在近年各级少儿器乐比赛之中,常常会出现这样的镜头:指挥们运用夸张的肢体语言,深情地投入在音乐之中,但小演员们有的低头自顾自演奏,有的虽然看着指挥,但流露的是习惯性眼神,没有音乐的流动感。从小演员木讷、呆板神情中反映出,他们更多地是“背奏”乐曲,而不是表现乐曲、享受音乐。他们的演奏中缺少音乐表现力、感染力,令听者有隔靴搔痒之感。而且,偶尔还会出现音准、节奏不统一的状况,令人有所失望和遗憾。那么,在少儿民乐合奏的教 In recent years, at all levels of children’s instrumental music competition, there often appears such a scene: commanding officers use exaggerated body language, affectionately devoted themselves to music, but some of the small performers bow their heads to play while others look at Conductor, but the show is a habitual look, there is no sense of movement of music. From a young, dull, silly expression, they reflect more of a “back-to-back” piece of music than a piece of music or a piece of music. Their performance is lacking in musical expressiveness and contagiousness, leaving listeners with a feeling of tickling. Moreover, occasionally there will be a pitch and a non-uniform rhythm, which are disappointing and regrettable. Well, teach in children’s folk ensemble