MUSIC EDUC.docx

8/19/2019 MUSIC EDUC.docx

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PROFILE OF ZOLTAN KODALY

Born: December 16, 1882Birthplace: Kecskemét, HungaryDied: March 6, 1967 in Budapest

Also Known As:Hungarian !"k music e#pert, auth!r,c!mp!ser and teacher ! the 2$th century%h! he"ped pr!m!te the imp!rtance ! musiceducati!n&

Tpe o! "o#positions:K!da"y %r!te ch!ra" and !rchestra" piecesinspired by Hungarian !"k music&

In!l$ence:'n 19$2, K!da"y entered the Budapest (cademy %here he studied c!mp!siti!n and "ater recei)ed a d!ct!rate !r his studies !n Hungarian !"k s!ngs& He %as an a)id c!""ect!r! !"k s!ngs, an interest he shared %ith e""!% c!mp!ser Be"a Bart!k& He tra)e""ed t!Ber"in and then *aris %here he studied under +har"es id!r& He %as app!inted aspr!ess!r at the Budapest (cademy ! Music %here he taught c!mp!siti!n and the!ry&His tenure "asted r!m 19$7 t! 19-1, e)entua""y bec!ming the academy.s deputydirect!r in 1919&

Nota%le &or's:His %!rks inc"ude /*sa"mus hungaricus/ 0%ritten !r the $th anni)ersary ! the uni!n !

Buda and *est, /3e Deum ! Buda)ar,/ /Hary 4anus,/ /Missa Bre)is,/ /Dances !Mar!ss5ek,/ /Dances ! a"anta,/ /+inka *anna,/ /*eac!ck ariati!ns,/ /ymph!ny in+ Ma!r/ and /+!ncert! !r :rchestra&/

Interestin( Facts:'n 191$, K!da"y married ;mma and!r, a musician& His /Missa Bre)is/ is said t! ha)ebeen dedicated t! his %ie& 'n 196$, he recei)ed an h!n!rary degree r!m :#!rd!"tan K!da"y& 3his meth!d %asn.t in)ented by K!da"y, rather, it %asinspired by his phi"!s!phies and de)e"!ped by his c!""eagues and students&

The Kodal )ethod:3he K!da"y Meth!d.s phi"!s!phy is that music educati!n is m!st eecti)e %hen startedear"y and that e)ery!ne is capab"e ! musica" "iteracy& inging is stressed as the!undati!n !r musicianship and the use ! !"k and c!mp!sed music ! high artistic)a"ue&

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T*E KODALY )ET*OD

&hat is the Kodal )ethod+:3he K!da"y Meth!d is a %ay ! de)e"!ping musica" ski""s and teaching musica" c!nceptsbeginning in )ery y!ung chi"dren& 3his meth!d uses !"k s!ngs, +ur%en hand signs,

pictures, m!)ab"e=d!, rhythm symb!"s and sy""ab"es& 't %as irst intr!duced in Hungarybut is n!% used in many c!untries, either a"!ne !r in c!mbinati!n %ith !ther meth!ds&

Hand igns 0r!m +ur%en ?hythm symb!"s and sy""ab"es

Fol' ,on(

&ho created this #ethod+:3he K!da"y Meth!d is an appr!ach t! music educati!n based !n the phi"!s!phies! >!"tan K!da"y& >!"tan K!da"y %as a Hungarian c!mp!ser, auth!r, educat!r ande#pert !n Hungarian !"k s!ngs& ("th!ugh this meth!d %asn.t e#act"y in)ented byK!da"y, it %as de)e"!ped by his c!""eagues and students in the mid=2$th century based!n his teachings&

&hat were Zoltan Kodal-s (oals and philosophies+:

• ;"e)ate the "e)e" ! teacher training&

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• 'mpr!)e musica" "iteracy in sch!!"s&

• ;)ery!ne is capab"e and has the right t! musica" "iteracy&

• inging is the !undati!n ! musica" "earning&

• Music educati!n must begin %ith the )ery y!ung&

• 3he imp!rtance ! using !"k music 0nati)e !"k s!ngs and !"k s!ngs ! !ther

c!untries and music ! high artistic )a"ue&

• 'nc!rp!rating games, m!)ement, p"aying instruments, reading and %riting music

%ith singing&

• e@uentia" pr!cess !""!%ing a chi"d.s natura" "earning de)e"!pmentA

(ura" = !ra" kinestheticritten = pict!ra" abstract?ead rec!gni5ed

&hat tpes o! #$sic and instr$#ents are $sed in the classroo#+:!ngs ! high artistic )a"ue, b!th !"k and c!mp!sed, are used in the K!da"y c"assr!!m&

