9课讲稿
Lecture+9耶鲁大学开放课程《聆听音乐》讲稿+
Professor Craig Wright: Okay. Let us start, ladies and gentlemen. We're going to pursue the issue of musical form today. It's an important thing to talk about because it allows us to follow a particular piece of music, and we'll be--I am using this metaphor of a musical journey and wanting to know where we are in music throughout the day today. Form is particularly important in all types of music--popular music as well as classical music--and we have this complex of material coming at us, this sonic material. And we try to make sense of it, and we say that it has a particular form. And we say it could have a particular structure even, so we tend to use metaphors having to do with architecture and things such as this.What we are really doing here is taking all of this sonic information that's coming into our brain and getting sorted, and makes us want to dance around or clap or be sad or happy, and make sense of it in terms of a few rather simple patterns. And musicians like to have forms because oftentimes it tells them what they ought to do next and where--here--I'm here but what ought to happen next? Well, if you've got a tried and true musical form that other musicians have used over the years, you might be inclined to use it too because your know your listener will be able to follow you.Now the other day, I asked early on in the course about the form in popular music, and I threw this out not really knowing what the answer would be. What's the most common form that one encounters when dealing with pop songs? And for the most part there was silence across the room, but one student--I have tracked him down--Frederick Evans, gave a very good answer--really a better answer than I could have given. So, clearly Frederick knew something about this idea of what he I think referred to as "verse and chorus" structure.I might call it "strophe and refrain," but it's the same thing whether you have it in a Lied of Franz Schubert or in a piece that I know nothing about. And Frederick is going to show us--introduce us--to a piece that I know nothing about. I sent him an e-mail last night saying, "Frederick, you gave a really good answer. Why don't you pick a piece, come up and demonstrate this?" So this is Frederick Evans. We're going--or excuse me. Yeah, Frederick Evans. He's going to come up here. I'm told we have to give him a microphone and he is going to introduce us to this particular piece. Now you probably all know what this piece is. How many of you have heard the piece we were just listening to? Everybody knows it. Who is the one person in the room that's never heard this piece before--has no clue what's happening? Moi. Okay? So Frederick, tell me about this piece, please.Frederick Evans: All right. This is a piece by 'N Sync--back when I was in fifth grade--and it's "Bye Bye Bye," and the pattern that it follows is really the archetype of a lot of popular songs. It's half of the chorus or so when it starts and then there's verse, chorus, verse, chorus and then what I call the bridge, which is like an emotional climax. And then the last one is a really powerful chorus where they just bring it home and then the music fades away.Professor Craig Wright: Okay. So it's this idea of changing text, then coming back to familiar text and familiar music, then changing, going back to the familiar new text, and then coming back to the familiar in terms of the chorus. Is that a fair shake?Frederick Evans: Yes, Sir. Yes.Professor Craig Wright: Okay. So shall we play--what are we going to hear first?Frederick Evans: So first you'll hear from seconds twenty-four to forty. This is an example of the verse where they have the beginning of the plot and then you have the chorus at seconds--about fifty-six--and that's where you get your repeating idea, which is what the piece is based on. And then last but not least, you have the emotional buildup where the background and the chord progression changes, a little more solemnly, and then there's the last chorus that just brings it home.Professor Craig Wright: Okay. Great. Let's listen to the-yeah. [music plays] Okay.Frederick Evans: Yep. So that was the first verse and that's when they really get you into what they're talking about.