《伯牙绝弦》教案【10篇】

1/107《伯牙绝弦》教案【10篇】作为一名老师，常常要根据教学需要编写教案，教案是教学活动的依据，有着重要的地位。优秀的教案都具备一些什么特点呢？又该怎么写呢？下面是网友分享的“《伯牙绝弦》教案【10篇】”，希望对您有所帮助！《伯牙绝弦》教案【第一篇】《伯牙绝弦》是1文言文，选自《列子·汤问》，叙述了发生在春秋时代的一段千古流传的故事。俞伯牙善于鼓琴，钟子期善于悟琴，伯牙以子期为知音。后来子期不幸身亡，伯牙悲痛欲绝，将琴摔碎，立志再不鼓琴。由于这个传说，人们把非常了解自己特长的人叫做“知音”，用“高山流水”比喻乐曲高妙或知心朋友。这是学生第二次学习文言文，对文言文虽然有了一点浅显的认识，但对于文言文的特点和理解方法还存在一定的难度，因此，我提出了两个学习方向：一是学会借助注释和字典等工具书进行自主学习，理解文意，同时指导学生感悟文言文朗读的`节奏和韵味；二是引导学生理解“知音”，理解伯牙的摔琴之举及其此举背后隐喻的涵义——子期一死，伯牙为何摔琴？经过反复斟酌，我紧紧抓住“知音”这个情感线索，在多个环节进行了精心的设计，使得在教学中显得整堂课环环相扣，紧扣中心而又层次分明。2/1071、用传说引入课文，让学生带着“是什么将地位如此悬殊，际遇如此不同的两人紧紧联系在一起，成为知音，演绎出一场感动千古的传奇？”这样一个疑问开始聆听教师的范读。2、教学中，我紧紧的把理解与朗读相结合，通过对朗读的指导达到情感的升华：文章的前半部分，用迁移法，通过对“善哉”的理解和指导学生要读出称赞的语气，通过联想知音相聚的画面指导学生读出知音欢聚的那份融洽与欢乐；文章的后半部分，引导学生带着对伯牙寂寞、孤独，绝望和心灰意冷的心情的理解有感情朗读。整堂课学生都随着文章的情感起伏而变化，从最初的欣喜到结尾的潸然泪下，可以说达到了“其词若出吾之口，其情若生吾之心”的境界。3、结合自己能熟练运用信息技术的特点设计制作了了恰到好处的课件，这些课件在理解主要内容上恰到好处地点拨学生、启发学生。在创设情景上又起到了烘托气氛的作用，在想像时播放的优美画面，沙沙细雨声、潺潺流水声、啾啾鸟鸣声，无不给人以美的陶冶和享受，仿佛使学生置身于大自然中。教学中多次播放《高山流水》音乐，那典雅流畅的琴音款款地浸润学生的心灵，学生在音乐声中朗读课文，不但更好地增强课文的表现力，而且让文言文那优美的韵味深深地植根在学生心中。可以说课件的运用使学生的情感得以升华为教学起到了很好的推动作用。4、在板书设计上我运用绘画突出主题，为了营造“知音之死”的悲剧色彩我又特意在理解这一环节时一步一步擦去，3/107整个黑板由刚才的高山流水的彩色画面到只剩下孤零零的“伯牙”二字。随着我的擦拭课堂上每个同学的心都揪了起来，很快由刚刚的喜悦转成了悲伤。情感深深地融入到文本中，随着作者的情绪时起时伏，或歌或泣、或思或诉，真正实现人文“共鸣”。教学中，注意追求本色语文，扎实、有效地体现语文课所承载的内涵。不走过场，不耍花架子，为此，在课前我鼓励学生们查找字典等工具书，理解不懂的语句，充分的预习使学生在自学文章的句子时能沉下心来，进入文本阅读，体现语文学习的效果。要想理解文言文，首先要把文章读通顺。所以我引导学生在解决字音之后通过自由读文划出停顿节奏，并通过课件把朗读节奏的划分展示出来。在理解课文开始，我就引导学生就课题的“绝弦”展开讨论，理解其含义，告诉学生翻译文言文要学会变通，用熟悉的表达方式把意思表述清楚。渗透对文本阅读和理解的能力方法的指导，不仅仅说清楚，也要能准确地翻译过来。然后以“伯牙为何绝弦？为谁而绝弦？”设置悬念，在理解完课文后再向学生提问：“在这里，伯牙‘绝’的仅仅是‘弦’吗？这‘终身不复鼓’的仅仅是琴吗？”让学生真正明白课题“绝弦”的深刻含义。让学生找出“善”字一共出现了几次，每次的意思有什么不同。在现代文中，这个字的意思又是什么。这一品让学生领悟到了学习文言文要注意变通的运用。在最后让学生用自己的语言通说全文，达到融会贯通。4/107教学中，不忘结合课文进行了必要的拓展延伸：“我们知道俞伯牙是当时楚国有名的音乐家，那作为一个有名的音乐家，他的琴声一定不只表现了高山流水，除了泰山峨峨，江河洋洋，俞伯牙的琴声还会表现那些动人的场景呢？”在学生充分想象的基础上，再对“皎皎明月，依依杨柳，萋萋芳草，袅袅炊烟……”这样的场景进行感悟朗读，有效地调动学生去读书、去思考，步步深入又准确地演绎着文本中丰富的信息，在不露痕迹的教学中，让学生明白了所谓的知音，就是那个世上最懂你知你的人。