Intro to Kodály. Illinois Music Educators Conference, 1/26/2017 Presented by Christine Smith & Katie Hays

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1 Illinois Music Educators Conference, 1/26/2017 Presented by Christine Smith & Katie Hays Intro to Kodály Often a single experience will open the young soul to music for a whole lifetime. Zoltán Kodály Zoltán Kodály ( ) was a Hungarian educator, composer and philosopher who s work has influenced musicians and music educators all around the world. Kodály believed that everyone is born with a musical ability that should be allowed to grow and develop from early childhood. It begins in the home and continues in a school music program. The goal is to instill a love of music in each child. Surrounding himself with many creative and talented educators, Kodály developed a philosophy of music education that s goal is to educate the complete musician. Essential and Key Elements of the Kodály Philosophy JOY Creating a joy of music in children will create a society of lifelong music learners. Experiencing music cannot begin too early. When Kodály was asked when music education should begin, he replied "Nine months before the birth of the mother." SINGING Singing is the essence of the philosophy. The voice is universal instrument. It is the best teaching tool because it is "free and accessible to all." LITERACY Music literacy is the key to understanding and enjoying music. It is the right of all people. Music Literacy is like language literacy. Reading music should be like reading a book. "We should read music in the same way that an educated adult will read a book: in silence, but imagining the sound." SOLFEGE Solfege is the best tool for developing the inner ear. It is great aid in building musical skills such as sight singing, dictation, and ear training. FOLK MUSIC Folk music from one s own culture provides the best and most natural material for becoming a literate musician. Only music of the highest quality should be used in teaching. Kodály believed that "only best is good enough for a child!" SEQUENTIAL Learning is experiential. Sound comes before symbol. Move from the known to the unknown. Using a sequential approach based on the age of the student will result in music literacy.

2 We teach easier melodic and rhythmic concepts first to build musical knowledge. We emphasize the experience of music before introducing notation and terminology. TOOLS OF THE APPROACH Tonic solfa system, Curwen Hand signs, Rhythmic syllables, Movement, and folk songs of the child s culture, other cultures and art music. The PPP: Prepare, Present, Practice! This model is extremely important in the Kodály approach, and is followed for every melodic and rhythmic concept that is taught. Concepts are prepared and practiced physically, visually and aurally to engage all types of learners. Preparation Phase Students are not held accountable for the information. Teacher isolates and extracts the new concept. Students move from known to unknown. This phase is lasts weeks until the students show that they have a strong understanding of the new element. Presentation When the students are ready, they discover the new element. Students learn the element name, symbol or place on the music staff. This phase takes place in a single lesson. Practice Phase Students will practice the new material forever. The students are now held accountable for the information. Practice activities include reading, writing, improvising, composing, performing, listening, inner hearing, solo singing and part-work. Want to learn more? Check out these great Resources! 150 American Folk Song to Sing, Read and Play, Peter Erdei Sail Away 155 American Folk Songs to Sing, Read and Play, Eleanor G. Locke An American Methodology, Ann Eisen and Lamar Robertson Anything by the New England Dance Masters Anything by Jill Trinka Get Involved with your local chapter of the Organization of American Kodály Educators! Central Illinois Kodály Educators (CILKE) Chicago Area Kodály Educators (CAKE) St. Louis Area Kodály Educators (SLAKE) Organization of American Kodály Educators (OAKE)

Rhythmic & Melodic Activities for Preparing do and Practicing Rest The goal of this sample lesson is to give you a glimpse of a Kodaly-inspired music lesson.

Mouse Mousie o Aural Prep: Students listen to the new song, and signal any low sounds that they hear.

clapping the rhythm and patting the beat Poison Rhythm o Aural Practice Rest: Students clap all rhythm patterns that the teacher plays except for the rhythm that is chosen to be poison.

