Rhys and Owain Boorman

Rhys and Owain

At the 2017 Kodály Summer School, Rhys and Owain will present a fun and interactive introduction to Cotswold Morris Dance, the most graceful, dynamic and complex of the Morris Dance forms alive in England today. Morris Dancing has easy-to- grasp structures, which are filled with a vocabulary of steps and arm movements distinctive to each “tradition”, and a number of figures and group movements shared between traditions. We will learn one or two accessible dances to explore the beauty of this tradition.

Rhys and Owain Boorman have both been dancing since the age of 12; they are 24 now. Their first side was Mad Jack’s Morris from Hastings, which was their only team for six years before going to university. Since then, Rhys has joined various teams, notably Morris performance group: Morris Offspring and Molly Team: The Seven Champions Molly Dancers. With Morris Offspring he has performed on various stages, including the Royal Albert Hall for the 2014 Folk Awards and has performed in shows in America and Canada.

Owain was just as busy at university, joining and leading two sides in Southampton: Red Stags and King John’s, who dance Border and Cotswold Morris, respectively.  He also formed a new mixed Cotswold side in the Autumn of 2014 called Clausentum Morris.

Rhys and Owain won the famous John Gasson Double Jig Competition in 2015 representing Clausentum, with Owain winning the Solo competition that same year; Rhys was placed 2nd in 2015 and 2016.

Gerard Klaassens

Gerard_photoGerard Klaassens lives in Limburg, in the South of Holland. He has a B.Ed. in Music Education and has studied solo singing. Since 1993 he has attended all the International Kodâly Seminars at the Kodály Institute of the Liszt Ferenc Academy of Music in Kecskemét, Hungary where he has attended many solo singing courses led by Dr.János Klézli and Roland Hadju.

Gerard teaches Kodály Musicianship and recorder at the Myouthic Institute for Art and Culture, Thorn and is also a music teacher at the Music Primary Schools of Hout-Blerick, Montfort and Linne. As a conductor, he directs a children’s choir, an adult choir and a concert band; his adult choir have performed in Poland, Vienna, Salzburg and Baden-Baden.

In Holland he is in demand as a lecturer in Primary Music Education and has given workshops on Kodály teaching at the Utrechts Conservatorim. Last August, he was invited to meet the Minister of Education to discuss music education in the South of Holland. Together with Paul Mestrom he has written a method for recorder based on Kodály principles and is now working on a book about music listening.

Gerard has a great interest in multicultural songs and has travelled (and continues to travel) to many different countries to collect songs.

Nicola Gaines

Nicola Gaines_photo

Exploring Rhythm and Phrasing through 17th Century (Playford) Dances
Nicola’s evening workshop at the BKA Summer School 2017. The workshop aims to combine fun with learning.

Nicola Gaines BPhil(Hons) LISTD CECCHETTI is a specialist performer and teacher of Early Dance.

A graduate of the London College of Dance and Drama, and the Royal Ballet School’s Teachers Training Course, she worked for many years with the late Belinda Quirey MBE. In 1998 she recorded a highly acclaimed video on Baroque dance with Christopher Tudor.

Nicola has worked and performed on numerous educational projects with the Orchestra of the Age of Enlightenment. She has also led educational projects for the Victoria & Albert Museum and Viva (East of England Orchestra). Nicola has also delivered workshops for EPTA, BKA and the Purcell School of Music

Nicola is the Dance Leader and Administrator for the Early Dance Faculty of the Imperial Society of Teachers of Dance and has taught and demonstrated Early Dance on numerous courses run for dancers and musicians.

Nicola is also a senior teacher for the Junior Associates Scheme at the Royal Ballet School where she is responsible for the use of Early Dance material in the JA training programme and performances.

Kodály 4 All

Fleet, Hampshire

Two twilight sessions (4 – 6.30) on the application of the Kodály principles to classroom music teaching (Early Childhood and Primary – easily adapted for instrumental use)

Tutor: Len Tyler

Location: Court Moor School, Spring Woods, Fleet, GU52 7RY

Dates:
Part 1: Wednesday 11th January 2017 from 16:00 to 18:30
Part 2: Wednesday 18th January 2017 from 16:00 to 18:30
Single session attendance by arrangement. Priority give to those attending both sessions.

