03:361 computers orff and kodály - carrie tapp's...
TRANSCRIPT
03:361 Computers
Orff and Kodály Elementary Music Methods
Carrie Elliott (050014)
1/30/2009
Contents
Orff ................................
Kodály
Philosophy
Tools and Techniques
A Kod
References
Orff and Kodály in Action: A Happy Grade 2 Music Cl ass
Music Methods
Contents
................................................................................................
Kodály ................................................................................................
Philosophy................................................................
Tools and Techniques ................................................................
A Kodály Sequence for Melody in Grade One ................................
References .............................................................................................
Orff and Kodály in Action: A Happy Grade 2 Music Cl ass
Music Methods 2
........................................ 3
................................... 4
......................................................... 4
....................................... 5
................................. 6
............................. 8
Orff and Kodály in Action: A Happy Grade 2 Music Cl ass
Music Methods 3
When teaching elementary music classes, several philosophies
and programs help direct teachers in each class. The most popular
methods are Orff and Kodály. Orff is a philosophy that teachers apply
in their everyday life, whereas Kodály provides a learning sequence
for the music curriculum. Teachers may choose to implement none,
only one, or aspects of both. However, completely combining both
Orff and Kodály is not recommended, as trying to order Orff destroys
its philosophy and Kodály is pointless without its sequence. Educators
should examine Orff, Kodály, and the other programs, like Dalcroze
Eurhythmics, choose what aspects suit them best, and see if it works in
the classroom.
Orff The German composer, Carl Orff, is mainly known for
designing his instrumentarium, which is used in his Orff-Schulwerk
courses. More importantly, Carl Orff developed the technique behind
music education during the 1920's and 1930's. The Orff philosophy
became extremely popular in the 1960's. A basic understanding for
music, as outlined by Orff, can be established from a child's inherent
abilities for melody and rhythm. In addition, the Orff method is closely
linked to a child's world of play and allows students to explore musical
aspects, naturally leading to a more complex understanding of music.
This carefully planned program reflects a child's natural development
and discourages adult influence. Children acquire a musical
Orff Kodály
Dalcroze Eurhythmics
“A basic understanding for music can be
established from a child’s inherent abilities for melody and rhythm.”
Music Methods 4
understanding by infusing the use of instruments with improvisation.
Orff recommends beginning with non-pitched percussion and
progressing to pitched instruments, such as recorders. The Orff system
advances through speech patterns, moving rhythmically, simple tunes,
pentatonic melody, and concludes with major/minor scales. Each step
of the technique also follows a process: imitation,
exploration, improvisation and literacy. Overall, the main premise of
the Orff Method is for children to have opportunities to explore before
literacy is studied.
Kodály
Philosophy Zoltan Kodály was a composer and educator who collected
authentic Hungarian folk songs with Béla Bartók in the early 20th
century. He generated principles to use in music education. These
principles include:
1. Beginning music education as early as possible
2. Using the highest quality music possible
3. That music is for everyone, not just the elite
4. Music programs should begin with their culture’s folk songs
5. The voice should be the foundation of music learning
6. Literacy is the primary key for vocal independence
7. Experience a topic before introducing notation
8. The learning sequence should be child-centered
Orff Process: Imitation
Exploration Improvisation
Literacy
Music is for everyone, not just the elite.
Music Methods 5
Tools and Techniques The Kodály system uses songs from students’ own cultures.
The original Hungarian curriculum uses many folk songs that Kodály
collected and composed. Authentic classical music of superior quality
is also used, but in higher-level classes. Kodály uses the Curwen Hand
Signs with the Dalcroze solfege symbols to teach relationships
between pitches, and eventually melody and sight singing. This
program moves through sol-fa in a specific sequence beginning with
so, me, la, and then progressing through do, re, and the remaining
tones. Kodály also employs the Chêvé rhythm syllables of ta, ti-ti, and
to-o to teach note values. Singing is critical to this philosophy and
instruments are not introduced until students have a solid
understanding of music by way of vocalization. Like Orff, when
teaching via the Kodály method, there is a four-step process to follow:
preparation, awareness, reinforcement, evaluation. There is a learning
progression for students as well; hear/perform – infer/derive –
hear/construct/notate – read – create. Kodály is sequential in all areas
of teaching music yet emphasizes opening the beauty of music to
children. The Kodály method is easy to implement and can provide
structure in a curriculum that lacks it.
Kodály uses: Curwen Hand Signs
Dalcroze solfege symbols Chêvé rhythm syllables
Teaching Process: Preparation Awareness
Reinforcement Evaluation
A Kodáááály Sequence for Melody in Grade One Month Prepare Make Conscious Reinforce
September Higher and Lower October So-Mi Higher and Lower November La-So-Mi Highest and Lowest Higher and Lower December La-So-Mi So-Mi on staff January La-So-Mi Staff Higher and Lower Staff, hand signs So-Mi on staff February So-Mi-So -(So)-Mi Full Staff C,F,G do on staff March S-L-S-M; SSLLSSMM La on staff; hand sign SMS(S)M staff April SMLSM; SSMLSSM Mi-La SLSM; SSLLSSMM on staff May Do, Re M-L on staff
Adapted from: Choksy, L. (2000). The Kodály Method I: Comprehensive Music Education. New Jersey: Prentice Hall.
Orff and Kodály have greatly affected the way music is taught.
Orff encourages a free-flowing application of his philosophy. Kodály
is structured and very strict about his sequences. Aspects of both
methods can be related to teaching elementary music, however trying
to use Orff and Kodály in totality is not recommended. If this is the
case, it will be to the detriment of either Orff or Kodály, and possibly
both. It is suggested that teachers review both methods and decide
what facets suit them best.
“Orff encourages a free-flowing application of his
philosophy. Kodály is structured and very strict
about his sequences.”
Music Methods 8
References Bacon, D. (1970). Kodály and/or Orff? [electronic version]. Music
Educators Journal, 56(8), 17-18.
Boshkoff, R. (1991). Lesson Planning the Kodály Way [electronic
version]. Music Educators Journal, 78(2), 30-34.
Campbell, P. (2006). Music In Childhood: From Preschool Through
the Elementary Grades, Third Edition. Boston: Schirmer.
Choksy, L. (2000). The Kodály Method I: Comprehensive Music
Education. New Jersey: Prentice Hall.
Choksy, L. (2001). Teaching Music in the Twenty-First Century. New
Jersey: Prentice Hall.
Comeau, G. (1995). Comparing Dalcroze, Orff and Kodály: Choosing
Your Approach to Teaching Music. Vanier, ON: Centre
Franco-Ontarien de Ressources Pédagogiques.
Sinor, J. (1986). The Ideas of Kodály in America. Music Educators
Journal, 72(6), 32-37.
Szonyi, E. (1973). Kodály’s Principles in Practice: An Approach to
Music Education through the Kodály Method. New York:
Boosey & Hawkes.
Turpin, D. (1986). Kodály, Dalcroze, Orff, and Suzuki: Application in
the Secondary Schools [electronic version]. Music Educators
Journal, 72(6), 56-59.