我和学生既各自感受着，又互相感染着，美好的情愫在课堂悄然流淌，不知不觉进入了知音的精神世界。结尾时吟诵俞伯牙在钟子期墓前留下的诗文，激发学生课后进一步拓展阅读的积极性。一堂课下来，我觉得在对古文的朗读指导中，还欠缺教学方法，学生能把古文给读正确了，读顺了，但古文的韵味还没读到位，应该在教学中慢慢渗透。《伯牙绝弦》教案【第二篇】《伯牙绝弦》六年级上册第八组教材的第1。本组教材是以感受“艺术的魅力”为专题来组合课文的。《伯牙绝弦》是1文言文，讲述了一个千古流传的高山流水遇知音的故事。故事的主人公俞伯牙与钟子期的真挚情谊令人感动。本文行文简洁、流畅，不足百字，而且古今字义差别不大。选编这课文的意图，5/107一是让学生借助注释初步了解文言文的大意；二是积累中华优秀经典诗文，感受朋友间相互理解、相互欣赏的纯真友情；三是体会音乐艺术的无穷魅力。这课文虽然是文言文，但相对浅显在教学中学生可以根据注释进行理解，因此我我把重点放在了理解“知音”上。理解伯牙摔琴之举及其次举背后隐喻的含义——子期死，伯牙为何摔琴，因为知音难觅，子期的死使伯牙痛感世上再无知音，故破琴绝弦。在教学时，我首先让学生回忆学习文言文的方法，然后从课文题目入手，理解课题含义，抛下悬念是什么原因让一代弹琴高手痛下这样的决心呢？其次，在读诵课文的基础上理解两个问题，一是你读懂了什么？二是你从哪里看出伯牙和子期互为知音的一句话。让学生找“伯牙所念，钟子期必得之。”通过反复诵读，理解意思，引导学生理解知音，一个善听一个善弹，这就是知音。引导学生展开联想在遇到钟子期前伯牙他会缺少赞美吗？为什么偏偏视钟子期为知音呢？三是引导学生品味知音之情，这是难点。在设计这一教学环节中，在备课时我花费的时间最多，也是最用心的一个环节，怎样让学生理解伯牙与子期互为知音，情投意合，我设计了几个情景教学：（一）是伯牙听不到子期的赞美和听到了子期的赞美心情6/107分别是怎样的？让学生品味出伯牙遇到知音后狂喜的心情；（二）是如果你是子期听到伯牙弹琴你是怎样赞美的？让学生体会子期和伯牙心灵相通，是一对情感共鸣的知己。（三）是师生扮演伯牙和子期的一段对话游戏伯牙（师扮演读），子期（学生扮演读）老师与学生对话，师生互动，生生互动，反复诵读，在读中品味这种知音欢聚的融合与快乐。伯牙琴技高超，乐曲悠扬动人，如果你是子期，伯牙志在高山流水，你如何赞美？指导学生练习读钟子期赞叹的句子。在读中感悟互为知音的喜悦，较好的升华了“凡伯牙所念，钟子期必得之”这一中心。在教学过程中，我进行了适当的拓展延伸，“既然伯牙善鼓琴，那么他的琴声一定不只表现高山流水，那还会有哪些动人的场景呢？”在学生充分想象的基础上，训练学生以排比的句式仿造课文说句子，有效地调动学生去读书，去思考，步步深入，准确地演绎着文本中丰富的信息。在不露痕迹中让学生明白知音就是世界上最懂你、知你的那个人。在文章的后半部分，指导学生带着伯牙寂寞、孤独、绝望和心灰意冷的心情，有感情朗读，让学生真正明白课题“绝弦”的深刻含义。为了让学生深刻理解伯牙那份知音难求的情怀，我还搜集到了子期死后，伯牙写给子期的一首挽歌，在一曲《高山流水》乐曲中，师朗读这首短歌，再次升华本课的重难点，在教学尾声时，通过欣赏《高山流水》乐曲，让典雅流畅的琴声浸润学生的心灵。由此我想到只有教师切切实实地做到走进7/107文本，理解文本，才能带领学生在文本中自由的穿越，自由的飞扬。总之，教学永远是一门遗憾的艺术。我感到很遗憾的是由于时间的关系，有些内容有些词语和句子的处理有点浅显，有的甚至一带而过，今后我会在自己的课堂中好好反思，努力把遗憾降到最低。《伯牙绝弦》教案【第三篇】������ñ§ä¿ï¿½ê£ºï¿½ï¿½ï¿½ï¿½1���ê¶ï¿½ï¿½ï¿½ï¿½ä¡ï¿½ï¿½ï¿½ï¿½ð¿ï¿½ï¿½ä¡ï¿½ï¿½ï¿½ï¿½ï¿½2���ü¸ï¿½ï¿½ï¿½×¢ï¿½íºí¿ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ê¾ï¿½ï¿½ï¿½ë¼ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ô¼ï¿½ï¿½ä»ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½â¡ï¿½8/107����3�������ð»ï¿½ï¿½ï¿½ï¿½