!ngs that are in the pentat!nic sca"e are emphasi5ed at the beginning "e)e"&

(cc!rding t! K!da"y, /Nobody wants to stop at pentatony. But, indeed, the beginningsmust be made there; on the one hand, in this way the child's biogenetical developmentis natural and, on the other, this is what is demanded by a rational pedagogicalsequence./ :ther s!ngs that may be used inc"ude chants, dancing s!ngs, "u""abies,nursery rhymes, s!ngs !r circ"e games and st!ry s!ngs&

&hat are the #$sical instr$#ents $sed+:3he )!ice is the main musica" instrument ! this meth!d& 'n his %!rds, / Singingconnected with movements and action is a much more ancient, and, at the same time,more complex phenomenon than is a simple song./ ari!us rhythm and t!na"instruments are a"s! used, inc"uding #y"!ph!nes and rec!rders&

&hat is a tpical lesson li'e and what are the 'e concepts learned+: ("th!ugh the K!da"y Meth!d !""!%s a set se@uence, the materia"s used in teachingmusica" c!ncepts )aries depending !n the age ! the student& 3he se@uence !""!%edmay be simp"iied asA "isten = sing = understand = read and %rite = create&


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PROFILE OF E)ILE .A/0E,1DAL"ROZE

Born: 4u"y 6, 186Birthplace: ienna, (ustria Died: 4u"y 1, 19$ in ene)a, %it5er"and

)ore on E#ile .a2$es1Dalcro3e:He became a pr!ess!r ! harm!ny at theene)a +!nser)at!ry in 1892C by %hich timehe started de)e"!ping his meth!d ! teachingrhythm thr!ugh m!)ement kn!%n as eurhythmics&He !unded a sch!!" in He""erau, ermany 0"aterm!)ed t! a#enburg in 191$, and an!ther sch!!"in ene)a in 191-, %here students "earned usinghis meth!d&

e)era" ! his students, such as ba""et teacher Dame Marie ?ambert, used eurhythmicsand became in"uentia" in the de)e"!pment ! dance and c!ntemp!rary ba""et during the2$th century&

T*E DAL"ROZE )ET*OD

&hat is the Dalcro3e )ethod+:

3he Da"cr!5e meth!d, a"s! kn!%n as Da"cr!5e ;urhythmics, is an!ther appr!ach music

educat!rs use t! !ster music appreciati!n, ear=training and impr!)isati!n %hi"e

impr!)ing musica" abi"ities& 'n this meth!d, the b!dy is the main instrument& tudents

"isten t! the rhythm ! a music piece and e#press %hat they hear thr!ugh m!)ement&

imp"y put, this appr!ach c!nnects music, m!)ement, mind, and b!dy&

&ho created this #ethod+:

3his meth!d %as de)e"!ped by ;mi"e 4a@ues=Da"cr!5e, a %iss c!mp!ser, music

educat!r and music the!rist %h! studied %ith abrie" Eauré, Mathis ussy and (nt!n

Bruckner &

&hat are the 'e ele#ents o! the Dalcro3e )ethod+:

3his meth!d has F acetsA

• E$rhth#ics 45ree' !or 6(ood rhth#67 = Musica" e#pressi!n thr!ugh

m!)ementC de)e"!ping musica" ski""s thr!ugh kinetic e#ercises& tudents "earn rhythm

and structure by "istening t! music and e#pressing %hat they hear thr!ugh sp!ntane!us

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b!di"y m!)ement& E!r e#amp"e, n!te )a"ues and rhythms are represented by stepping

and c"apping&

• ,ol!e(e 4!i8ed1do7 = He"ps de)e"!p ear=training and sight=singing ski""s&

• I#pro9isation =


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PROFILE OF "ARL ORFF

Born: 4u"y 1$, 189Birthplace: Munich, ermanyDied: March 29, 1982 in Munich

Also Known As:+ar" :r %as a erman c!mp!ser, c!nduct!rand teacher primari"y kn!%n !r his c!ntributi!nst! music educati!n& He de)e"!ped a system !teaching chi"dren ab!ut music thr!ugh gr!upe#ercises and the use ! percussi!n instrumentst! he"p de)e"!p a sense ! rhythm&

Tpe o! "o#positions::r a"s! %r!te dramatic ch!ra" %!rks and !peras&

In!l$ence:He studied at the Munich (cademy ! Music, and in 192$, studied under HeinrichKaminski&

