AFTERNOON OPTIONS FOR SUMMER SCHOOL STUDENTS

AFTERNOON OPTIONS FOR SUMMER SCHOOL STUDENTS An Afternoon Options list will be sent to you on receipt of your application form. You are requested to make your choices in advance and return your form to the organiser. Some classes will have a limit on the number of students and places will be allocated on a first come first served basis. Our expectation is that once a course of study has begun the student will stay with their choice for the rest of the week, be it for a series of two, four or six lessons. All sessions will be dependent on numbers, and the BKA reserves the right to cancel a course if the minimum number of students [6] has not been met. SESSION ONE OPTIONS MONDAY - SATURDAY 2.00 3.30 pm FOR SINGERS GROUP SINGING WITH RELATIVE SOLFA [MONDAY SATURDAY] (Alan Murdock) These sessions will provide sight-singing practice for singers at the Summer School using material which will develop their skills in singing at sight with good intonation. NB. Those having singing lessons are free to choose any of the Session One options. Group Singing is offered with singers in mind, but it is open to anyone attending the Summer School. INDIVIDUAL LESSONS WITH JÁNOS KLÉZLI OR JEANETTE MASSOCHI TIMETABLED IN ROTATION THROUGHOUT THE AFTERNOON. Students wishing to study particular repertoire are requested to let the Tutor know in advance [via the Course Administrator] and to bring their music with additional copies for the Course Accompanist, Simon Kent. FOR PIANISTS INDIVIDUAL LESSONS WITH ORSOLYA SZABÓ TIMETABLED IN ROTATION THROUGHOUT THE MORNING AND AFTERNOON with the exception of Session Two. INSTRUMENTAL METHODOLOGY WITH A FOCUS ON PIANO with Celia Waterhouse and Gillian Earl [Wednesday Saturday] may also be of interest. FOR TEACHERS METHODOLOGY [MONDAY SATURDAY] 1. METHODOLOGY FOR EARLY YEARS TEACHERS AND PRACTITIONERS: HELGA DIETRICH The Early Years Methodology course will present musical materials and explore age-appropriate and playful musical activities to enhance early childhood development in many ways: social, emotional, cognitive, physical - and musical responsiveness and skills. During the week participants will have the chance to work with the basic principles and objectives of music education for the young child, learning about the general sequence of musical interest and development in young children. Participants will learn and play rhymes, children songs and games for babies, toddlers, and preschool children from 3-7 years of age. 2. METHODOLOGY FOR PRIMARY YEARS TEACHERS AND PRACTITIONERS: CYRILLA ROWSELL This course is for those teachers with either no experience of teaching in a Kodály way or those with a small amount of experience. More experienced teachers who haven't worked with Cyrilla before are also welcome. Reception and Key Stage 1 will be covered in the first three sessions. Cyrilla will show how to introduce the concepts of pulse, rhythm, pitch and tempo, firstly through unconscious experience. She will show ways of making this experience conscious and ways to practise and reinforce concepts once that stage has been reached. This will lead to the introduction of solfa, handsigns, rhythm names and notation. Key Stage 2 work will be demonstrated in the second half of the week. This will cover the development of musical literacy and how new rhythm and pitch elements can be taught and

reinforced. Once the musical literacy stage has been reached more ways of teaching a song are possible and some of these will be demonstrated. Ways to start teaching older (Y5 and Y6) beginners will also be discussed. 3. METHODOLOGY FOR EXPERIENCED PRIMARY/SECONDARY KODÁLY TEACHERS AND PRACTITIONERS LÁSZLÓ NEMES (MON WED) Vocal-based development of generative musical skills in the primary and secondary classroom through creative musical games, improvisation and the development of music listening competencies. SAROLTA PLATTHY (THURS SAT) "From Folk Music to Art Music: Teaching Renaissance, Baroque and Viennese Classical Music at the Primary and Secondary Level." 4. METHODOLOGY FOR INSTRUMENTAL TEACHERS AND PRACTITIONERS MONDAY & TUESDAY: Instrumental Methodology will commence with two sessions focusing on preinstrumental training - ie one session on pulse and rhythm work and one on pitch, both leading up to the introduction of rhythm names and notation, and solfa names and handsigns (s-m), respectively. WEDNESDAY SATURDAY: For the remaining four sessions, students will be requested to choose between the String, Wind, Piano or Whole-Class Music strand and to attend all the sessions in that strand. The sessions will be progressive and cumulative. The String, Wind, Piano and Whole-Class Music strands will all run concurrently in the first (1.5 hour) session of the afternoon from Wednesday to Saturday. o Pre-Instrumental Training: Miranda Zwalf on Monday and Tuesday followed by o Specific Instrumental Training: Piano, Strings, Wind, OR Whole-Class Music on Wednesday, Thursday, Friday and Saturday. Students are advised to bring their