Zoltn Kodly

Zoltn Kodly (1882 1967) was a Hungarian composer, ethnomusicologist (the study of social and cultural aspects of music and dance in local and global contexts) and philosopher. His passion for the rediscovery of the Hungarian spirit resulted in extensive folk-song research. He was shocked by the poor music education system and the countrys dwindling appreciation and knowledge of their extensive repertoire and history of folk music. Kodly came eventually to embody the artistic aspirations of his own country and is arguably the greatest music educationalist of the twentieth century; the astonishingly high standard of choral singing and musical achievement in Hungary was attained thanks to his innovations and teaching methods. These are the inspiration behind an approach to music education, which has gained world recognition. The pedagogy we use today was not developed exclusively by Kodly, but rather his students and colleagues. They used his philosophies of music education to form the more standardised method, which is now used across Europe, North America, Australia and many other parts of the world.

What is the Kodly method?

The Kodly Method teaches music through singing and exploration of folk songs. The Kodly Method uses a child-developmental approach to sequence, introducing skills in accordance with the capabilities of the child. Children are first introduced to musical concepts through experiences such as listening, singing, or movement. They later learn to notate, manipulate and be more creative with these elements. Dr Schellenberg Experience to symbolisation. The child learns musical elements subconsciously first, being creative with them, before later learning a notation/symbolisation. Concepts are constantly reviewed and reinforced through games, movement, songs, and exercises. Repetition is the key to learning. Through singing games and movement activities, children are able to subconsciously learn musical concepts, which are instilled through varied repetition. This maintains the interest of the child and makes the singing and learning process more fun!

2 Rhythm and movement are taught, inspired by the Swiss educator Emile-Jacques Dalcrose. Children develop from the earliest stage an internal beat/sense of pulse. This is done in the context of listening, movement, rhymes and singing games. Through songs and use of percussion instruments they learn basic rhythms in a child-developmentally appropriate manner. They are introduced to speaking rhythm syllables and stick notation. Movable-do solfege. Children learn the names of the notes and interval relationships within major and minor keys (and later modes). This helps with the childs understanding of tonal function, pitching and sight-singing. Melodic sequence and the pentatonic scale. The diatonic (major/minor) scale proves difficult for children because of the use of semi-tones. The pentatonic scale, which forms the basis of many folk songs, is free of semi-tones and allows for children to hear and sing intervals more clearly. Scale degrees, or notes, are introduced in accordance with child-developmental patterns. They learn so la mi first, which forms the basis of many childrens chant songs. The major third so-mi is the easiest interval for children to sing in tune and so we start with this as the basis for teaching the notes of the scale. Sing cuckoo where are you? Oo vowel is also easy to sing in tune. Hand signs are performed during singing exercises to provide a visual aid. This helps spatially to understand where notes are in relation to one another, highlighting the semitones. Materials used include authentic folk music (for singing) and good quality composed music (for listening). The method also develops children for choral singing, beginning with rounds and sight-singing exercises. IT IS IMPORTANT THE TEACHER MUST BE ABLE TO SING AND DEMONSTRATE IN TUNE! All songs are taught unaccompanied initially, developing inner hearing and aural imagery. We later add percussion with songs. Aural skills developed to a high level inculcated in them, preparing them for serious musical study.

The Educational value of Music

Music contributes to the development of: Language and communication skills reading, listening and speech (pronunciation, intonation and diction research on reading and rhythms). Mathematic and Scientific skills (application of number, through recognising pattern, sequence, order and rhythmic relationships) Overall academic achievement increases the IQ of the individual as well as supporting cross-curricular activities Imagination aural and visual imagery Creativity problem-solving abilities

Music fosters personal growth

Music contributes to the development of: Positive self-concept achievement, recognition, confidence and self-esteem Self-expression and spiritual development communication of feelings Self-discipline responsibility, patience and perseverance Social Skills and moral development mutual respect, cooperative behaviour, communication and friendships Aesthetic taste appreciation of beauty, understanding and respect for music Psychomotor skills - motor skills and bodily coordination Neural flexibility engaging both hemispheres of the brain.

Music benefits the individual and the community

Provides skills essential for living in todays Provides enjoyable life-long recreational opportunities Possesses therapeutic value music therapy Provides career opportunities Fosters community involvement by participating as a performer or listener Enhances the quality of life for both the community and the individual Promotes a historical appreciation of our own and other cultural heritages cultural development Communicates feelings facilitating international understanding cross-cultural dialogue through music everyone can experience and partake in it egalitarian model of education.

Music is the universal language or mankind, building bridges of understanding between individuals, groups and nations.

A good music teacher

Encourages each child to enjoy and be happy with music Provides a variety of musical experiences at the young childs level of feeling and understanding Understands that children can experience/learn about music through play and games Believes that a class environment with social interaction stimulates musical learning Is aware of individual differences and accepts and respects these differences Believes that every child is musical: talent is relatively unimportant at this stage every child can contribute Encourages children to explore sound and to create their own music with voice, body and carefully chosen instruments Provides opportunities for children to experience and learn about the elements of music in a meaningful context, thereby building a firm foundation for future musical learning Understands that music is a useful tool in many subject areas Is committed to teaching music as a separate element in the curriculum for its effect on the whole personality and aesthetic development of each child Knows that we cannot teach young children to enjoy music, but is we share our joy of music, they could catch it from us

Importance of group learning

Children learn best from one another - Students come to a more complete understanding by comparing with others. In this sense, teachers are able to use children as role models. Children are able to learn together not learning and practising alone! Piano can be a very solitary instrument. Typically, group classes are more motivating and instil a healthy sense of competition among the children, each wanting to learn and progress as much the other. Children are able to develop important moral, behavioural and social skills, singing and performing together. Children are able to learn through games and playing in groups. The essence of music is to communicate and express children are able to do this in group settings, improving confidence and overcoming stage-fright/nerves. Able to teach music in a more fun, interactive and stimulating way with a group.

RHYTHM SOLFA

HAND SIGNS

The Curwen hand signs are performed during singing exercises to provide a visual aid. This helps spatially to understand where notes are in relation to one another, highlighting the semitones.

CANONS Laughing singing

Sweetly sings the donkey

Are you sleeping

Kookaburra

2.

Kookaburra sits in the old gum tree, Eating all the gum drops he can see, Stop Kookaburra, stop Kookaburra, Leave some there for me! Kookaburra sits in the old gum tree, Counting all the monkeys he can see, Stop Kookaburra, stop Kookaburra, Thats not a monkey thats me! (ta-dimi taka-di ta)

3.

Lets put the rooster in the stew

The birch tree

Gone to bed is the setting sun

Dona nobis pacem

Row, row, row your boat

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Lullaby

Londons burning

Guten Morgen
Guten Morgen/Guten Abend (German) clap hands Good morning/good evening (English) cross arms and tap elbows Bonjour/bon soir (French) clap hands Buenos dias/buenos sera (Spanish) tap thighs