[music playing]Professor Craig Wright: What really interests me here is what they're using is a baroque ostinato "Lament bass" but that's--we'll get on to that in another week or so. So that's--okay. Now we'll go to the bridge, Frederick?Frederick Evans: Yes. There at the bridge is where they really sum up all their emotions and they really just want to tell you what they're building towards. [music playing]Professor Craig Wright: Okay. That's wonderful. Thank you, Frederick. That's exactly what I wanted. [laughs] [applause] Okay. How many want Craig to continue teaching this course and how many want Frederick? Let's hear it for Craig. [laughter] Let's hear it for Frederick. [applause] I knew it. Okay, but that's a good way of getting introduced to the idea of musical form.Let's talk about form now in classical music. The forms are a little more difficult in classical music because the music is more complex. And before we launch into a discussion of these musical forms, I want to talk about the distinction of genre in music and form in music. So we're going to go over to the board over here and you can see that I've listed the standard classical genres. What do we mean by genre in music? Well, simply musical type. So we've got this type called a symphony and this type of music called a string quartet and concerto, and so on. We could add other types: ballet, opera, things such as that. In the popular realm we've got genres too. We've got--classical New Orleans jazz would be a genre. Blues would be a genre. Grunge rock would be another sort of genre.A genre presupposes a particular performing force, a particular length of pieces and even dress and mode of behavior of the auditors--the listeners. If we were going to listen to the genre of a symphony, we would dress up one particular way, go to Woolsey Hall and expect to be there from eight o'clock until ten o'clock. If you were going to hear the Rolling Stones play at Toad's--where they do play occasionally--obviously one would not come at eight o'clock. One would come later, and one would dress in a particular sort of way and one would behave, presumably, in a different sort of way. So that's what we mean by genre, a kind of general type of music.Now today we'll start to talk about form in music, and what I need to say here is that each of these genres is made up of a--of movements, and each of the movements is informed by a particular form.So with the symphony we have four movements there: fast, slow, then either a minuet or a scherzo, and a final, fast movement, and each of these movements can be in one of the number of different forms and we'll talk about what they are in just a moment.So when we come to the string quartet, same sort of thing: fast, slow, minuet, scherzo, fast. Any one of those can be in a particular form. Concerto, generally, as mentioned before, has just three movements and sonata, a piano sonata, something played on a piano, or a violin sonata with violin and piano accompaniment--they generally have just three movements: fast, slow, fast. Okay.Let's talk about our forms now. In classical music things go by very quickly and it's difficult to kind of get a handle on it, and we, generally in life, don't like to be lost. We like to know where we are, we like to know what is happening, and this is what form allows us to do. So that if we're hearing a piece of music and all this stuff is coming at us we want to make sense of it by knowing approximately where we are. Am I still toward the beginning? Am I in the middle of this thing? Am I getting anywhere near the end of it? How should I respond at this particular point? Well, if we have in mind what I've identified here, we will be referring to as our six formal types, and we can think of these as templates that, when we're hearing a piece of music we make an educated decision about which formal type is in play. And then we drop down the model of this formal type, or the template of this formal type, and we sort of filter our listening experience through this template, or through this model.So here are our six models: ternary form, sonata allegro form, theme and variations, rondo, fugue, and ostinato. And they developed at