The Kodály Concept
The Kodály concept was inspired by the philosophies of the Hungarian composer and educator, Zoltan Kodály (1882 – 1967). Throughout Kodály’s writings are the notions that a person cannot be complete without music and that music serves to develop a person on all levels – emotionally, spiritually and intellectually (Kodály, 1994).
Kodály believed that every person has musical aptitude and that, ideally, a music education should begin as early as possible in a person's life - firstly at home and then later within the school curriculum.
Kodály believed that singing should be the foundation of all music education.
It is a long accepted truth that singing provides the best start to music education; moreover, children should learn to read music before they are provided with any instrument…even the most talented artist can never overcome the disadvantages of an education without singing. (Kodaly, 1974).
The use of the voice is one of the most defining features of the Kodály approach. The voice is the most accessible of all instruments and this makes it most suitable for musical instruction and can lead to a highly developed musical ear. By focusing on learning through engaging with music, singing, playing, moving and enjoying, music becomes part of the natural learning process.
Developmental, Sequential, Cumulative and Continuous Music Education
Kodály believed that musical instruction should reflect the way that children learn naturally. Through singing games, fun and play the child discovers the musical elements as they are presented sequentially and has the opportunity to enter the world of music through the creative development of the ear and the eye.
The Kodály Concept within the Australian Context
Since its introduction into the Australian context the influence of the Kodály concept has been significant in the areas of early childhood, primary and secondary education. Research and training have underpinned endeavours in the ACT, NSW, Queensland, Victoria, South Australia and Western Australia and have encouraged many teachers to strive for a better musical future for their students.
When you have mastered your breathing, the following free singing exercises will help you on the path to improving and understanding your voice.
The key to a good rehearsal is to ensure that you achieve the following before starting:
Abdominal breathing
Good posture
Breath during natural pauses
Keep your chin level
Keep your knees loose
Keep your head up
Keep your shoulders sloping and relaxed
Keep your toes pointed forward with your weight on heels and soles
Keep the front of your neck loose - don't stretch it
Keep abdominal muscles relaxed
Keep your back muscles relaxed
Avoid holding your shoulders lifted and puffed out
Relax and SMILE.
If your having a bad day or feel tense and stressed, this can affect your practices and performance. To help achieve consistancy do a few Relaxation Exercises before your rehearsal. If it all starts going horribly wrong, take a break, relax or do something else and try again later.
Stand with your shoulders relaxed, arms by your side.
Breath in slowly.
Sing one note, holding the note for as long as you can without becoming short of breath.
Do NOT suck in your stomach!
Repeat the exercise with different notes using doh, ray, me, far, so, la, te, doh.
Use different mouth shapes and vowels like "ooh", "ee", "a" and "aah"
Try singing up and down a scale (called an arpeggio).
Sing short notes (known as Staccato) as well as long ones.
Sing phrases to improve diction: Examples:-
'I really love to sing' (going up the scale)
'Do,re,me,fa,so,la,te,do'
'La, Lo, Le, Lo'
'Ma, Mo, Me, Mo'
'Ta, To, Te, To'
'Hi, He, Ha, Ho, Hu'
'Qua, Quo, Que, Quo'
'Fluffy Floppy Puppy'
'Lolli, lolli, lolli, lolli pop'
'Bring back the boys big brown blue baseball bats'
'Sally saw silvester stacking silver saucers side by side'
To feel the difference between raised and normal positioning of the larynx, place your fingers gently on your throat and try to talk as if you were a child or use 'baby talk'.
Record your efforts, notice the notes that do not sound right and concentrate on those until they do! Listen to the difference in your recordings over the next few weeks practice sessions to hear the improvement in your voice.
