<<  Z?v?re?n? zpr?va ISU mistrovstv? sv?ta v synchronizovan?m bruslen? Praha 2006 30 Zorrilla y el Don Juan Tenorio  >>
Zoltan Kod
Zoltan Kod
In Paris, nearly three years ago, I was taking part in an
In Paris, nearly three years ago, I was taking part in an
Bela Bartok
Bela Bartok
Kod?ly Philosophy
Kod?ly Philosophy
Kod?ly believed that the future of a nations music is determined in
Kod?ly believed that the future of a nations music is determined in
I would advise my young colleagues, the composers of symphonies, to
I would advise my young colleagues, the composers of symphonies, to
There is a well-known saying of Bulows: He who cannot sing, be his
There is a well-known saying of Bulows: He who cannot sing, be his
At the sol-fa competition we looked into a shocking void
At the sol-fa competition we looked into a shocking void
Good musicians
Good musicians
Teachers training
Teachers training
Zoltan Kodly
Zoltan Kodly
The characteristics of a good musician can be summarized as follows: 1
The characteristics of a good musician can be summarized as follows: 1
Main Goals
Main Goals
Zoltan Kodly
Zoltan Kodly
Principles of Kodaly Approach
Principles of Kodaly Approach
Singing Voice
Singing Voice
Folksongs
Folksongs
Music Elements
Music Elements
Materials of the Kod
Materials of the Kod
Authenticity
Authenticity
Reading examples and exercises based on music of oral/aural traditions
Reading examples and exercises based on music of oral/aural traditions
Methodological Tools
Methodological Tools
Hand signs
Hand signs
Zoltan Kodly
Zoltan Kodly
Kod?ly Pedagogy
Kod?ly Pedagogy
Kod?ly Pedagogy
Kod?ly Pedagogy
Presentation (make conscious or labeling) phase should be carefully
Presentation (make conscious or labeling) phase should be carefully
Practice/reinforcement phase: is usually the most enjoyable part of
Practice/reinforcement phase: is usually the most enjoyable part of
Create phase: students apply their knowledge by engaging in higher
Create phase: students apply their knowledge by engaging in higher
The Organization of American Kodaly Educators OAKE was founded in 1975
The Organization of American Kodaly Educators OAKE was founded in 1975
245
245

: Zoltan Kodly. : Chet-Yeng Loong. : Zoltan Kodly.ppt. zip-: 417 .

Zoltan Kodly

Zoltan Kodly.ppt
1 Zoltan Kod

Zoltan Kod

ly

2 In Paris, nearly three years ago, I was taking part in an

In Paris, nearly three years ago, I was taking part in an

international conference on art education. When asked at what age I thought a child's musical education should begin, I replied "nine months before birth!" Today, I would go further, a child's musical education begins nine months before...not his own--but his mother's birth... What a child has heard in the first six years of life can not be eradicated later. Thus it is too late to begin teaching at school, because a child stores a mass of musical impressions before school age, and if what is bad predominant, then his fate, as far as music is concerned, has been sealed for a lifetime. (Kod?ly, "Speech", 1951)

3 Bela Bartok

Bela Bartok

4 Kod?ly Philosophy

Kod?ly Philosophy

music belongs to every child. . . . music is a spiritual food for everybody. So, I studied how to make more people accessible to good music. The most important thing is to actualize the instinctive love of the child for singing and playing . . in other words, to bring about the miracle of music. musical learning must begin with the childs own voice, the most ancient, and natural instrument for making music;

5 Kod?ly believed that the future of a nations music is determined in

Kod?ly believed that the future of a nations music is determined in

their schools. Kod?ly pointed out that teachers should consider carefully their own musicianship and love of music before teaching children.

6 I would advise my young colleagues, the composers of symphonies, to

I would advise my young colleagues, the composers of symphonies, to

drop in sometimes at the kindergarten, too. It is there that it is decided whether there will be anybody to understand their works in twenty years' time.

7 There is a well-known saying of Bulows: He who cannot sing, be his

There is a well-known saying of Bulows: He who cannot sing, be his

voice good or bad, should not play the piano either. Developing the ear is the most important thing of all. Concentrate first of all on recognizing note and key (p. 186)

8 At the sol-fa competition we looked into a shocking void

At the sol-fa competition we looked into a shocking void

Brilliant pianists are unable to write down or sing faultlessly a simple one part tune after hearing it fifteen or twenty times. How do they expect to imagine an intricate piece of several parts if their internal ear is so undeveloped? They only play with their fingers and not with their head and hearts. They are not musicians but machine operators.

9 Good musicians

Good musicians

So, who is the good musician? You are not one if you worry about the piece and play it to the end with your eyes glued to the music; you are not one if you stop because someone accidentally turns two pages at once (and even worse if you stop without any turning at all!). But you are one if you guess in a new piece and know in a familiar piece what is coming in other words, if the music lives not only in your fingers, but in your head and your heart, too (p. 190).