various times in the history of music. Theme and variations is very old. Sonata-allegro is a lot more recent. Now of these, the ones that we'll be working with today are ternary form and sonata-allegro form, and sonata-allegro is the hardest, the most complex, the most difficult of all of these forms. It's so-called because it usually shows up in the first movement of a sonata, concerto, string quartet, symphony, so--and the first movements are fast so that's why we have allegro out there, and it most is associated with this idea of the sonata. It didn't necessarily originate there. It originated there and in the symphony, but for historical reasons we call this sonata because of its association with the sonata and the fact that it goes--and the fact that it goes fast--sonata-allegro form. So that in a symphony, usually your very first movement will be in sonata-allegro form.Your slow movement, well, that could be in theme and variations; it could be in rondo; it could be in ternary form. Your minuet and scherzo is almost always in ternary form and your last fast movement could be in sonata-allegro form. It could also be in theme and variations; could be in rondo; could be in fugue. Sometimes it's even in ostinato form. So you can see that these forms can show up and control--regulate--what happens inside of each of these movements. Okay? Are there questions about that? Does that seem straightforward enough? We have a big picture of genre here, movements within genre, and then forms informing each of the movements. Yes.Student: Did you say that the ternary form is normally used for the second movement?Professor Craig Wright: No. I said it's possible that it is--could be--used for the second movement. A ternary form is one of the forms that could be used with the slow second movement. We could also have theme and variations. We're going to hear one of those later in our course. It could also be a sortof slow rondo. So it's just one of really three possibilities there, but thanks for that question. Anything else? Okay.If not, let's talk then about ternary form because ternary form has much in common with what we experience in sonata-allegro form. Let me take a very straightforward example of ternary form. It's from Beethoven's "Für Elise," the piece--the piano piece that Beethoven wrote for one of his paramours at one time or another. Here. I'm going to tell you a story about this. My cell phone broke the other day.My cell phone broke the other day so I had to buy a new one. I was really happy about that. I hated to lose my old Mozart theme, but I then had to find a new Mozart theme. And nowadays my selections are more limited. So when you go on to these things--and in truth, I actually had my youngest son do this because I'm hopelessly incompetent with this kind of thing--you go on to these things, and now they only have one option for classical music, one option for--but it's called "Mozart" so good choice. Mozart has become the icon of classical music and I think it's the individual that should be the icon for classical music. All classical music now has been reduced down to just Mozart. Okay. I have no idea what that was about, but, well, who's calling?All right. So we have this piece in ternary form by Beethoven, and ternary form is--conveys to us simply the idea of presentation, diversion, re-presentation or statement, digression, restatement--anything like this. We like to diagram these in terms of alphabetical letters. You can think just A, B, A. [plays piano] All right. I'm going to pause here. We started out here. [plays piano] We are in this key. Major or minor? What do you think? Minor. All right. So were coming to the end of this A section. Here--The A section is very short [plays piano] but then [plays piano] we--major or minor? Major. Right. [plays piano] So what happened there? What do we call this? [plays piano] It's a very quick modulation. We've changed keys.And I'm going to digress here just for a moment to talk about this, which is this concept of relative major and minor. You may have noticed in music--and it's discussed briefly in the textbook--that there are pairs of keys, pairs of keys that have something in common. The members of the pairs have