Nota%le &or's:His m!st am!us %!rk is the !rat!ri! /+armina Burana/ 019F7, his /+atu""i carmina/019-F and /3ri!n! di (r!dite/ 019F, c!mp"etes this tri"!gy& :ther %!rks inc"ude /DerM!nd/ 019F9, /Die K"uge/ 019-F, /Die Bernauerin/ 019-7, /(ntig!nae/ 019-9,/(stutu"i/ 019F, /+!m!edia de +hristi ?esurrecti!ne/ 0a cantata, 196, /udus denat! inante miriicus/ 0a p"ay, 196$, /:edipus der 3yrann/ 0199, /;in!mmernachtstraum/ 0196-, /*r!metheus/ 01966 and /De temp!rum ine c!m!edia/

0197F&

Interestin( Fact:'n 19F$, :r pub"ished a manua" tit"ed Schulwerk , %here he shares his meth!d !c!nducting& *ri!r t! %riting /+armina Burana,/ :r edited 17th century !peras& He!unded a sch!!" !r gymnastics %ith D!r!thee nther in 192-&

Or!! )ethod:3he :r Meth!d !r :r (ppr!ach is a %ay ! teaching chi"dren ab!ut music thatengages their mind and b!dy thr!ugh a mi#ture ! singing, dancing, acting and the use! percussi!n instruments 0#y"!ph!nes, meta""!ph!nes, g"!ckenspie"s& ess!ns are

presented %ith an e"ement ! /p"ay/ he"ping the chi"dren "earn at their !%n "e)e" !understanding&

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T*E ORFF )ET*OD OR ORFF APPROA"*

&hat is Or!!1,ch$lwer'+ ("s! kn!%n as the :r Meth!d, :r (ppr!ach !r Music !r +hi"drenC it is a %ay !intr!ducing and teaching chi"dren ab!ut music !n a "e)e" that they can easi"y

c!mprehend& Musica" c!ncepts are "earned thr!ugh singing, chanting, dance,m!)ement, drama and the p"aying ! percussi!n instruments& 'mpr!)isati!n,c!mp!siti!n and a chi"d.s natura" sense ! p"ay are enc!uraged&

&ho created the Or!! Approach+3his appr!ach t! music educati!n %as de)e"!ped by +ar" :r , a erman c!mp!ser,c!nduct!r and educat!r %h!se m!st am!us c!mp!siti!n is the !rat!ri! /+arminaBurana&/ 't %as c!ncei)ed during the 192$s and 19F$s %hi"e he ser)ed as musicdirect!r ! the !nther"SchuleC a sch!!" ! music, dance and gymnastics that he c!=!unded in Munich& His ideas %ere based !n his be"ie in the imp!rtance ! rhythm andm!)ement& :r shared these ideas in a b!!k tit"ed #r$$"Schulwerk %hich %as "ater

re)ised and then adapted int! ;ng"ish as %usic $or &hildren&

&hat tpes o! #$sic and instr$#ents are tpicall $sed+E!"k music and music c!mp!sed by the chi"dren themse")es are m!st"y used in the :rc"assr!!m& Iy"!ph!nes 0s!pran!, a"t!, bass, meta""!ph!nes 0s!pran!, a"t!, bass,g"!ckenspie"s 0s!pran! and a"t!, castanets, be""s, maracas, triang"es, cymba"s 0inger,crash !r suspended, tamb!urines, timpani, g!ngs, b!ng!s, stee" drums and c!ngadrums are but s!me ! the percussi!n instruments used in the :r c"assr!!m&

&hat is a tpical lesson li'e+ ("th!ugh :r teachers use many b!!ks as rame%!rks, there is n! standardi5ed :rcurricu"um& :r teachers design their !%n "ess!n p"ans and adapt it t! suit the si5e !

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the c"ass and the age ! the students& E!r e#amp"e, a teacher may ch!!se a p!em !r ast!ry t! read in c"ass& tudents are then asked t! participate by ch!!sing instruments t!represent a character !r a %!rd in the st!ry !r p!em& (s the teacher reads the st!ry !rp!em again, students add s!und eects by p"aying the instruments they se"ected& 3heteacher then adds acc!mpaniment by p"aying :r instruments& (s the "ess!n

pr!gresses, students are asked t! p"ay :r instruments !r add !ther instruments& 3!keep the %h!"e c"ass in)!")ed, !thers are asked t! act=!ut the st!ry&

