100%(3)100% au considerat acest document util (3 voturi)
982 vizualizări44 pagini
The Kodaly Method is a music education philosophy developed by Zoltan Kodaly in the 1940s. It uses folk songs and includes solfege (solfadation), rhythm syllables, and hand signs to develop musical literacy. The method has a developmental sequence starting with simple pentatonic melodies and progresses to major and minor scales. It emphasizes singing, listening, and music literacy from an early age using only the student's voice. The philosophy believes music is essential to education and should begin as early as possible.
The Kodaly Method is a music education philosophy developed by Zoltan Kodaly in the 1940s. It uses folk songs and includes solfege (solfadation), rhythm syllables, and hand signs to develop musical literacy. The method has a developmental sequence starting with simple pentatonic melodies and progresses to major and minor scales. It emphasizes singing, listening, and music literacy from an early age using only the student's voice. The philosophy believes music is essential to education and should begin as early as possible.
The Kodaly Method is a music education philosophy developed by Zoltan Kodaly in the 1940s. It uses folk songs and includes solfege (solfadation), rhythm syllables, and hand signs to develop musical literacy. The method has a developmental sequence starting with simple pentatonic melodies and progresses to major and minor scales. It emphasizes singing, listening, and music literacy from an early age using only the student's voice. The philosophy believes music is essential to education and should begin as early as possible.
Kodaly Method • Itis a way of training children in music, which is based on giving them a through grounding in solfeggio. Aimed at developing aural (hearing) ability with emphasis on sight- singing, dictation, reading, writing of music. A progressive repertory of songs and exercises based on Hungarian folk music is used. Zoltan Kodaly (December 1882 – March 6 1967) He was a Hungarian composer, ethnomusicologist, pedagogue, linguist, and Philosopher. Zoltan Kodaly • He was very interested in the problems of music education methods. • He also compose a large amount of music for children. • He developed the Hungarian music education method in 1940’s and became a basis for what we called Kodaly Method of teaching. Trivia about Kodaly He met Bartok while they were both students at the Franz Liszt Academy of Music in Budapest. He was also important as an educator, not only of composers but also of teachers and through his students, contributed heavily to the spread of musical education in Hungary. Philosophy of Kodaly Method • Solfadates from Guido d’Arezzo in the eleventh century. Hand signs were borrowed from John Curwen’s work in nineteenth-centrury England. Rhythm syllables came from the nineteenth- century French theoretician Emile Cheve. The notion of relating instruction to child development Philosophy of Kodaly Method Originated in the writings of Pestalozzi, and may Kodaly’s teaching techniques were borrowed from the solfege texts of Jaques-Dalcroze. Philosophy of Kodaly Method It was not the techniques associated with the Kodaly method that caused its wide spread adoption. While these were effective as combined in Hungarian practice, it was the philosophy underlying them that caught the imagination of teachers around the world. Philosophy of Kodaly Method The idea that music should exist at the core of the curriculum, basic subject along side math and language, that music is essential to any complete education, was one that spoke to teachers everywhere. Philosophy of Kodaly Method The notion that musical literacy is as universally possible as linguistic literacy and that the development of such literacy is an obligation of the schools came as a breath of fresh air to an environment in which music was equated with entertainment and was considered a frill in education. Philosophy of Kodaly Method The belief that instrument are not necessary and, indeed, are counterproductive in the musical education of young children, that the best possible instrument for instruction is the child’s own unaccompanied voice, is an astonishing Philosophy of Kodaly Method one, and one that made the possibly of public musical education suddenly more accessible. The principle of beginning musical education as early as possible, “nine months before birth” came as an abrupt awakening to some school Philosophy of Kodaly Method systems that had previously offered no instruction in music at the elementary level beyond that which could be handled by musically ineffective classroom teachers. The still all too common practice of offering the first music study to students when they reach junior high school age was, at least, shaken by this precept. Philosophy of Kodaly Method Finally, Kodaly’s insistence that the quality of music used in teaching is of paramount importance, that only authentic folk music and great art music are good enough for children, has caused a general of teachers look more critically at music series books Philosophy of Kodaly Method and other published teaching material. They now know that only the best music is good enough and that this must, as well, suit the emotion, musical and intellectual world of the child. Philosophy of Kodaly Method Kodaly believed that only the well-trained musician should teach music to even the youngest children, that to teach any subject well at the simplest levels, it is necessary to understand it at the most complex level. He never stopped working toward the improvement of music education in Hungary, and his philosophy and principles have permitted music education at all levels around the world. Philosophy of Kodaly Method It is the right of every citizen to be taught the basic elements of music, to be handed the key with which he can enter the locked world of music. To open the ears and hearts of the millions to serious is a great thing.” • “Thesinging of folksong must form a part of every music lesson, not only to provide practice in them for their own sake, but to maintain continuity and also to awaken develop, and maintain the sense of the relationship between music and the language. For these is no denying that it is here, in the folk song, that the most perfect relationship between music and language can be found.” • -Zoltan Kodaly “A well conducted lesson is not a burden, but a recreation: the source of joy and cheer.” -Zoltan Kodaly Kodaly Sequence • Rhythm- 1. begins with a whole note 2. half note 3. and quarter note Kodaly Sequence • Melody- 1. Diatonic Major scale Characteristic of developmental sequence 1. The range in which a young child can sing songs comfortably and correctly is limited– usually encompassing not more than five or six tones, and these of whole steps or larger intervals. Half steps are difficult fot the young child to sing in tune. Characteristic of developmental sequence 2. Descending tones are easier for children to learn and reproduce accurately than ascending ones. This indicates that the initial lesson on new tonal patterns should be approach through songs in which the interval occurs in a descending melody line. Characteristic of developmental sequence 3. Small skip are easier for the young child to sing in tune than small steps: G E is easier than G F#. Wide skips, such as sixth or an octave, are difficult.