3 Rhythmic & Melodic Activities for Preparing do and Practicing Rest The goal of this sample lesson is to give you a glimpse of a Kodaly-inspired music lesson. Apple Tree o Physical Prep do: Students sing the song while showing the sounds on their body staff o Visual Prep do: Students move the apples to show the melodic contour of the song. Mouse Mousie o Aural Prep: Students listen to the new song, and signal any low sounds that they hear. King s Land o Visual Practice so-mi-la, Rest: Mystery Song Students read the music with solfege and rhythm syllables and identify a known song o Physical Practice Rest: Students sing the song while clapping the rhythm and patting the beat Poison Rhythm o Aural Practice Rest: Students clap all rhythm patterns that the teacher plays except for the rhythm that is chosen to be poison. Johnny Caught a Flea o Aural Practice Rest: Students signal when they hear the poison pattern in the new song o Rhythm Grid: Adjacent squares are drawn on the board. Each square contains two beats of the song s rhythm. Erase one square at a time. The class must clap and say each square by memory. The goal is to memorize the entire song using rhythm syllables.

4 Songs & Games Hey There, Neighbor Game: Standing in a circle with partners (like Bow Wow Wow) m.1: Shake right hands m. 2: Shake left hands m.3-4: Connect both hands, swinging partner and switching places m.5: Wave to your partner m.6: Shimmy down m.7-8:give a side bump and turn around to new partner Apple Tree Game: Choose 2 students to be the first apple tree. These students face each other, join hands and make an arch with their arms. The walk under the tree (with feet to the beat) in a circle until the word OUT! The tree drops and captures whomever is beneath it. The captured student forms a new tree (with teacher or another student) and the circle must now walk under two trees. The game continues until there are no students to catch or until time runs out.

5 Mouse Mousie Game: Students sit in a circle. The mouse skips around the outside of the circle. On Chasing you the mouse tags the closest student and must run around the circle and sit down in the student s spot before he tags the mouse. This student is now it. King s Land Game: One student is chosen to be the king. During the song, all of the students are dancing and playing on the king s land. After comb the king returns home to his castle and all of the students freeze, becoming statues. The king looks for any statues that move. If caught, the student must sit in the dungeon. Johnny Caught a Flea Game: Students sing, One Two Three, (their own name) caught a. The animal they choose must begin with the same letter as their first name. For example, One, two, three. Katie caught a kookaburra. Then everyone sings, Kookaburra died, Katie cried, Tee, hee, hee.

6 Rhythmic Activities for preparing xxxc Dance Josey o Learn the game and the song o Aural prep: listen for how many sounds per beat o Visual prep: move icons to show how many sounds per beat Paw Paw Patch o Learn the Dance o Aural practice: students signal when they hear the new rhythm Rhythm improvisation o Kinesthetic practice: students create a pattern that includes the new rhythm using body percussion Practicing xxxc Other ways to practice include: o Centers o Worksheets o Stick to staff exercises o Games, like poison Center ideas include: o Composing with rhythm dice o Kaboom! o Worksheets to fill in the blank rhythms or to copy rhythms o Koosh quest o I have; who has? Sample Practice Activities to Use in Your Classroom:

7 Name: Roll the Dice! Roll the rhythm dice! Put the dice in an order that you like, then copy the rhythm that you rolled on the line below. Try to have all different rhythm patterns!

8 Kaboom Directions 1. Choose a player to go first. 2. Pull a stick from the container. 3. Clap or say the rhythm on the popsicle stick. 4. The rest of the players will determine if the rhythm was performed correctly. If it was not performed correctly, the student will put it back in the container. If the rhythm was performed correctly, the player will keep the stick. 5. Any student who pulls a Kaboom stick must put all sticks back in the container. 6. The student with the most sticks at the end of the center is the winner.

Primary Music Foundation in Teaching and Learning L2: Year 3 & 4 Music Play to Learn and Learn to Play

Primary Music Foundation in Teaching and Learning L2: Year 3 & 4 Music Play to Learn and Learn to Play This workshop is presented on behalf of KMEIA For more information visit the website www.kodaly.org.au