Who is this workshop for?
Anyone interested in classroom music teaching (preschool and primary). There is no need to be a music reader. This workshop is also suitable for instrumental teachers who want learn the Kodaly principles. Very useful for “whole class” teaching.

What will the workshop include?

  • Use of the basic Kodaly principles
  • Lots of songs, routines, and handouts
  • Examples of easy to produce resources
  • Loads of practical ideas (all tried and tested)

Comments from previous delegates

  • Everything was marvelous and extremely useful
  • All very exciting as my first experience of music teacher training. Loved the practical exercises
  • Having done pre-school music for the last 10 years, and being a professional musician there were surprisingly quite a few things that I hadn’t thought about
  • So many great ideas. It was all useful to me
  • Len was excellent in how he explained the course. Good to listen to and very precise. I enjoyed it immensely.
  • I found Len very inspiring and helpful.

Download the Kodály 4 All Flyer

To register your interest or book a place
Contact: Theresa
Email: enquiry@lentylermusicschool.co.uk
Phone: 01276 504666

This workshop has been set up specifically to support classroom teachers in preschools and primary schools in Fleet (Hants) and the surrounding area and is open to all in both the state and private sector. While there is no need to be a music reader to attend this workshop there will be plenty for the music specialist. As the Kodály principles are easy to see in early years and primary this workshop is ideal for any instrumental teacher wanting to find out how this approach works. The composer Zoltán Kodály (1882 – 1967) discovered that music education in his native Hungary was not good, and certainly not as he had personally experienced music as a child. As a result he set out to improve things by seeking out “best practice” around Europe while travelling as a professional musician/composer. It was in 1964 that the Incorporated Society of Music Educators held their annual conference in Budapest. At that event the world saw for the first time the great benefits of music the education system in Hungary. There are now Kodály organisations in many countries including USA, Canada, Australia, UK and of course Hungary.

Ralph Allwood MBE

Ralph Allwood MBE was for 26 years Director of Music at Eton College and is now a freelance choral director. He is the Director of the Eton Choral Courses, which he founded in 1980. Seven thousand 16 to 20 year olds have been students on courses over the last thirty-five years. He co-founded the Junior Choral Courses in 2012, and is now planning courses in Shanghai, Melbourne and Greenwich, Connecticut. The Rodolfus choir, made up of the best singers from the courses, has been described as ‘unspeakably beautiful’ by Gramophone. It has produced over 20 CDs.

Ralph is a founder and conductor of Inner Voices, a choir made up of singers from state schools in London. He has conducted choirs for 40 live broadcasts for BBC Radio 3, is a judge for the Llangollen Eisteddfod and Cork International Choral Competition and has written much music heard worldwide on radio and television.

Ralph adjudicates the Llangollen Eisteddfod and the Cork International Choral Competition. He is a Fellow Commoner advising in music at Music at Queens’ College, Cambridge, and an Honorary Fellow of University College, Durham. He is Choral Advisor to Novello, Wellington College and Trinity College, Oxford. He teaches at Trinity Laban Conservatoire and at his old school, Tiffin.

In 2012 Ralph was awarded a Doctorate of Music by Aberdeen University. He was made MBE in the 2012 New Year’s Honours list.

Jacqueline Vann

Jacqueline VannDalcroze: using movement in Aural Training
Jacqueline’s afternoon workshop at the Kodály Summer School 2017

This session will look at some of the ways movement is used within the context of an aural training session. Sometimes as an expressive tool, sometimes as a quick reaction game, sometimes as a means of engaging more with the music and sometimes to show the music in space. The class will include games and exercises to do with melody, intervals, chords, harmony and much more.

About Dalcroze: Exploring the language of music through movement
From pulse to rhythm, bar time to phrasing, form and structure the language of music can be explored creatively through movement. There are many benefits to doing this:
– the body learns to feel the music and becomes a musical instrument in itself
– we learn how to use the body effectively
– because we learn to feel music more deeply this helps us when we perform
– we learn many additional skills such as reacting quickly, being well coordinated, learning to actively listen
– we work on our own and in pairs and as a group and learn to cooperate and communicate well
It is a way of learning music that has great value for young and old, amateur and professional, singers and players and much more.