&hat a%o$t son(s and notation+'n the :r c"assr!!m, the teacher acts "ike a c!nduct!r %h! gi)es cues t! her eager!rchestra& ' the teacher se"ected a s!ng, s!me students %i"" be ch!sen asinstrumenta"ists %hi"e the rest ! the c"ass sings a"!ng& *arts may !r may n!t ben!tated& ' n!tated, it sh!u"d be simp"e en!ugh !r the students t! understand& 3heteacher then pr!)ides students a c!py ! the n!tes andG!r creates a p!ster&

&hat are the 'e concepts learned+


9/15

PROFILE OF ,*INI"*I ,0Z0KI

Born: :ct!ber 17G18, 1898Birthplace: ag!ya, 4apan

Died: 4anuary 26, 1998 inMatsum!t!, 4apan

hinichi u5uki is a 4apanese )i!"inist and teacher %h!,de)ised a meth!d by %hich mi""i!ns ! y!ung chi"dren%!r"d%ide "earned t! p"ay the )i!"in& 'nstead ! trying t!teach them t! read music, he emphasi5ed "istening,imitati!n, and repetiti!n, the!ri5ing that chi"dren c!u"d"earn t! p"ay music the same %ay they "earn "anguage&u5uki, the s!n ! a )i!"in maker, taught himse" t! p"ay

that instrument ater hearing a rec!rding by Mischa;"man& He studied c!mmerce in a )!cati!na" sch!!" and ater graduati!n %ent 01921 t!ermany t! urther his musica" studies& During much ! his time there, ("bert ;instein%as !ne ! his guardians& hen he returned 01928 t! 4apan, u5uki, %ith his threey!unger br!thers, !rmed the u5uki Luartet& h!rt"y thereater, he became president ! the 3eik!ku Music ch!!", !unded the 3!ky! tring :rchestra, and !ined the acu"ty !the 'mperia" Music ch!!"& (ter !r"d ar '' ended, u5uki %as in)ited t! assist in the!unding ! a sch!!" in Matsum!t!& He spent the remainder ! his career there andm!re u""y de)e"!ped his the!ries regarding music educati!n& By the 19$s his students%ere gi)ing annua" c!ncerts, at %hich s!me F,$$$ y!ung students %!u"d per!rmt!gether as a gr!up& 3he u5uki meth!d gained attenti!n in the


10/15

*arents and teachers %!rk t!gether t! achie)e a c!mm!n g!a"& *arents are e#pected t!attend "ess!ns and ser)e as nurturing teachers at h!me&


11/15

"earn by !bser)ati!nC they "earn as a gr!up& !cia" interacti!n and c!!perati!n is!stered am!ng students&PROFILE OF ED&IN E 5ORDON ;


12/15

students are ab"e t! dra% greater meaning r!m the music they "isten t!, per!rm,impr!)ise, and c!mp!se&

"ontents o! this ,ection

• (udiati!n = 3! hear and c!mprehend music in the mind, audiati!n is the

!undati!n ! musicianship& Music earning 3he!ry te""s music teachers the best%ay t! de)e"!p students. t!na" and rhythm audiati!n&

• Music (ptitude = Music "earning is enhanced %hen teachers kn!% students.

p!tentia" t! achie)e in music and teach systematica""y t! indi)idua" dierences&

• Meth!d!"!gy = tudents bui"d their audiati!n ski""s thr!ugh singing, rhythmic

m!)ement, and t!na" and rhythm pattern instructi!n be!re being intr!duced t!n!tati!n and music the!ry&

• earning e@uence (cti)ities = 3he /parts/ part ! the h!"eG*artGh!"e

curricu"um, "earning se@uence acti)ities are %here students "earn t! audiate thet!na" and rhythm patterns that make up music "iterature&

• +"assr!!m (cti)ities = +areu""y th!ught !ut guide"ines he"p the teacher best

c!!rdinate "earning se@uence acti)ities %ith c"assr!!m acti)ities&• 3!na" +!ntent = 3!na"ities, patterns, and s!"ege&

• ?hythm +!ntent ;"ements ! rhythm, meters, uncti!ns, and s!"ege&

• peciic (pp"icati!ns t! Music 'nstructi!n = Meth!ds, techni@ues, and materia"s

!r imp"ementing Music earning 3he!ry princip"es in )ari!us music teachingsettings&

• ;ar"y +hi"dh!!d = ( chi"d.s ear"y e#periences %ith music ha)e a pr!!und impact

!n uture musica" de)e"!pment&

• 3ypes and tages ! (udiati!n


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PROFILE OF )ARY *ELEN RI"*ARD,