the same key signature, and we could take any key signature--three flats or two sharps, whatever--but there's going to be one major key with three flats and one minor key with three flats.And I think we have up on the board here an example of just that so you can see written in here the three flats, and this is a minor scale with three flats. Now we could also have three flats over here, but we encounter three flats where we have the major scale. This happens to work out so that it's pitched on C. If we come up three half steps in the keyboard, we come up to E-flat so the relative major--the major key in this pair--is always three half steps--[plays piano] one, two, three--three half steps up above its paired minor. Here's another one down at the bottom--happens to have one sharp in it. We have the key of G major here with one sharp but if we come down three half steps [plays piano] we get its relative minor down here, and the reason I mentioned this is not because we actually hear this very much.I'm not sure that I hear modulations to relative major because I don't have absolute pitch and I'm not tracking keys when I listen to pieces--and my guess is you're not either. So for the average listener, we may not hear the actual pitch relationship but we may hear that we've had a modulation and you cankind of make an educated guess: that about fifty percent of the time if it's going minor to major, it's coming in this relative arrangement-- where major down to minor; it's going in this relative arrangement, so this happens a lot.So here we are in the mid section of our ternary form, A B A. Here's the B part [plays piano] and then back to [plays piano] the minor A. [plays piano] Now that's just the opening section of this piece. It goes on to do other things, but it's a very succinct example of ternary form, and ternary form is a useful way of introducing a larger concept, which is sonata-allegro form.So let me flip the board here, and here we go on to this rather complex diagram. As I say, it's the most complex one of all the six forms that we'll be working with. It consists of three essential parts: exposition, development and recapitulation. So you could think you were coming out of ternary form. You've got an A here, you've got a B idea here and then you've got an A return back here--but this is a lot more complicated. There are things--lots of things--going on.And I should say also--in terms of fairness in advertising--that this is a model. This is also something of an abstraction or an ideal. Not every piece written in sonata-allegro form conforms to this diagram in all particulars. Composers wouldn't want to do that--they'd have to assert their independence or originality in one way or another--but it's a useful sort of model. It tells us what the norm is, what we can generally expect. So we've got these three sort of sine qua non here and then we've got two optional parts of this that we'll talk about as we proceed.So this is the way we set out then sonata-allegro form: exposition, development, recapitulation. So we start out with the first theme, in the tonic key of course. It might even have subsets to it so that we could have one A and one B and one C up here. I won't put them up there but it can happen. Then we have a transition in which we have a change of key, moving to the dominant key. Transitions tend to be rather unsettled. It gives you the sense of moving somewhere, going somewhere. That's why it's called a transition. It could also--musicians like--quickly--like to call it a "bridge." It's sort of leading you somewhere else--and maybe in that way it is similar to the type of bridge that Frederick was talking about earlier. So we have a transition or bridge that takes us to a second theme in--now in the dominant key. If, however, our symphony happened to begin in a minor key, then the second theme would come in in the relative major. So if we had C minor as Beethoven does in his Fifth Symphony-- [plays piano] So there we are there in C minor, but the second theme [plays piano] is in the relative major of E-flat. Both have three flats in it. So if you have the start in minor, then composers traditionally modulate, not to the dominant, but to the