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GEORGETOWN Music 315 |
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Four Popular Methodologies There
follows some basic information concerning the life, times and
methodologies of Orff, Kodaly, Dalcroze and Suzuki. These are the four
primary methodologies which are utilized in the teaching of
primary-age students. These notes will amplify and augment our
in-class discussions and hopefully provide a valuable resource for
your future teaching
Carl
Orff Carl
Orff [1895-1982]
introduced
to the world a dynamic process -Orff
did not set out to develop a program of music education Goal
of "Orff-Style" Programs is the development of children The
Instruments: xylophones:
wood bars each
of these categories is then divided into "voices": In
addition to these instruments, Primary
Goals of Orff: **this
allows the students to develop thinking creatively** Summary: Zoltan
Kodaly Zoltan
Kodaly [1882-1967]
-known
for his choral works solfege
from Italy and from Dalcroze -Kodaly did however, weave into one fabric which is named for him Main
Points: Lois
Choksy, noted Kodaly authority summarizes Kodaly's basic philosophy: The
work of Zoltan Kodaly has greatly influenced the Hungarian public, with an
unusual amount of musical ensembles and groups flourishing throughout the
country. Singing is widely respected and oft-done. Today there are more
than 150 singing schools in Hungary and the use of the Kodaly method and
principles have spread to Japan, New Zealand, Australia, Africa, most of
Europe and North and South America. One
of the best known facets of the Kodaly method is the hand signs which are
based on the principles of Curwen. Emile
Jaques-Dalcroze (1865-1950)
All of the methodologies [i.e. Orff, Kodaly, Dalcroze or Suzuki] should be viewed as "tools" for our teaching. Essentially each approach is striving to broaden the musical horizons of students as they have meaningful experiences with and about music. Skills in performing, creating and listening to music are pivotal to these four approaches. As you grow and develop, you will hopefully choose an eclectic approach for your teaching, drawing from these methodologies freely. In many cases, the finest teachers have always followed these methodologies, without even knowing the name of Orff, Kodaly, etc. Dalcroze was a Swiss educator who developed a music curriculum which included eurhythmics, solfege and improvisation. These facets were designed to aid the development of muscular sense, the inner ear and a form of creative expression. It was the goal of Dalcroze to find ways which would help his students develop their abilities to feel, hear, invent, sense and imagine, connect, remember, read, write, perform and interpret music. Dalcroze
was educated at Swiss and Viennese conservatories and gained a sound,
traditional musical background. His mother was a Pestalozzian music
teacher, and without doubt, this influenced ways in which Dalcroze would
eventually move. At age 25, Dalcroze was appointed professor of harmony
and solfege at the Conservatory of Music in Geneva. This was his first
contact with a large number of students and he quickly discovered that
though many of the students were technically advanced on their
instruments, they were unable to feel and express music. They were unable
to deal with the simplest rhythmic problems and often their sense of pitch
and tonality was faulty. He subsequently spent the rest of his life
discovering ways which he could facilitate his students' learnings and
understanding about music. Dalcroze always tried to move away from the
dullness and boredom of "disconnected" musical learning. Unlike
Kodaly who was a "weaver" of the elements of others [i.e. hand
signs from Curwen of England, rhythm syllables from Cheve of France, etc.]
Dalcroze was forging new ground for his students at nearly every turn. His
teachers included Faure and Bruckner. He discovered in his work that the
students themselves were the instruments; not voices, or pianos, or
trumpets, etc. He became convinced that through responsiveness of the
entire body, a true "feeling" of music could be taught. He also
discovered that though some young students were unable to tap or keep a
steady beat, that they, were however, able to walk or run in tempo. This
became a hallmark of his innovative teaching methodology. The
hallmarks of the complete Dalcroze method are: Eurhythmics
is Greek for "good rhythm": there are four types: Dalcroze
Activities and "Thirty-Four
Elements of Rhythm": [i.e.
time-space-energy-weight-balance; regular beats; tempo; "Movement
Vocabulary" Movements
in Place Movements
in Space Totality
of Movement Experience: [clapping example on slow beat] Two
Dalcroze-Like Exercises Exercise
One: Dynamics: [Follow] Step
One: instructor indicates that speaking will be minimal, asks the class to
follow what the instructor does-instructor starts to walk around the
classroom, moderate tempo, moderate-well-placed
steps, hands folded [as if praying] ensures everyone is on board:
then at same tempo, stomp feet, hands outstretched-palms outward, make
sure everyone is on board, then at same tempo, tip-toe, bend down-crouch,
cross arms, then at same tempo, resume original stance, regular step,
hands folded. Step
Two: Exercise
Two: 4/4 versus 3/4 [Quick reaction]: Step
One: Step
Two:
Background: In
1958, his amazing accomplishments as a teacher were first presented in
this country at a meeting of the American String Teachers Association at
the Oberlin Conservatory. At this time a film was shown of approximately
750 Japanese children playing Bach's Concerto for Two Violins. The
following year, John Kendall, who became a noted authority on the Suzuki
method traveled to Japan to see Suzuki at work. It was in 1965 [not 1964
as reported in the Hoffer Text] when Suzuki and ten of his students were
presented at the National MENC Convention in Philadelphia. The students
ranged from the ages of 10-14. The impact of their performance was
astounding, as none had ever heard players at such a young age play so
musically and so well. At this point, the saga of Suzuki generally
becomes very well known. In the last three decades hundreds of
Suzuki workshops have been held displaying and explaining the method.
Numerous performances have been staged of extremely young students
performing at an unbelievable level on the violin. The method has also
been transferred to piano, as well as other instruments, and the ideas of
Suzuki have been very influential to our profession for some years. As
with all methods, there are some "true" believers and some
"skeptics". Points for and against will be illuminated. Basic
Influences: Basic
Concepts: Basic
Advantages: Basic
Concerns: Main
Sources:
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