ï¿½ê«ï¿½ä£ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ñ¼ï¿½ï¿½ï¿½ö¿ï¿½ï¿½ï¿½ï¿½ï¿½é¡£ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ñ§ï¿½øµã£ºñ§ï¿½ï¿½ï¿½ï¿½æ¾ï¿½ï¿½×¢ï¿½íºí¹ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½í¨ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ý£ï¿½ï¿½ú´ë»ï¿½ï¿½ï¿½ï¿½ï¼ï¿½ï¿½ð»ï¿½ï¿½û¡ï¿½ï¿½ï¿½ñ§ï¿½ñµã£ºï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ñ¼ï¿½ï¿½à»¥ï¿½ï¿½ï¿½â¡¢ï¿½à»¥ï¿½ï¿½ï¿½íµä´ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½é¡£ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ñ§×¼ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½é½ï¿½ï¿½ë®ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½9/107������ñ§ê±ï¿½ä£ºò»ï¿½ï¿½ê±ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ñ§ï¿½ï¿½ï¿½ì£ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ê¦ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ò»ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï·ï¿½ï¿½ï¿½ï¿½ê¦ëµò»ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ò²ëµï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ä´ê¡ï¿½ï¿½ï¿½ï¿½ï¿½ñ§ï¿½ï¿½ëµï¿½ê¡ï¿½ï¿½ï¿½ê¦ï¿½ï¿½ëµï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ä´ê¡ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½î¼ï¿½ï¿½ï¿½ê¾ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ð¨´¶ï¿½ï¿½10/107������ë®ï¿½ï¿½ï¿½è·ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¼ï¿½ï¿½ï¿½ï¿½ï¿½æ´ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ð©ï¿½ê¶ï¿½ï¿½ï¿½ï¿½ï¿½ð´ê²ã´ï¿½ä£ï¿½ï¿½ï¿½ï¿½ï¿½ñ§ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ü½ï¿½ï¿½ï¿½ï¿½ð©ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½è»ï¿½ï¿½ï¿½ï¡£ï¿½ï¿½ï¿½ï¿½ê¦ï¿½ï¿½æ½ê±ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ê¶ï¿½ø»ï¿½ï¿½ï¿½ï¿½ï¿½ð©ï¿½ï¿½ï¿½ï£¬ï¿½ï¿½ð´ï¿½ï¿½ò»ï¿½ï¿½ï¿½ð°ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½[�����í¼ï¿½ï¿½ï¿½ë»ï¿½ï¿½úµï¿½