relative major--which is up on the third degree of the scale. That's why there's a big three (III) there.So then the second theme comes in. It's usually contrasting, lyrical, sweeter. You heard the difference there--more song-like in the Beethoven--not so much of that musical punch in the nose as I like to refer to it, but a more relaxed sort of second theme, and there is oftentimes some filler or what we might call an interstice and we come to a closing theme. That's abbreviated up here, just CT, closing theme of the exposition, closes the exposition.Closing themes tend to be rather simple in which they rock back and forth between dominant and tonic so that you could end on the tonic and that gives you a sense of conclusion of the exposition.Now what happens? Well, you see these dots up on the board. Anybody know what these dots mean? I think we--actually we talk about this if you read ahead in the textbook Can somebody tell me what the dots mean> Jerry?Student: Repeat?Professor Craig Wright: Okay. Repeat. Okay. So that's what dots in music do-- when we have these double bars and dots that means repeat so we got to repeat the whole exposition. If we didn't like it the first time, we get a second pass at it in the repeat. Then we go on to the development and as the term "development" suggests, we're going to develop the theme here, but it is oftentimes more than that. It could be something other than just the development and the expansion. It could actually be a contraction. Beethoven likes to strip away things and sort of play with particular subsets of themes or play with parts of motives.Generally speaking, your development is characterized by tonal instability--moves around a lot. You can't tell what key you're in--tonal instability--and it also tends to be, in terms of texture, the most polyphonic of any section in the piece. There's a lot of counterpoint usually to be found in the development section. Then towards the end of the development section we want to get back here to the return and we want to get back to our first theme and our tonic key. So composers oftentimes will sit on one chord. What they will sit on will happen to be the dominant. So I could put that up here. We could put a five (V) up here because we want a long period of dominant preparation. [sings] is where we're going, back over here. But we're going to set this up as preparation in terms of the dominant that wants to push us in to the tonic.So there we are back in the tonic now and all the first themes come back as they did before. We also have a bridge but this time it does not modulate. It stays in the tonic key. We don't want it to modulate because we've got to finish in the tonic here. So I was thinking just a moment ago it's kind of the "bridge to nowhere." It really is a bridge to nowhere. You go right back to where you were. You stay in that tonic key and the second theme material comes in, your closing theme comes in, and you could end the composition here.Sometimes Mozart as we will see in our course will end a piece right at this point--the end, right there--but more often than not composers will throw on a coda. What's a coda do? Well, it really says to the listener that "hey, the piece is sort of at an end here." Codas generally are very static harmonically. They're--there's not a lot of movement. It's--and I keep--maybe I should have got--come up a different metaphor here--the idea of throwing an anchor over, slowing the whole thing down, simplifying it to say we're at the end. So you get a lot of the [sings] kind of things in the coda just to tell the listener it's time to think about clapping at this point, or reaching for your coat. And the other optional--Coda--What's that come from? The Latin cauda (caudae) I guess. . Italian coda means tail, and these can be, like all tails, long or short. Mozart happened to like short codas. Beethoven liked longer codas. And the other optional component here is the introduction. My guess is--Jacob, what would you guess? How many--what portion of classical symphonies--you're an orchestral player--what portion of classical symphonies would begin with an introduction, would you say?Student: Most of them.Professor Craig Wright: Most of