? Music is a technical subject.
Teacher Liang said in the training that music teachers should pay attention to improving their music skills because "music is a technical subject". I deeply think so, but also remind myself to overcome inertia and strengthen self-cultivation.
As a music teacher, one's own musical skills are really too important. Although Kodaly's teaching method is simple and easy to learn, it also puts high demands on teachers' own music skills. For example, the ability of accurate cappella, the self-expression ability of two voices, the accurate grasp and expression ability of music style and so on.
If a work, even a simple solfeggio work, can't be accurately sung by teachers themselves, how can we lead and infect students? This expressive force and appeal are based on the teacher's stable and accurate musical skills.
As the saying goes, "never leave your hand, never leave your mouth." We should constantly practice and improve our musical skills to make our musical performances more exemplary and appealing. Only in this way can we really lay a solid foundation for making good use of Kodaly's teaching methods.
? How many possibilities are there for music learning?
In this study, what surprised me even more was the ever-changing practice method of Kodaly's teaching method.
Teacher Yang Limei once said: When a musical work is learned, it is not the end, but just the beginning of learning various musical skills.
Then, how many ways can you practice when learning a solfeggio or a melody? How many possibilities are there for music learning?
Teacher Liang told us through demonstration and guidance in the training that there are n ways, such as 1. A work can be sung in major or minor. 2. Play the rhythm while singing the melody. 3. While reading the rhythm, tap the rhythm in the opposite direction. 4. Sing the first time and sing backwards the second time. 5. Sing the melody, beat the rhythm with a delay of one bar (form a cannon) and so on.
? To tell the truth, I have learned some methods before, but I always find it incredible and difficult to implement. But in this training, under the pressure of uploading video homework every time, through repeated practice, I found that it was not as difficult as I thought, and it was certainly not easy. I believe that if we can use these interesting methods in teaching, students will be able to constantly improve their musical skills in the face of challenges.
? Colvin gestured again. I thought colvin's gesture was just to help the prompt sound higher and correct the pitch. However, in this training, Teacher Liang's demonstration and guidance opened my eyes, such as: 1. While singing music, while doing colvin gestures; 2. While singing lyrics, do colvin gestures; 3. Both hands make two different sounds at the same time. 4. Sing one voice and make another voice at the same time, and so on. The simple seven gestures vary endlessly, which is really unique.
This colorful and flexible teaching method is also one of the charms of Kodaly's teaching method. These exercises, whether practicing inner hearing, intonation rhythm and multi-voice thinking, are very beneficial and worthy of our practical application in class.
? Feel a kind of dedication and feelings
Finally, I want to talk about the dedication and feelings of Mr. Liang and Mr. Cui that I realized in this training activity.
In today's market economy era, I really admire and am very moved that Mr. Liang and his teachers organized such a pure, free, high-quality and small-class online training class.
? In fact, I knew Mr. Liang Honglai as early as the 14th China International Chorus Festival on 20 16. Teacher Liang's brief introduction to the teaching method at the master class training site left a deep impression on me.
In my impression, Mr. Liang is a veteran of music education with feelings, vision and ability. Although his hair is gray, he is full of vigor and vitality. He speaks authentic Beijing dialect, which is humorous and unique. He can always put some truth in music teaching in place and thoroughly.
Later, I joined the Kodaly Society in Beijing with Mr. Liang, and participated in two trainings on Kodaly teaching method organized by Mr. Liang, and I have been paying attention to it ever since.
I met Cui Jian, a gentle and demure intellectual beauty, during a summer training at the Kodaly Institution in Beijing. I was also impressed by her thoughtful and grounded lectures and benefited a lot.
? I think it is a matter of infinite merit for Teacher Liang and Teacher Cui to hold such a training class. In addition to being moved, I believe that every teacher participating in the training will be grateful and grateful for his teaching, and give this gratitude and gratitude back to our children.
After the training, Teacher Liang said with an authentic Beijing film accent: Teachers, teach children well, let more children enjoy the beauty of music, and let more families be happy because of their children's happiness. Please, let's work together!
? At that moment, I was inexplicably moved. This is the inculcation and earnest expectation of our predecessors. How can you not practice and work hard?
? May we work together to make music belong to everyone!