Born: eptember 28, 1921Died: eptember 26, 1998

3he impact ! Mary He"en ?ichards !n the "ie ! c!ntemp!rary educati!n has bec!me increasing"yrec!gni5ed& ( "ie="!ng musician, ?ichards %as keen"yinterested in the git ! the natura" singing )!ice as the !nemusica" instrument gi)en t! each pers!n as a birthright& (graduate ! the !"tan K!da"y, Hungarian c!mp!serand music educat!r& eeking his ad)ice in a "etter, she recei)ed materia"s r!m K!da"y,%hich she uni@ue"y adapted t! bec!me a music educati!n pr!gram ! her !%n,hreshold to %usic and is %ide"y credited %ith bringing K!da"y.s phi"!s!phy t! the


14/15

de)e"!ped, and e#amined !r their useu"ness, %ere e#p"!red by hundreds ! chi"dren inc"asses acr!ss !rth (merica& 3he ne% appr!ach great"y e#panded b!th the repert!ire and practice ! 3hresh!"d t!inc"ude e#tensi)e m!)ement bui"t ar!und a phi"!s!phy ! p"ay, eecti)e interpers!na"

interacti!n, and musica"ity, %hich c"ear"y in)!")ed the %h!"e chi"d& ;#panded, t!!, %erethe g!a"s ! ;3M, t! reach the entire chi"d = a"" chi"dren = in their musica",c!mmunicati!n, m!)ement, interacti)e, and c!gniti)e needs& +!ntemp!rary indings inde)e"!pmenta" neur!bi!"!gy and neur!psych!"!gy %ith regard t! chi"d "earning and%e""=being ha)e signiicant"y )a"idated this de)e"!pment and perspecti)e& ;3M n!%captures the attenti!n ! music educat!rs, c"assr!!m teachers, specia" educati!nteachers, speech and "anguage path!"!gists, !ccupati!na" therapists, pediatricians,neur!scientists, parents, church musicians, ch!ra" musicians and the "ike&

Lan($a(e Arts Thro$(h )$sic 4;=7

•

t! e#periment %ith the p!tentia" ! a s!ng t! enhance e#tra=musica" "earningC• t! e#amine the ski""s being de)e"!ped during the singing games and study !

musica" e"ementsC and

• t! !er c"assr!!m teachers a %ay ! %!rking %ith music that %as n!nthreatening

and )a"uab"e t! them in acc!mp"ishing their c"assr!!m g!a"s&

Ed$cation Thro$(h )$sic Approach 4;@;1;?7 The Principles

• Einding !"k s!ngs r!m the !rth (merican c!ntinent %as a task that resu"ted in

a b!dy ! appr!#imate"y 1$ s!ngs& 3hese s!ngs are the principa" repert!ire !;3M and ha)e been se"ected !r their simp"icity, their ba"ance in !rm, theircarriage ! the "anguage and their resi"ience t! acti)ity and repetiti!n& tudying a

e% s!ngs in=depth is characteristic ! ;3M& 3here!re, the pr!cess thr!ugh%hich s!ngs are studied recei)es a great dea" ! attenti!n&

• tudy ! the "anguage is appr!ached as a spirited e#aminati!n b!th in the

teacher=training c!urses and in the te#ts& : primary interest t! ;3M teachers isthe %ay "anguage is patterned, the %ay "anguage is ac@uired, and the r!"e"anguage p"ays in "earning and per!rming music& 'n)a"uab"e t! this study hasbeen ear"y %!rk %ith hearing=impaired chi"dren %ith /;ng"ish as a ec!ndanguage/ students and %ith menta""y=handicapped students&

• /3he %ay chi"dren are in this c!untry/ is n!t easi"y summari5ed& 3he act that

di)ersity seems t! be the ru"e m!st deinite"y aects %hat appr!ach can be taken!r music educati!n& 3he "ack ! music e#periences 0i&e& singing and p"aying

pri!r t! !rma" sch!!"ingC the m!bi"ity ! parents, students and teachersC the need!r pers!na"i5ing and s!cia"i5ing the "earning e#perienceC and the need !rde)e"!ping pride in acc!mp"ishment are each characteristics ! sch!!"s andchi"dren %hich shape the tenets by %hich ;ducati!n 3hr!ugh Music !perates&+apturing students. attenti!n s! that they %i"" be m!ti)ated t! study has resu"tedin numer!us /)ita"i5ing/ techni@ues t! intrigue and interest them&

• inging e)ery day in the !rm ! a distinct e"ementary music c"ass is a rarity in

many regi!ns& 3e#ts and c!urses during th!se ear"y years ga)e the impressi!n


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that the emphasis ! ;3M %as n!t !n the music curricu"um but !n the "anguagearts, mathematics and grammar ski""s that c!u"d be "earned thr!ugh music&

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