them? Well, we'll consider that. Let's go for fifty percent at the moment. We'll consider fifty percent at the moment, so we'll see. Now let's jump into a classical composition that begins with a movement in sonata-allegro form. We're going to open here with Mozart's "Eine kleine Nachtmusik," "A Little Night Music." This is sort of serenade stuff that he wrote for Vienna--sort of night music, evening music. Let's listen to a little of it. We're going to start with the first theme idea, and before she does let me play this. [plays piano] What about that? Conjunct or disjunct melody?Students: Disjunct.Professor Craig Wright: Disjunct, yeah. There's a lot of jumping around [plays piano] and that kind of thing. Notice it's mostly [plays piano] just a major triad with [plays piano] underneath. So if we were at a concert and we wanted to remember this, we'd probably have a lot of skippy Xs here. We don't have time to get into the particulars of this, but that's why we're doing all of this diagramming stuff. So we got a lot of these skipping Xs.All right. So let's listen to the first theme of Mozart's "Eine kleine Nachtmusik." [music plays] A little syncopation there. And a sort of a counterpoint to this, so maybe we've got a couple of little ideas in here: A, B and C. [music playing] Ah, agitation, movement. [music playing] Here goes the bass. [sings] Pause. So we had a cadence there, [sings]. That would be the end of the musical phrase, a cadence, and the music actually stopped. I used to like to think of this in terms of almost a drama. We've got a change of scene here the--where some characters have gone off, the stage is now clear, and other characters are going to come on. So what characters are going to come on? Well, a more lyrical second theme. I'm going to play just a bit of it for you. [plays piano]What about this? Is this a conjunct melody? Obviously, it's descending. Conjunct or disjunct? [plays piano] Very conjunct. Actually, it's just running down the scale. Now we don't have time, because this music is going by so fast. We've got our skippy opening theme going around like that. We don't have time to sort of write down all those Xs so maybe just--yeah. [sings] And maybe something-- [sings] something like that. So this is our first skippy theme. Our second theme [sings] has a nice sort of fall to it. Okay. Here's the second theme. [music playing] Repeat. [music playing] Now closing theme already. [music playing]What's the most noteworthy aspect of that theme? [sings] What do you think? Thoughts--what would you remember about that? How would you graph that? Yeah.Student: [inaudible]Professor Craig Wright: Okay. Yeah. It starts out [plays piano] and then it's really conjunct, right, because it's staying on one pitch level, sort of the ultimate conjunct joined to the point that it's a unison pitch, [sings]. So I'd remember that just like this idea. So our closing theme, [sings] almost is the "woodpecker" idea. Sorry. But think of that kind of [sings] or maybe even a machine gun--whatever sort of silly analogy you want to construct to help you remember that. Okay. So here we are almost at the end of the exposition. Let's listen now to the end of exposition and then we'll stop. [music playing] Okay. So we're going to stop there.Now on this recording what do you think? Well, I think--reasons for time--let's go ahead and we'll advance it up to the beginning of the development section. So now we should listen to this whole complex once again, but we're not going to do that. We're going to proceed here and we're going to go in to the development section. And it's kind of fun the way Mozart starts the development section here. [plays piano] Let me ask you this. We started here. [plays piano] The development begins higher or lower? [plays piano] Yeah?Student: Lower.Professor Craig Wright: Lower so he's dropped down to the dominant. He's now in the dominant [plays piano] and if he continued as he had, [plays piano] that's what he would have done. That's not what he does, however. [plays piano] He's sitting here [plays piano] and he ends up there [plays piano] so we get this sort of dissonant shift, and it's a signal. It's like the composer holding up a sign: "development---time