instruments as appropriate: Piano: Celia Waterhouse (Wed); Gillian Earl (Thurs Sat) Stringed Instruments: Nicky Woods, cello and other bowed strings (Wed Fri); Luke Dunlea, guitar (Sat) Wind Instruments: Len Tyler, Brass (Wed); Celia Waterhouse, Recorder (Thurs) and Miranda Zwalf, Flute (Fri- Sat) Whole-Class Music: Liz Nicholas (Wed Fri); Jay Stannard (Sat) Students are requested to stay with their chosen strand, ie. Piano, Strings, Wind or Whole-Class throughout the week, even though the actual instrument within a particular genre may change. The student will gain insights into the use of Kodály techniques with that particular instrument as well as benefiting from a different tutor s perspective. ADDITIONAL INFORMATION RE INSTRUMENTAL METHODOLOGY STRANDS: PIANO STRAND Celia Waterhouse [Wednesday] This session looks at how traditional songs and rhymes in a Kodály programme can be sequenced and used effectively as first repertoire in the early stages of learning piano. Through enjoyable ensemble music-making with teacher, parent and fellow-pupils, technique and co-ordination can be developed along with musical ear and memory, prior to reading from staff notation. Gillian Earl [Thursday, Friday and Saturday] Applying principles of the Kodály Concept to beginners at the piano requires the adaptation of conventional methods not least in initially reading music in solfa and playing on the black keys. In terms of both musical understanding and interpretation this way pays dividends for the pianists who are thereby enabled (in Kodály's words) to hear what they see and see what they hear so that they play with the music in their mind. These sessions will guide teachers through the tutor books, 'With Music in Mind', (Earl) and will also suggest strategies for grafting the Kodály approach into the lessons of existing pupils at their various

levels. There will also be ideas on setting up small groups amongst the pupils for musicianship training to supplement their individual piano lessons. STRINGS STRAND Nicky Woods [Wednesday, Thursday and Friday] Fingers, Head and Heart This course will look at the first stages of playing and the developing string player and musician. Topics will include approaches to pieces, scales and arpeggios, improvising and ensemble playing. The sessions will be suitable for all string players and will be largely practical - so instruments will be needed. Luke Dunlea [Saturday] The Movable Do and Guitar Fingering This session will explore the use of relative solfa in position playing, polyphonic thinking and the sequential development of classical guitar technique incorporating the Kodály Method. Guitarists are recommended to attend with their instruments. WINDS STRAND Len Tyler [Wednesday] Brass This will be a practical session (please bring an instrument) focusing on ensemble skills including balance and tuning using pattern scales. There will also be work on using solfa to establish fingering patterns, basic improvisation, and teaching a tune aurally supported by stick notation as well as the opportunity to discuss any particular issues or difficulties in teaching wind instruments with a view to finding a Kodály solution to such matters. The workshop will be suitable for woodwind (excluding recorders) as well as brass. Celia Waterhouse [Thursday] Recorder This session introduces a method of teaching beginner recorder in a whole-class setting in association with a Kodály programme. Pupils learn repertoire through singing games and other activities, and gradually extend their playing skills along with their understanding of solfa. The programme offers lots of scope for ensemble playing and lays foundations for musical literacy. Students are requested to bring a descant recorder. Miranda Zwalf [Friday and Saturday] Flute These practical sessions will explore how to choose and support teaching material developing solfa and letter names concurrently as well as general musicianship skills, including composition and improvisation. These sessions are useful for both individual and group teaching and will employ standard Kodály tools as well as ipad/computer applications. WHOLE-CLASS MUSIC STRAND: Liz Nicholas [Wednesday, Thursday, Friday] Whole Class Music with Instruments. These three sessions have been designed for classroom teachers, Wider Opportunities providers and anyone working with groups and instruments. Topics will include untuned percussion and Key Stage 1; ukuleles as whole class instruments and what to do with an assortment of tuned and untuned instruments. Jay Stannard [Saturday] Classroom Methodology and Composition. This session will be last of four classroom methodology sessions. Jay will be looking at how he incorporates the Kodály skills into a composition workshop which is based around song-writing. Although not thoroughly Kodály based throughout, the session will show how you can link the prior knowledge of a class using Kodály into a creative session when, for example, you're asked to 'produce a song about the water cycle for assembly this afternoon'.