4. In terms of range, one study has shown
that left to his own devices the young child will most often pitch the upper note of the Recognizing these principles as factors in the melodic development of children, Kodaly felt that the pentatonic– the five tone scale– was the ideal vehicle for teaching children musical skills. The pentatonic is one of the basic scales of folk music in Hungary and in most of the world, although the pentatonic of Hungarian music tends to be minor in character, or la- centered, while the usual American pentatonic song is major or do-centered. The melodic sequence that gradually evolved in Hungary was: 1. The minor third (sol– mi) 2. La and its intervals with so and me 3. Do, the “home tone” in major modes, and the interval it forms with so, mi, and la. 4. Re, the last remaining tone of the pentatonic. After these five –tones, the octaves low la, so, and high do are taught and, last the half steps fa and ti, to complete the diatonic major and minor scales. The Tools of the Method The first of the tools chosen for use in the Kodaly method was the movable- do system of solmization originated by Guido d’Arezzo in the eleventh century. In this system the home tone or tonal center of a song is do in the major and la in the minor modes, whatever the key may be. The advantage of this for The Tools of the Method teaching of vocal sightreading should be obvious. The basic tune of the minor third so—mi is the same in any key. Thus when a child knows only these two notes he can already read them in any placement of the staff. As his sight-singing vocabulary increase to the five tones of the pentatonic, he can The Tools of the Method read far from more than only three lines and two spaces. Kodaly first saw this system of “movable-do” solfa when he visited England and observed choral training there. The method he saw in use was essentially the one developed by The Tools of the Method Sarah Glover and refined by John Curwen in the nineteenth century. For teaching rhythm Kodaly and teachers working with him chose the syllable system similar to that used in French solfege (ta) quarter note The Tools of the Method Syllabication (Ta) quarter note (Ti-Ti) eight note (ti-ri-ti-ri) sixteenth note (tri-o-la) triplets (Syn-co-pa) eight- quarter- eight The Tools of the Method Only the stem are used initially for rhythm reading. Except for half note.
Hand Sign is the last method.
Kodaly Hand signs The Tools of the Method 1. Movable do 2. Syllabication 3. Hand signs The Materials of the Method Nothing about this sequence or these tools is unique to the Kodaly Method. Singly, each has been tried before, and even in combination they may be found in some methods used many years ago in the United States and Europe. The Materials of the Method However, the one area in which the Kodaly approach differs from its predecessors and achieves what none of the others has, is in the selection of materials. Kodaly insisted that the materials used for teaching music to young children could come from only three sources: The Materials of the Method 1. Authentic children’s games, nursery songs and chants 2. Authentic folk music 3. Good composed music, that is music written by recognized composers. Conclusion The Kodaly Method is a comprehensive, broadly based approach to musical education the draws on the best of the past pedagogical practice. It is child developmental, experimental and highly sequential. Its primary goal is to develop a love of music supported by Conclusion understanding and knowledge– musical literacy in the most profound sense. The tools used to implement the Kodaly teaching/ learning process are movable do solfa, rhythm duration syllables, and hand signs, and the materials used are folk song and the music of recognized composers. Conclusion The philosophy expressed by Zoltan Kodaly stressed the importance of beginning music education early, of using the child’s own voice as the instrument of instruction of placing music at the core of the curriculum, equal in importance with science, math, and language, of using the folk songs of the child’s native language Conclusion as the earliest teaching material and of moving from these to the musical masterworks of western civilization. Throughout Kodaly’s writing there is implicit the belief that man is not complete without music.