for the development now!" Okay? So something--we've shifted, we--or a sort of slap in the face telling us that we're at a new point in our form, a new section in our form, the development section. So as we listen to this we'll hear Mozart move quickly through some--lots of different keys. I wouldn't be able to tell you what keys they are. I really wouldn't. But I do know that he moves through different keys. Then we will hear a re-transition start, but here is my challenge to you and why I'm sort of putting all these things up here. Which theme does he choose to develop here? Kind of interesting. Does he go with the first theme, [sings] or the [sings] or the [sings]? So which one? [music playing] [sings]Professor Craig Wright: Now he is all the way--first of all, what's the answer to the question? Which theme did he use here? We're now at the re-transition, we're almost finished this short development. Which one did he use? Who thinks they know? Raise your hand. Elizabeth?Student: The closing theme.Professor Craig Wright: Used just the closing theme [sings] so nothing but the closing theme in this short development section. Now we are at the re-transition and you're going to hear the violins come down [sings] but if I could sing the harmony--Maybe we should all sing it together. We'll be singing [sings]. It's the implied bass line. [sings] Then it's going to go [sings] back to the tonic. Then we're going to go [sings]. Then that first theme is going to come back in here. So let's listen to Mozart write a re-transition, and I'm going to sing the implied--or then sounded dominant that's going to lead to the tonic. [music playing] [sings] So all of the first theme material coming back--nothing new. [music playing] Here goes our bridge now--movement. [music playing] And he just cut it short. The first time he went there [sings]. That was what the bass did. This time he just stops the thing and stays in the tonic key. And then the rest of the material will come back in in the proper order in the tonic key. All right, but we need not hear that. Let's go on now to the coda and we're just going to listen generally to what happens in the coda here--typical coda with Mozart. [music playing] Tonic. [sings] [music playing] It's almost stereotypical. Right? [plays piano] You could have written that. I--even I could have written that--not so hard, but as they say, it's just a load of bricks to bring this thing to a conclusion. But it's a beautiful example of sonata-allegro form. It does what our model requires in all particulars in an unusually rapid rate here--about six minutes for this particular movement.。
课前三分钟演讲稿大全[12篇]
![课前三分钟演讲稿大全[12篇]](https://img.taocdn.com/s3/m/4b7fa34b6d85ec3a87c24028915f804d2b1687c5.png)
课前三分钟演讲稿大全[12篇]1.课前三分钟演讲稿大全篇一敬爱的老师，亲爱的同学们：大家好！今天我演讲的题目是《改变不了环境，就改变自己》。
文学家托尔斯泰曾经说过：“世界上只有两种人：一种是观望者，一种是行动者。
大多数人想改变这个世界，但没人想改变自己。
”想要改变现状，就要改变自己；要改变自己。
就得改变自己的观念。
一切成就，都是从正确的观念开始的。
一连串的失败，也都是从错误的观念开始的。
要适应社会，适应环境，适应变化，就要学会改变自己。
一个黑人小孩在他父亲的葡萄酒厂看守橡木桶。
每天早上，他用抹布将一个个木桶擦干净，然后一排排地整齐地放好。
令他生气的是，往往一夜之间，风就把他排列整齐的木桶吹得东倒西歪。
小男孩很委屈地哭了。
父亲摸着小男孩的头说：“孩子，不要哭，我们可以想办法去征服风。
”于是小男孩擦干了眼泪坐在木桶边想啊想，想了半天终于想出了一个办法，他从井边挑来一桶又一桶的清水，然后把它们倒进那些空空的橡木桶里，然后他就忐忑不安地回家睡觉了。
第二天，天刚蒙蒙亮，小男孩就匆匆地爬了起来，他跑到放桶的地方一看，那些橡木桶一个一个排列得整整齐齐，没有一个被风吹倒的，也没有一个被风吹歪的。
小男孩开心地笑了，他对父亲说：“要想木桶不被风吹倒，就要加重木桶的重量。
”男孩的父亲赞许地微笑了。
是的，我们不能改变风，改变不了这个这个世界上的许多东西，但是我们可以改变自己，给自己加重，这样我们就可以适应变化，不被打败！人生如水，人只能去适应环境。
如果不能改变环境，就改变自己，只有这样，才能克服更多的困难，战胜更多的挫折，实现自我。
如果不能看到自己的缺点和不足，只是一味地埋怨环境不利，从而把改变境遇的希望寄托在改变环境上，这实在是徒劳无益。
虽然我们不能改变世界，但我们可以改变自己，让我们用爱心和智慧来面对一切环境。
我的演讲结束了，谢谢大家的聆听。
2.课前三分钟演讲稿大全篇二敬爱的老师，亲爱的同学们：大家早上好！古希腊哲学家苏格拉底曾经在中学当教师，有一天他对班里同学说，我们来做个甩手游戏吧。
高校老师课程设计讲稿
高校老师课程设计讲稿一、教学目标本章节的教学目标分为三个维度：知识目标、技能目标和情感态度价值观目标。
1.知识目标：通过本章节的学习，学生需要掌握XXX概念、XXX原理以及XXX方法，能够对XXX问题进行深入分析和解决。
2.技能目标：学生能够运用XXX方法进行问题分析，具备XXX技能，提高XXX能力。
3.情感态度价值观目标：培养学生对XXX领域的兴趣和热情，增强学生对XXX问题的社会责任感。
二、教学内容本章节的教学内容主要包括XXX、XXX和XXX三个方面。
1.XXX：介绍XXX的基本概念、特点和应用，通过实例分析让学生理解XXX的原理和操作方法。
2.XXX：深入讲解XXX的内涵和外延，通过案例分析和讨论，使学生能够熟练运用XXX解决实际问题。
3.XXX：结合现实生活中的实例，让学生了解XXX的重要性，培养学生的实际操作能力和创新意识。
三、教学方法为了提高教学效果，本章节将采用多种教学方法相结合的方式进行授课。
1.讲授法：通过讲解XXX的基本概念和原理，使学生掌握XXX的基础知识。
2.讨论法：学生就XXX问题进行分组讨论，培养学生的思考能力和团队协作精神。
3.案例分析法：选取具有代表性的案例，让学生运用XXX方法进行分析和解决，提高学生的实际操作能力。
4.实验法：安排实验室实践环节，让学生亲自动手进行实验，巩固所学知识，培养学生的实验技能。
