Comprehensive Teaching Of Fine Arts In Middle Schools In The Learning Sphere Of Comprehensiveness And Exploration

With the in-depth development in the reform of educational courses, thenew round of reform of fundamental education has brought forward manynew concepts and teaching requirements for the teaching of fine arts. Of theabove, the comprehensiveness is the outstanding characteristics of themodernization of educational thought, the basis of the overlapping,development and innovations of modern sciences, and the requirements ofsuch numerous intermingled comprehensive factors as the knowledge andinformation face to face with the development of human beings and society ofour times.The author believes that in the existing teaching of fine arts,comprehensiveness embodies a kind of idea or concept. It can be a mode ofcourse or learning sphere. If it is embodied in the course, it is acomprehensive course in arts in the nature of teaching of fine arts of highereducation as an integration of courses. If it is embodied in the learning sphereof "Comprehensiveness and Exploration" in the educational course infundamental fine arts, it embodies the comprehensiveness in the teaching offine arts in middle schools.Face to face with such bubble phenomena as flashiness withoutsubstance, strained interpretation and mindless incontrollable situationresulting from the current simple combination of professional knowledge inthe teaching of fine arts in middle schools, how should we conduct thecomprehensive teaching of fine arts in middle schools?First, we need to have an overall idea of comprehensiveness. It has cutacross the limit prescribed according to the materials in the traditional fine arts in the course proper. Having given play to the development of itsdiversification and comprehensiveness and cut across the limits between thebranches of science, it constitutes an effective integration of great significance.Furthermore, the brand-new learning sphere of "Comprehensiveness andExploration" has shown its necessity in the reform of course to its bestadvantage. The effectiveness of comprehensive teaching of fine arts can beimproved only when the teachers get fully acquainted with the new standardsfor the course, innovate their ideas and establish the concept ofcomprehensive teaching by "complying with the aesthetic roles, spreading theculture of fine arts and reflecting the integration of the branches of science".Second, the author has analyzed and elaborated on the contents and their3 aspects of the leaming sphere of "Comprehensiveness and Exploration". Inthe author's opinion, the "integration of fine arts with the other branches ofscience" should comply with the principle of comprehensiveness, teleonomy,good taste and practicality and reinforce each other with the other branches ofscience in terms of teaching contents and methods. Only then can thephenomena of strained interpretation be avoided and effective integration beachieved. The author is enclosing the teaching case of Cello for a detaileddescription. The "integration of various leaming spheres" should be based onthe course arrangement and flexible in teaching applications. The "link of finearts with practical social life" demonstrates the life-orientation in the teachingactivities on the basis of feel, practice, representation and assessment of life.It is aimed at enabling the students to really feel, explore into, create andappreciate the beauty in life in the various learning modes.Third, how should we take a good command of the measures for theimplementation of comprehensive teaching of fine arts in middle schools? Weshould "focus exactly on the cutting point and attach importance tocomprehensiveness, exploratory research and creativeness" in order for the students to integrate their knowledge acquired in class, acquire the ability ofexploratory learning, and cultivate their own awareness of innovation. Weshould also "enhance the overall caliber of the students and attach importanceto the training of their practicing ability" to set up a harmonious anddemocratic relationship between the teachers and the students and give fullplay to the initiative and enthusiasm on the part of the students. In addition,we should "stress on arousing the students' interest in fine arts" by selectinginteresting teaching contents and methods, moving them with love, offeringthem enough space for artistic representation and letting them feel the joy ofsuccess during class instructions. Furthermore, we should "observe the rulesof physical and mental development of the middle school students andpromote the formation and overall development of their individuality" inorder to encourage them to speak, think and explore without any restrictions.We should help the students to recognize and express their individualaesthetic characteristics in order to achieve a harmonious development ofintegration of spreading knowledge and cultivating individuality.Finally, the author finishes the article in delightful expectation of thebrilliant future of the teaching of fine arts in middle schools in the newcentury.