SESSION TWO OPTIONS: Monday Friday 4.00 5.15 pm 2. CONDUCTING TECHNIQUE (Esther Hargittai, Sarolta Platthy, László Nemes) Conducting classes are offered at three levels and will be taught over four days; students beginning this course on Monday will be expected to attend all four sessions. 1. Beginners (Esther Hargittai) This will consist of the following: o Practical sessions in leading group singing with children with the aim of developing leading skills and ultimately improving performance with teaching musical concepts. o Learning basic conducting techniques beating patterns, cues and cut-offs o Learning how to lead a rehearsal o How to select repertoire o How to use your rehearsals and lessons for improving your group's musical skills and to teach them musical concepts 2. Intermediate Level (Sarolta Platthy) This will consist of the following: o Conducting technique - starting, stopping, pauses, cues, crescendo/diminuendo. o Left hand and right hand functions; independence of the hands o Beating patterns o Preparing a score and knowing it o Using a tuning fork rather than a piano - developing aural acuity o The use of relative solfa to improve reading and intonation o Working à cappella o Stylistic knowledge & understanding 3. Advanced Level (László Nemes) At this level, it is assumed that the student has considerable experience conducting choral groups. Participants will have an opportunity to work on the following pieces: o Antonio Lotti: Missa brevis - Kyrie and Sanctus http://www2.cpdl.org/wiki/images/sheet/lott-mbd.pdf o Ferenc Liszt: Ave Maria in D http://conquest.imslp.info/files/imglnks/usimg/9/95/imslp58786-pmlp36585- Liszt_Musikalische_Werke_5_Band_6_23.pdf o György Orbán: Nunc dimittis music on application Participants will be expected to: o study the pieces before the course o be able to sing all the parts with solfa as well as text o play the pieces on the piano from open score. 2. CHAMBER MUSIC COACHING (Orsolya Szabó) In Chamber Music coaching complete harmony between the participants combined with a complete and deep understanding of the music will be the goal under the inspired direction of this gifted musician. According to the Kodály philosophy, starting from the whole, dismantling the elements, and building up the whole again will lead to a greater understanding of the music and a consequent enriching of the performance. For the purposes of this course a chamber group may consist of two or more musicians in any combination, e.g singer and piano, instrument and piano, piano trio, string trio, wind duo etc. Each chamber group will be required to bring their own copies of the music that they will have chosen and prepared in advance of the course. Participation will be available on a first come first served basis for up to eight groups in four afternoon sessions. Each group will receive at least one 40 minute session and will benefit from observing the coaching of the other groups in the class.

NB: CONDUCTING TECHNIQUE AND CHAMBER MUSIC COACHING WILL BE OFFERED IN CONSECUTIVE SESSIONS FROM MONDAY TO FRIDAY. THERE ARE NO CLASSES ON WEDNESDAY. 2. AFRICAN DRUMMING in Session Two MONDAY & TUESDAY ONLY (Eliza Wylie) These sessions will be an introduction to the Djembe and Dun Dun (bass) drums from the West African countries of Guinea and Mali over two days. The workshops will focus on moving to and singing the rhythms before playing them and will look at a traditional piece of djembe music with a song and some dance moves. We will be learning all the music by ear and the sessions will also cover some ways of using djembe music and dance in school to teach musicianship through movement and singing rhythms. Please come dressed comfortably and prepare for some movement. Students are requested to attend on both days as the work will be progressive. The session will be limited to 15 students. 2. KODÁLY, DALCROZE AND GAMELAN in Session Two THURSDAY AND FRIDAY ONLY (Nikhil Dally) Fine European music pedagogies such as those of Kodály and Dalcroze sometimes ignore the challenges and opportunities thrown up by non-western musics. And some world music practitioners eschew detailed consideration of pedagogy, preferring to rely purely on osmosis to teach their art. If you are a teacher who uses Kodály or Dalcroze methods, I hope in this course to show how these fine pedagogical practices derive, ultimately, from certain fundamental impulses (e.g. singing and movement) which lie at the heart of many musics from around the world. You will see how many of the techniques and concepts espoused by Messrs. Kodály and Jaques-Dalcroze can be adapted to the teaching of non-western musics. You will experience the rich complexity and spiritual profundity of Javanese gamelan qualities which are so often lost in today s pile-it-high-sell-it-cheap educational climate. This session will be limited to 18 students and those beginning on Thursday in Session Two will be expected to continue on Friday in Session Two as it will be a continuation of the work begun on Thursday. I