time, singing was the main content of music classes, and music teaching was always about simply teaching dozens of songs with correct content - teaching some basic music knowledge and skills. In the fearful knowledge score, in the indoctrination of music theory knowledge, and in the boring skill training, students lose interest in music lessons.
How to make music classes interesting and how to increase students' interest in learning music is my simple pursuit as a fledgling. Looking back today, this is still a problem that many music classes need to be solved. "Silver Birch Forest" is a Canadian folk song. The song uses the layout form of repeated phrases and endings and a narrative tone to depict the birch forest with a strong exotic style. In teaching, I used graphic reproduction and language rendering to show the Canadian style, and also timely added maple syrup, coins, scenic postcards, reindeer dolls and other gifts brought back from Canada for students to observe, touch and taste.Gradually, the students' thinking became active, especially the word "Puffy and plump", which triggered their infinite imagination:
"I think 'Puffy and plump' is the sound of the beaver architect'."
"I feel like the footsteps of reindeer, they are running happily."
"I think that it is the fluffy sound of branches colliding when the wind blows on the birch forest." ...
In the music teaching full of cultural charm, the strange Canada becomes clear and real in the eyes of students. The "sweet and fluffy" they sang is no longer a "simple" without real meaning, but a song with rich associations and vitality. I was surprised to find that students like this kind of music and like this kind of music class. In the future, whenever I get new music works, I will not only try to listen thoroughly and sing well, but also understand the cultural codes contained in music through "special reading" and use culture to support the music classroom.
Integrate music teaching into the cultural context
Polish Anthropologist Malinowsky proposed the concept of context-related as early as 1923. He believes that to learn any language, one must first understand the context and cultural context of the language. "Music teaching in a cultural context" means putting music and music learning into the social environment and the related small environment, comprehensively promoting the aesthetics of history, society, politics and other knowledge, and using the achievements of psychology, physiology and other disciplines to carry out practice and research, re-understand and understand music works from the cultural background, and think from the perspective of cultural value - how to better promote students' development with music courses and music education.
From a practical point of view, each music activity includes three different roles: composer, performer and admirer. The trinity is indispensable. In music teaching, we should pay full attention to the differences between the three in music concepts and cultural backgrounds. Teachers can carry out teaching activities from three different cultural perspectives: composer, performer or admirer. For example, the Erhu solo "Erquan Yingyue", Abing calls it "single-talk", which is what he "plays hand-in-hand" while walking around the streets. In fact, this piece of music was not "just-free" by A Bing, but a masterpiece that combines A Bing's profound Taoist music skills and Jiangnan folk music cultivation. I designed such teaching activities: let students play the erhu according to the theme, understand the genre characteristics of the "cyclic variation" work; use the theme to sing lyrics to express the musical image in A Bing's works... From the composer's perspective, we can lead students to follow the composer into the music, and while feeling the music, we can understand the influence of the composer's personality characteristics and the background of the times on the music works.
Mature players usually have their own style and personality. Different people will definitely produce different effects when interpreting the same work. I asked the students to follow Song Fei with their left hand to travel back and forth in the highest and lowest positions of the erhu, and experience the ups and downs of the music; compared Kenny G with "Erquan Yingyue" played by saxophone and "Erquan Yingyue" played by Tang Dou with "Erquan Yingyue" played by whistle, and appreciate the close relationship between the national style of the music, the performance speed and the sound of the instrument. The ideal admirer should be a "soul-hearted person". For example, the famous conductor Ozawa Sei-rung feels the positive and upward power contained in the sad melody from the erhu performance of Jiang Jianhua . Because he was shocked, he burst into tears and said, "This song should be knelt down and listened to it."
From subject teaching to subject education
Faced with the disadvantages of scattered music textbooks, weak classroom teaching, and few students come into contact with works, I began to study "thematic music culture special courses". Thematic music culture special courses originate from problems, are based on textbooks, closely follow the curriculum standards, and take songs (music) in the national textbooks as the core repertoire, and use "cultural themes" to connect interrelated music works. In the integrated and reconstructed courses, it highlights the educational orientation and value pursuit of "cultivating morality and cultivating people".For example, in view of the situation where some students lack solemnity in singing the national anthem and even seem careless at the Monday flag-raising ceremony, I developed the cultural special course of "Uncle Nie Er and His Songs". By writing cultural reading books, Nie Er's works "March of the Volunteers", "Selling Newspaper Song", and "Song of the Dockworkers" scattered in different stages of study and different textbooks, and added practical activities designed based on music suitable for students to participate, stories and creative anthology of the composer, basic knowledge and skills extracted from the works, and the expansion and learning of other art works related to music, to help students feel the hardships of newspaper boys and dockworkers' lives through their appreciation and singing of Nie Er's songs. In this way, students can understand major events related to the national anthem, perceive the changes in the national anthem, and experience how to use musical elements to express the solemnity of the country and the style of a great power. From then on, students understand how to sing the national anthem with a solemn posture and solemn expression, and sublimate patriotic emotions. This kind of curriculum integration and reconstruction led by the theme has formed a joint force of education, giving the educational value of the subject a place to settle.
I also cooperate with Chinese teachers in our school to adopt the "one lesson, two teachers" teaching form, break the discipline barriers, and carry out interdisciplinary teaching practice activities that integrate music and Chinese. For example, when it comes to content such as "mountain flowing water" and "Boya Juexian", picture book reading and music appreciation, Peking Opera master Mei Lanfang, etc., the textbook content in the two disciplines is reorganized and integrated, breaking through the discipline boundaries and expanding the teaching content.
Author: Huang Meihua
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-