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    Zoltan Kodaly Method: (Gacianry)

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    Gacianry May Ronquillo Grecia
    The Kodály Method focuses on singing folk songs to develop musical skills like listening, singing, and reading music. It uses hand signs, solfege syllables like "do re mi," and rhythm syllables to teach musical elements in a sequential way. The method aims to develop every child's musical potential by making music education accessible through games, movement, and high-quality songs.

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    Zoltan Kodaly Method: (Gacianry)

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    Gacianry May Ronquillo Grecia
    37 views4 pages
    The Kodály Method focuses on singing folk songs to develop musical skills like listening, singing, and reading music. It uses hand signs, solfege syllables like "do re mi," and rhythm syllables to teach musical elements in a sequential way. The method aims to develop every child's musical potential by making music education accessible through games, movement, and high-quality songs.

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    The Kodály Method focuses on singing folk songs to develop musical skills like listening, singing, and reading music. It uses hand signs, solfege syllables like "do re mi," and rhythm syllables to teach musical elements in a sequential way. The method aims to develop every child's musical potential by making music education accessible through games, movement, and high-quality songs.

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    © All Rights Reserved
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    37 views4 pages

    Zoltan Kodaly Method: (Gacianry)

    Uploaded by

    Gacianry May Ronquillo Grecia
    The Kodály Method focuses on singing folk songs to develop musical skills like listening, singing, and reading music. It uses hand signs, solfege syllables like "do re mi," and rhythm syllables to teach musical elements in a sequential way. The method aims to develop every child's musical potential by making music education accessible through games, movement, and high-quality songs.

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    (Gacianry) Zoltan Kodaly Method

    Originating in Hungary, this method focuses on the singing voice as the main tool in
    understanding music. Traditional folk music is central to this method, as it contains the raw
    elements of a person’s musical culture. The method also uses hand signs to represent notes in
    the scale, pictures, Movable-Do (as in Do-Re-Mi), rhythm symbols and spoken syllables to
    represent rhythms. The method suggests that everyone is musically capable and is something
    Kodaly himself believed. Games and movement are also used, as with other methods, as well
    as reading and writing. The pentatonic scale is used in the beginning and progresses from
    there. The main sequence of learning is “listen – sing – understand – read and write – create”.
    The method is particularly effective in developing listening skills and ear training.

    (Jag) Philosophy

    The Kodály philosophy of music education supports music’s role in the intellectual, emotional,
    physical, social, and spiritual development of every child. A central tenet of the Kodály approach
    is that music belongs to everyone—that an education in music is the right of every human being
    and cannot be left to chance.
    Zoltán Kodály (1882–1967) was an ethnomusicologist and composer from Hungary. He was
    appalled by children’s poor singing quality, and began to create teaching methods to improve it.
    His approach was highly sequential. He began with sight-reading and mastering basic rhythms
    and pitches that gradually increased step by step to become more complex, sometimes by
    adding only one new note or rhythmic value at a time.
    Kodály was also appalled at the type of songs and repertoire children were learning in school,
    and began to focus on utilizing authentic folk music and composed music of excellent quality
    through which to teach children.
    (Erica) Hand signs

    Although he adopted the signs to Curwen, Kodály did make alterations based on two previously
    established hand sign systems—Sarah Glover’s Norwich sol-fa (1845) and John Curwen’s tonic
    sol-fa (1858). The hand signs are very much associated with the Kodály method, which uses the
    hand signs to help children visualize the spatial relationship between notes. This aids in proper
    and correct on-pitch singing as well as sight-reading and ear training.

    (Frances) Solfege of Kodaly


    Although solfege singing was around long before Kodály, he became known for it as he used it
    extensively in his sight-singing system exercises and throughout his method. Solfege
    corresponds to the notes of the major scale, using the syllables Do, Re, Mi, Fa, Sol, La, and Ti.
    These words are often abbreviated to D, R, M, F, S, L, T, and D.

    In terms of notation, Kodály’s exercises do not have to use the regular musical staff. Instead,
    exercises and even songs can be written out using just the D, R, and M, etc., with the rhythm
    notated about it. Use of the solfege is a highly effective way to teach children that music or
    notes are separate entities from lyrics. Teaching a song using solfege rather than the lyrics
    helps the listener hear patterns and intervals.

    (Oliver and Graniel) Solfege teaching sequence

    Kodály singing technique begins with the child practicing only a few pitches and mastering them
    before moving on to another note; e.g., beginning with only a minor 3rd interval of Sol and Mi,
    and gradually adding the La after the Sol and Mi are mastered. Gradually, the child will expand
    the number of pitches learned to include the major pentatonic scale (Do, Re, Mi, Sol, La), and
    minor pentatonic scale (La, Do, Re, Mi, S).

    Kodaly’s solfege examples


    After these are mastered, the student is introduced to all of the diatonic pitches (Do, Re, Mi, Fa,
    Sol, La, Ti, etc.) and then the accidentals.

    (Jasmin) Kodaly’s rhythm syllables

    Kodály also incorporates rhythmic syllables in his method. These syllables are based on the
    work of Emile-Joseph Chêvé, a French theoretician. These syllables are taught sequentially as
    well, and begin from basic note values (i.e., quarter notes) up to more complex combinations.

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