will use Kodály- and Dalcroze-derived techniques to teach you, in a hands-on practical way, to internalise, to feel, to understand and to play some simple Javanese music. No previous gamelan experience is required: merely a willingness to remove your shoes and socks, to sit on the floor, to sing, and to move. (N.B. This is not a training session aimed at giving you ready-made materials to take away and use on your own music students. Rather, I hope to inspire you to learn to play this music well, so as to allow you and your work to be enriched by it at a profound level, both as musician and teacher.) THIRD SESSION OPTIONS: MONDAY AND TUESDAY ONLY 5.20 6.35 pm 3. DALCROZE (Monica Wilkinson) The sessions will focus on developing hearing, memory, co-ordination and rhythmic skills, and how these skills can be used for simple improvisation incorporating relative solfa. Participants are requested to wear clothes you can move in. 3. MULTI-CULTURAL MUSIC (Gerard Klaassens) This class will be offered on Monday and Tuesday only. This session will provide a practical opportunity to explore songs and games from all over the world. The material will include unison songs as well as some easy choir pieces and will be suitable for all ages and capabilities in the classroom or the community. 3. AFRICAN DRUMMING [Repetition of Session two] (Eliza Wylie) These sessions will be an introduction to the Djembe and Dun Dun (bass) drums from the West African countries of Guinea and Mali over two days. The workshops will focus on moving to and singing the rhythms before playing them and will look at a traditional piece of djembe music with a song and some dance moves. We will be learning all the music by ear and the sessions will also cover some ways of using djembe music and dance in school to teach musicianship through movement and singing rhythms. Please come dressed comfortably and prepare for some movement. Students are requested to attend on both days as the work will be progressive. The session will be limited to 15 students.

THIRD SESSION OPTIONS: THURSDAY AND FRIDAY ONLY 5.20 6.35 pm 3. ZUMBA (Zoe Morris) Using upbeat Latin music together with cardiovascular exercise, Zumba is aerobic dancing that is lots of fun and easy to learn. A typical Zumba session incorporates several dance styles, including cumbia, merengue, salsa, reggaeton, mambo, rumba and Salsaton. The Latin music includes both fast and slow rhythms, allowing for a great cardio workout as well as body sculpting exercises. Zumba is great for musicians as it develops co-ordination, concentration, memory and offers a stress-free joyful time. Participants are advised to wear trainers and sports clothes and to bring a bottle of water and a small towel. 3. CLASSICAL MUSIC IN THE PRIMARY CLASSROOM (Gerard Klaassens) This workshop will look at how to incorporate and make the most of classical music in general class music sessions and will include singing, playing, moving and drawing as well as playing games with classical music. Students are requested to attend on both days as the work will be progressive. 3. KODÁLY, DALCROZE AND GAMELAN [Repetition of Session Two] (Nikhil Dally) Fine European music pedagogies such as those of Kodály and Dalcroze sometimes ignore the challenges and opportunities thrown up by non-western musics. And some world music practitioners eschew detailed consideration of pedagogy, preferring to rely purely on osmosis to teach their art. If you are a teacher who uses Kodály or Dalcroze methods, I hope in this course to show how these fine pedagogical practices derive, ultimately, from certain fundamental impulses (e.g. singing and movement) which lie at the heart of many musics from around the world. You will see how many of the techniques and concepts espoused by Messrs. Kodály and Jaques-Dalcroze can be adapted to the teaching of non-western musics. You will experience the rich complexity and spiritual profundity of Javanese gamelan qualities which are so often lost in today s pile-it-high-sell-it-cheap educational climate. This session will be limited to 18 students and those beginning on Thursday in Session Three will be expected to continue on Friday in Session Three as it will be a continuation of the work begun on Thursday. I will use Kodály- and Dalcroze-derived techniques to teach you, in a hands-on practical way, to internalise, to feel, to understand and to play some simple Javanese music. No previous gamelan experience is required: merely a willingness to remove your shoes and socks, to sit on the floor, to sing, and to move. Each class will be limited in number to 18 students; anyone choosing this option must be prepared to continue on Day Two as newcomers will not be admitted on the second day. (N.B. This is not a training session aimed at giving you ready-made materials to take away and use on your own music students. Rather, I hope to inspire you to learn to play this music well, so as to allow you and your work to be enriched by it at a profound level, both as musician and teacher.)