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Kod á ly Approach Principles of Music Education

Kod á ly Approach Principles of Music Education. Presented to you by: Katelyn Cross, Jiny Kim, Marybeth McGreevy and Jamie Roscoe. Kodály: The Method and the Man. * Zoltán Kodály was born in 1882

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Kod á ly Approach Principles of Music Education

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  1. Kodály ApproachPrinciples of Music Education Presented to you by: Katelyn Cross, Jiny Kim, Marybeth McGreevy and Jamie Roscoe

  2. Kodály: The Method and the Man *Zoltán Kodály was born in 1882 *Throughout his lifetime, Kodály, became well known for his various roles in music as an ethnomusicologist, composer, educator and advocate of music education for children. *Kodály received his education at the Academy of Music and the University of Budapest.

  3. Kodály: The Method and the Man • *Along with his colleague, BelaBartók, Kodály spent a significant amount of time accumulating Hungarian folk songs, on which his method is based. • *Kodály spent thirty-three years of his life lecturing about composition, harmony, counterpoint, and orchestration at the Academy of Music in Budapest. • *As a composer, Kodály is well known for: the HáryJanós Suite, Dances of Marosszek, Dances of Galanta, and Summer Evening.

  4. Kodály: The Method and the Man • *His views eventually caught on, and Kodály traveled throughout Hungary, broadening musical culture though group singing. • *Kodály revived the Hungarian choral movement through his vocal compositions • *In the 1930's, he founded a youth singing movement, which led to drastic changes in elementary music education.

  5. Kodály: The Method and the Man • The Hungarian government increased funding for the music program in the schools, and as a result, the program became more intensive. • Students began their musical training beginning in Kindergarten, first with rhythm training, and later as they progressed, singing and instrumental instruction.

  6. Key Principles • "The Kodály approach is a vocal approach to music literacy: the ability to read, hear, and think music.“ • “Music Belongs to everyone.” • a.) Instruction begins in early childhood with an introduction to folk/art: • -singing by wrote is introduced before reading and notating • -content and sequence of curriculum come from childhood • musical development and literature • -focuses on solfège signals and rhythm syllables • -approach is very systematic, which results in early musical literacy

  7. Key Principles • b.) Kodály Sequence of Learning: • 1.) rhythm • 2.) singing • 3.) instrumental

  8. Key Principles • c.) Kodály Methods: • -use of the pentatonic folksongs to introduce singing • -use of the "Tonic Sol-fa" approach (aka. solfège) to introduce sight singing • -solfège hand signs • Music Reading: • Fa and Ti are half-steps, which are too hard for the wee folk to sing in tune • Letter names of notes are learned along with the solfège • Major, minor and modes are introduced later, after the pentatonic scales

  9. Key Principles • -rhythmic system of mnemonic syllables (originated from the original French Chevesystem) • -rhythm is presented from the very beginning • -notated with just stems, no note heads • eg. ta = quarter note • titi = eighth notes • tiritiri = sixteenth notes

  10. Key Principles • -stresses use of a capella singing • -intense ear training to develop “inner hearing” • -the capacity to think musical sounds without hearing or voicing them • -relative and/or movable Do: • -tonic acts as "aural anchor" for dominant and subdominant because it's easier to hear “Do”

  11. Key Principles • “The use of good music is vital to the life of every person.” • “good” meaning art music of the European tradition and it’s folk or traditional origins • Eg. -Pentatonic Hungarian scales • -Renaissance a capella vocal music

  12. “Chatter with the Angels” • Chatter with the Angels • Soon in the mornin’ • Chatter with the Angels • In that land • Chatter with the Angels • Soon in the mornin’ • Chatter with the Angels • Join that band First Verse Second Verse…look familiar?

  13. “Chatter with the Angels” Rhythmic Notation Method

  14. Sources: • Campbell, P.S. and C. Scott-Kassner (1995). Music in Childhood. New York: NY, Schirmer Books. • Hackett, P. & Lindeman, C.A., (2007). The Musical Classroom: backgrounds, model, and skills for elementary teaching (7th Ed.), Pearson Prentice Hall. • Labuta, J.A. & Smith, D.A. (1997). Music Education: Historical contexts and perspectives. Upper Saddle River, NJ: Prentice Hall

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