四、教学资源为了支持本章节的教学内容和教学方法的实施，将采用以下教学资源：1.教材：选用《XXX》作为主教材，系统介绍XXX的基本知识和应用。
2.参考书：推荐《XXX》等参考书籍，供学生深入阅读和学习。
3.多媒体资料：制作PPT、视频等多媒体资料，生动展示XXX的原理和实例。
4.实验设备：准备相关的实验设备和材料，为学生提供实践操作的机会。
五、教学评估本章节的教学评估将采用多种方式相结合，以全面、客观、公正地评价学生的学习成果。
1.平时表现：通过课堂参与、提问、小组讨论等环节，记录学生的平时表现，占总评的30%。
[讲稿]宋大叔教音乐一单元第9课
![[讲稿]宋大叔教音乐一单元第9课](https://img.taocdn.com/s3/m/f41df51291c69ec3d5bbfd0a79563c1ec5dad7e6.png)
第九课调号与小调的调名及不正规节奏西洋音乐原为七个古调式，但现在尚存经常使用的，乃是称作大调与小调的两个调（式）。
所谓大调：乃是以“1”（do）为主音的。
而称作小调的则是以“6”（la）为主音的。
现在我们所接触的一般乐曲、歌曲，乃至于诗歌，不是大调就是小调，（虽然有些诗歌是中国调，以中国曲调写成的，该以宫调、羽调……称之，但在此我们先不赘述，以免混淆。
）我们怎么判断一首诗歌是大调，还是小调呢？粗浅的说：乐曲，（包括诗歌）凡是结尾在“1”（do）的，则是大调；而结尾在“6”（la）的，就是小调。
因为大调的主音是“1”（do）；小调的主音是“6”（la）。
或许会有人问，何必管它是大调还是小调呢？只要定住音，确定了音高，如：用1=X（什么音），能唱得准不就行了，管它是大调还是小调。
这样的观念是无知的错误，因为大调有大调的音阶，小调有小调的音阶，并且在其不同的音阶上，建立了属于自己的和声体系，具备了调性。
因此，大调有大调的精神与韵味，而小调也有其特有的精神与韵味，两者是不同的。
因此，目前中国音乐，在不分大、小调的观念下，均用1=X（什么音），仅是定出音高，而大小调不分，这观念是不对的，是缺乏深入探讨的。
宋大叔说：乐曲结尾在“1”（do）是大调，结尾在“6”（la）的是小调，他自承这说法是粗浅的认定，尽管这样的认定是正确的，但有些乐曲却是结束在“5”（sol），或是结尾在“3”（mi），甚至结束在2（re）……，那又怎么解释呢？这样的问题，有待在学了和弦，学了和声，知道了曲式以后，就有精准的解释，以断定乐曲到底是大调？还是小调？或是中国调式的所谓徵调、商调……在目前，宋大叔还是肯定的说：乐曲停在“1”（do）的是大调，停在“6”（la）的是小调。
好，上一课我们学了大调——十二个大调。
现在，我们来学小调。
一、认小调（一）先确定一个观念，小调的主音是“6”（la），“6”（la）所在的位置的音名，就是小调的调名。
课前演讲稿通用15篇
课前演讲稿通用15篇课前演讲稿1老师们、同学们：大家好！我今天演讲的题目是：学习贵在坚持。
仰观宇宙之大，纵论古今名人，凡是功成卓绝之人，他们都有一个成功的秘诀，那就是坚持！坚持是取得成功的必备素质。
它犹如一条红线，贯穿了始终，是长久不变的意志表现。
“骐骥一跃，不能十步；驽马十驾，功在不舍。
锲而舍之，朽木不折；锲而不舍，金石可镂！”这句话充分说明了一个人如果有恒心，一些困难的事情便可以做到；没有恒心，再简单的事也做不成。
总览古今中外，大凡有成就的人，无不具有坚持的精神。
《史记》这部鸿篇巨著被世人称之为“史家之绝唱，无韵之离骚”，可你知道，它是司马迁耗费了17年的时间，不顾宫刑的折磨，呕心沥血的杰作。
更有李白铁杵成针，屈原洞中苦读，匡衡凿壁偷光，他们的精神印证了“贵有恒，何必三更五更睡，最无益，只怕一日曝十日寒”的真理。
他们用行动告诉我们，只要有滴水穿石的精神，持之以恒，成功不会遥远。
英国首相丘吉尔在面对德国法西斯的疯狂进攻时，就曾对他的国民说过：“不要屈服，永远不可屈服。
”这不但是一句振奋人心的豪言壮语，也是他最重要的人生总结，体现了他坚持到底的精神。
大家都熟悉愚公移山的故事，愚公之所以能够感动天帝，移走太行、王屋二山。
正是因为他具有锲而不舍的精神。
可见，成功离不开坚持。
学习也一样，学习不是一朝一夕的事情，学习中感到枯燥在所难免，很多人都因半途而废，而最终一无所获或收益甚少。
不少同学知道学习很重要，但是学习累了，作业多了，就失去学习的兴趣，就变得懒惰。
究其根本，就是缺乏持之以恒的精神。
学习需要恒心，需要持之以恒。
在任何条件下，都向着自己的奋斗目标坚持不懈地努力，永不退缩。
如果在学习中总是知难而退，半途而废，那么就永远不会取得好成绩。
在学习中，我们要坚持把每一课学好，坚持克服每一个困难，坚持地朝自己定下的目标前进，总有一天可以把铁杵磨成针，把金石打磨穿。
学习很苦，却又不苦，只要有坚持不懈地决心，那些学习中的困难也不过是脚下一粒石子，如果遇到困难就放，那困难就是眼前的'高山。
六上道法第九课教案人教版
六上道法第九课教案人教版第一部分，教学目标。
1. 知识目标。
a. 了解道法的基本概念和特点。
b. 掌握道法的核心思想和原则。
c. 理解道法对人们生活的影响和意义。
2. 能力目标。
a. 培养学生的思辨能力和分析能力。
b. 提高学生的文献阅读和理解能力。
c. 培养学生的道德情操和审美情感。
3. 情感目标。
a. 培养学生对道法的敬畏和尊重。
b. 提高学生对道法的认同和理解。
c. 培养学生的道德情操和审美情感。
第二部分，教学重点和难点。
1. 教学重点。
a. 道法的基本概念和特点。
b. 道法的核心思想和原则。
c. 道法对人们生活的影响和意义。
2. 教学难点。
a. 学生对道法概念的理解和把握。
b. 学生对道法核心思想的理解和领悟。
c. 学生对道法对人们生活的影响和意义的理解和感悟。
第三部分，教学过程。
一、导入。
1. 利用图片、视频等多媒体资源，介绍道法的基本概念和特点，引起学生的兴趣和好奇心。
2. 提出问题，让学生展开讨论，引导他们自主探究道法的核心思想和原则。
二、讲授。
1. 通过讲解，介绍道法的基本概念和特点，让学生对道法有一个初步的认识。
2. 分析道法的核心思想和原则，引导学生思考和领悟。
3. 通过案例分析，讲解道法对人们生活的影响和意义，引发学生的思考和共鸣。
三、练习。
1. 设计各种形式的练习题，让学生巩固对道法的理解和掌握。
2. 组织小组讨论，让学生分享对道法的感悟和体会。
四、总结。
1. 总结道法的基本概念和特点，让学生对道法有一个清晰的认识。
2. 引导学生总结道法的核心思想和原则，让他们对道法有一个深刻的理解。
3. 鼓励学生表达对道法的认同和理解，培养他们的道德情操和审美情感。
第四部分，教学反思。
本节课的教学目标是让学生了解道法的基本概念和特点，掌握道法的核心思想和原则，理解道法对人们生活的影响和意义。
通过多种教学手段和方法，我尽量让学生在课堂上对道法有一个全面的认识和理解。
但是在教学过程中，我发现学生对道法的概念理解起来有一定的困难，需要我在讲解的时候更加细致和耐心。
课前三分钟演讲稿范文集锦四篇_9
课前三分钟演讲稿范文集锦四篇课前三分钟演讲稿篇1以为那是冬日里的一束阳光，倾尽一生的青春为此等待。
以为那是梦靥中的一缕微笑，散尽毕世的荣华为此守候。
爱，只是梦一场;或多或少带着幽怨、恨意离去;痛，只是哭一场;擦干眼泪，忘却过去重新再来。
想念带着一点苦涩，从此相思风雨中。
相聚带着一点愁离，从此各安天涯命。
若人生纵有诸多无奈，也只需尽心尽力面对。
记忆，是青春的伏笔，总免不了对花花世界的痴迷。
梦想，是青春的动力，是我们所一直向往的国度。
岁月，是青春的坟墓，却是见证我们这一路走来的艰辛。
青春，是我们所仅有的;任何人带不走也割舍不了。
这些年，总是迷迷惑惑，跌跌撞撞;似乎也从来没有为自己的青春做过真正的打算。
许多时候活在了别人的世界里，把自己当成饰品，当成孤儿。
许多时候也明白这样的活着是多么的可悲，或许是没有用心，或许是不够坚定。
经历仿佛与年岁成了正比，渐渐才明白，才懂得一些人与物的关系。
活在当下多半是为了自讨所需，阿谀奉承、仗势倚人、利益之间人人为所趋。
哀叹社会的不公平，却忘了这时代已是这样，弱肉强食、人情冷漠。
感性的人，总有太多不舍得的原因;似乎也终究要为这样的性情悲悯。
看惯了人来人往，听惯了喜怒哀愁，只是尝不尽世间冷暖，看不穿红尘滚滚，道不明冤情错案。
若徒留一片丹心，又何能照得了明月。
感叹着即将逝去的青春，或许值得，或许不值得?与亲情有关，与友情有关，又或许与爱情有关。
原以为人若没了爱情就会死，却忘了爱情是死不了人，放不下的只是那颗作祟的心。
有时候痛恨这样的自己，明明知不可能，却还要勇往直前;明知终究要面对，却一味的逃避现实;有太多的不切实际，忘了该怎么去讲述。
曾经在我最美好的时光里遇见你，我把这样的遇见定格为幸福;在那些日子里我为这样的幸福付出了很多，只是付出越多的时候，幸福反而离我越来越远。
于是我迷惑，不得而知的结局，却渐渐明白了幸福需要淡泊，爱情需要沉淀。
待到这一切都平静之后，所留下的才是真正属于自己的东西。
课堂讲稿
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9 三袋麦子
一，看拼音，写汉字
防止拜访迫不及待食品保存聪明能干拜访迫不及待抚摸饱
满金灿灿
二，组新字。
泊拍柏怕伯
放，防，房，芳，妨，访，仿，坊，纺，
四，根据课文内容填空
1、憨厚可爱吃光勤劳节俭保存聪明能干种下地
2、我也会像小猴一样把麦子种下地。
阅读练习
（一）
西沙群岛真是鸟的世界啊！海岛上数量最多的是一种白鸟。
清晨，白鸟成群地飞向大海去寻找鱼群；傍晚，它们又成群地飞回岛上，住进巢里。
最大的还鸟叫信天翁。
它的一只翅膀就有近两米长，它能连续飞行好几百公里，不必停歇。
最珍贵的海鸟叫野鸭，用它的羽毛织成的衣服，又轻又软，穿在身上暖和极了。
1．这段话是按结构来写的。
用横线画出短文的中心句。
2．短文先写了鸟，它的特点是；接着写了
鸟，它的特点是；最后写了鸟，它的特点是。