Let’s start, let’s start
Do we start at the end
(kids) no, no, no
Do we start in the middle
(kids) no, no, no
Oh my, which part
Can you tell me where to start
Are you sure not at the end
(kids) no, no, no
Are you sure not in the middle
(kids) no, no, no
My head, is spinning
Hey do we start at the beginning
(kids) yes we do
My head, is spinning
We start at the beginning
REPEAT
Essential and Key Elements of the Concept
Singing
· We should first learn to love music as human sound and as an experience that enriches life.
· The voice is the most natural instrument and one which every person possesses.
· Kodály called singing "the essence" of this concept.
· Singing is a powerful means of musical expression.
· What we produce by ourselves is better learned; and there is a stronger feeling of success and accomplishment.
· Learning through singing should precede instrumental training.
· It is in the child's best interest to understand the basics of reading music before beginning the difficult task of learning the technique of an instrument.
· What do we sing?
o Folk songs and games of the cultures
o Traditional children's songs and games
o Folk songs of other cultures
o Music of the masters from all ages
o Pedagogical exercises written by master composers
· Singing best develops the inner, musical ear.
"If we ourselves sing often, this provides a deep experience of happiness in music. Through our own musical activities, we learn to know the pulsation, rhythm, and shape of melody. The enjoyment given encourages the study of instruments and the listening to other pieces of music as well."(Kodály, 1964)
Folk Music
· Folk music is the music of the people. There can be no better material for singing than the songs and games used by children for centuries.
· Folk Music has all the basic characteristics needed to teach the foundations of music and to develop a love of music - a love that will last a life time.
· Folk music is the classical music of the people, and, as such, is a perfect bridge leading to and working hand-in-hand with-art music.
"The compositions of every country, if original, are based on the songs of its own people. That is why their folk songs must be constantly sung, observed, and studied." (Kodály, 1964)
Solfège
· Solfège is the best tool for developing the inner ear.
· It is an invaluable aid in building all musical skills:
o Sight singing
o Dictation
o Ear training
o Part hearing
o Hearing and singing harmony
o Perceiving form
o Developing memory
· The moveable do system, highly developed in English choral training, was advocated by Kodály as a tool for teaching musical literacy.
· Use of the pentatone (do, re, me, sol, la) was recommended by Kodály for early training of children because of its predominance in their folk music.
Music and Quality
· We believe that music enhances the quality of life. So that it may have the impact it deserves, only the best music should be used for teaching:
o Folk music, which is the most representative of the culture
o The best music composed by the masters
· Quality music demands quality teaching:
o Teachers need to be as well-trained as possible
o Teachers' training must be well-rounded
o Teachers need to develop their musical and vocal skills to the highest degree possible
"The pure soul of the child must be considered sacred; what we implant there must stand every test, and if we plant anything bad, we poison his soul for life." (Selected Writings, p. 141)
Development of the Complete Musician
· Kodály training is a complete and comprehensive approach to music education which meets the National Standards for Arts Education as published by MENC, © 1994.
· The development of all skill areas begins very early with simple tasks required of all the students. As knowledge grows, skills are developed further in a sequential manner.
· In addition to music reading and writing which are begun at an early stage, the following skill areas are also developed: part-singing, part-hearing, improvisation, intonation, listening, memory, phrasing and understanding of form.
· An awareness and knowledge of musical styles develops as skills become more proficient.
"The good musician understands the music without a score as well and understands the score without the music. The ear should not need the eye nor the eye the (outer) ear." (Kodály quoting Schumann: Selected Writings, p. 192)
Sequencing
· Presentation of materials, concepts, and development of skills can be done in a meaningful way only if the curriculum is well sequenced.
· A carefully planned sequence, well taught, will result in successful experiences for children and teacher. Success breeds success - and fosters a love of music.
· A Kodály sequenced curriculum is an experience-based approach to learning rather than a cognitive developmental approach.
"Music must not be approached from its intellectual, rational side, nor should it be conveyed to the child as a system of algebraic symbols, or as a secret writing of a language with which he has no connection. The way should be paved for direct intuition." (Selected Writings, p. 120)