10 Teachers training

Teachers training

Kindergarten teachers must be enlightened as to their enormous responsibility, and the extent to which they harm the child in his human and Hungarian character if they nurture him on poor songs. And though they can be forgiven if they are not aware of what they are doing, they must be urgently taught how to distinguish between good and bad (p. 147).

11 Zoltan Kodly
12 The characteristics of a good musician can be summarized as follows: 1

The characteristics of a good musician can be summarized as follows: 1

A well-trained ear 2. A well-trained intelligence 3. A well-trained heart 4. A well-trained hand. All four must develop together, in constant equilibrium. As soon as one lags behind or rushes ahead, there is something wrong. (p. 197, 1954)

13 Main Goals

Main Goals

music experience and instruction must begin in a childs life as early as possible instill within each child a love of music based on knowledge and understanding, stemming from first-hand, active music-making experiences, beginning with lullabies, childhood chants, folk songs, and singing games. musical materials to be used must be of the highest artistic caliber.

14 Zoltan Kodly
15 Principles of Kodaly Approach

Principles of Kodaly Approach

Human voice Folk Music Music Literacy

16 Singing Voice

Singing Voice

If one were to attempt to express the essence of this education in one word, it could only be - singing. ....Our age of mechanization leads along a road ending with man himself as a machine; only the spirit of singing can save us from this fate. .... It is our firm conviction that mankind will live the happier when it has learnt to live with music more worthily. Whoever works to promote this end, in one way or another, has not lived in vain. (p. 206, 1966)

17 Folksongs

Folksongs

Listen to all folksongs attentively for they are the treasure trove of the most beautiful melodies and through them you can get to know the character of peoples (p. 190). Folk traditions, first of all with their singing games and childrens songs, are the best foundations for subconscious national features (p. 131). Children should learn their musical mother tongue, the folk music of their own country, before the music of other cultures

18 Music Elements

Music Elements

the elements of music are precious instruments in education. Rhythm develops attention, concentration, determination and the ability to condition oneself. Melody opens up the world of emotions. Dynamics variation and tone color sharpen our hearing. Singing, finally, is such a many-sided physical activity that its effect in physical education is immeasurable (p. 130)

19 Materials of the Kod

Materials of the Kod

ly Approach:

Authentic childrens musical literature: nursery rhymes and songs, singing games Authentic music of the childs culture: folk songs, chants, play parties and folk dance. Authentic folk music of other cultures Music of the Masters, the music from country to country.

20 Authenticity

Authenticity

In our opinion those who get immature children to sing our vigorous, beautiful folksongs with texts changed with good intentions but usually bad results commit not only reprehensible tastelessness and an offence against literature but, at the same time, pedagogical tactlessness (p. 137).

21 Reading examples and exercises based on music of oral/aural traditions

Reading examples and exercises based on music of oral/aural traditions

Masterpieces of Western Art Music & World Music

22 Methodological Tools

Methodological Tools

Moveable-do tonic solfa Curwen/Glover hand signs Rhythmic duration syllables Stick or solfa notation

23 Hand signs

Hand signs

24 Zoltan Kodly
25 Kod?ly Pedagogy

Kod?ly Pedagogy

from sound to sight, from the known to the unknown, from the simple to the more complex, and from the concrete to the abstract. Learning occurs through problem-solving, comparison, and guided question-and-answer. Musical elements and concepts are taught in a sequence based on the most prominent musical idioms of a cultures song repertoire.

26 Kod?ly Pedagogy

Kod?ly Pedagogy

Prepare phase: the activities are arranged to provide the children with opportunities to experience new concepts through listening, singing, doing body movement, and playing instruments prior to any conscious learning. The songs and rhymes used in this phase of teaching can be ones the children already know or new ones they are taught. All new songs and rhymes are taught by rote.

27 Presentation (make conscious or labeling) phase should be carefully

Presentation (make conscious or labeling) phase should be carefully

prepared before being presented to the students. The teachers task is to be a facilitator who provides the atmosphere, materials, and questions, which will lead the students to find the answers. New concepts must be shown and named, so that they are presented (labeled or made conscious). Staff notation is introduced in this phase.

28 Practice/reinforcement phase: is usually the most enjoyable part of

Practice/reinforcement phase: is usually the most enjoyable part of

the teaching sequence. Repetition, through practice, is an effective way to help students retain information in their long-term memory. The teacher should be creative in making up practice exercises that help reinforce the newly-learned concepts both aurally using old and new musical material and visually using staff or written notation.

29 Create phase: students apply their knowledge by engaging in higher

Create phase: students apply their knowledge by engaging in higher

level improvisation, composition, and performance on instruments, thereby demonstrating mastery of the musical element or concept.

30 The Organization of American Kodaly Educators OAKE was founded in 1975

The Organization of American Kodaly Educators OAKE was founded in 1975

to serve as a meeting place for music educators who embrace the Kodaly Concept of Music Education. It draws its membership from educators of all levels, public and private, students, administrators, and others who share in its support and promotion.

31 245

245

Zoltan Kodly
http://900igr.net/prezentacija/anglijskij-jazyk/zoltan-kodly-122892.html
c

29
900igr.net > > > Zoltan Kodly