Jacqueline Vann studied Dalcroze Eurhythmics at the Institut Jaques-Dalcroze, Geneva from 1994 to 1997. She is Deputy Director of Studies in the UK and is also responsible for the Dalcroze children’s examinations. She is a freelance Dalcroze teacher working with adults, seniors, musicians and non-musicians, children of all ages as well as those with Specific Learning Difficulties. She teaches regularly on the Dalcroze International Summer School and Easter Course as well as the UK’s Foundation, Intermediate, Certificate and Licence training courses.
She gives regular Dalcroze workshops around the country and has taught in Italy, Norway, Denmark, Japan, Hong Kong, Canada, South Korea and Australia.

In 2013, to celebrate the centenary of the London School of Dalcroze Eurhythmics, she gave two papers at the first International Conference of Dalcroze Studies – one on the Dalcroze Children’s Exams and another on the benefits of using Dalcroze to teach children with Specific Learning Difficulties.

Jacqueline now lives in the South West of England. She teaches with Exeter Young Strings, JUTP Music and is currently setting up Dalcroze training at the University of Exeter. She lives on Dartmoor where she also breeds sheep, keeps chickens and pursues another of her passions – horse riding.

Claire McCue

Claire McCue

Take time to breathe
Claire’s afternoon workshop at the Kodály Summer School 2017

On a ten day BKA course, when there will be so much to take in, take time out in this gentle movement and relaxation session. Through mindful movement, simple stretches to ease tight muscles, breathing, and the chance to simply relax and re-focus, you will also be able to take away some more ideas for relaxation through movement, mindfulness, music and meditation for the future.

Claire McCue is a composer, piano teacher and music educator based in Glasgow, also with a background and qualification in Dance teaching, the result of a much-loved hobby. After a “slight diversion” by way of a BSC(Hons) in Maths, Statistics and Management Science, she studied for a BA in Applied Music at Strathclyde University then, after a few years teaching (and discovering Kodaly!), gained a Masters in Composition (Distinction) from the Royal Conservatoire of Scotland. The Kodaly journey has never stopped since, nor has the composition or love of dance and use of movement in her teaching.

Claire delivers regular musicianship sessions across a range of ages for the RCS Junior Conservatoire and the Royal Scottish National Orchestra Junior Chorus and has co-led an early years training programme for nurseries and Youth Music Initiative tutors for YMI Falkirk Council over the last two years. She teaches piano for RCS early years and privately, and does some workshops for the National Youth Choir of Scotland (NYCoS).

Her compositions and collaborations have won various prizes, been broadcast on BBC radio 3 and performed internationally, and recently she enjoyed combining composition/education worlds in writing some new pentatonic songs for NYCoS. She looks forward to meeting new and familiar faces at the next BKA Summer School.

 

Florent Isoard

Florent IsoardFlorent studied for three years in a jazz school in the South of France. The singing lessons left him hungry for more accurate answers though – and then he discovered Allan Wright.

He liked Allan’s teaching so much that he has been working with him for almost six years, getting his certificate as an associate teacher along the way.  Florent now teaches in music schools, as well as in individual lessons and workshops, all around France.

He specialises in pop music (he is a pop singer) but teaches singers in many other musical genres.

Feldenkrais at the BKA Summer School

Andrea Hallam talks about Feldenkrais
Andrea will be leading two practical sessions on Feldenkrais at the BKA Summer School 2016.

I always have trouble saying what Feldenkrais “is” (I wish I could put it shortly and succinctly!).

Basically, it’s using movement as a tool to heighten awareness. Its effects are potentially far-reaching and profound, as written about so beautifully by Norman Doidge in his new book. (Feldenkrais people say that it’s the best writing on Feldenkrais there is).

Would it be OK if I tell you about my encounter with it…something of what the Feldenkrais Method is to me personally?

I originally came to Feldenkrais through a back problem. After months of physiotherapy and expert care at one of the best clinics in NYC, the experts admitted there was nothing more they could do and recommended Feldenkrais “because it addresses the nervous system”. Long story short, after the very first lesson, when I didn’t have the faintest clue about what it was, if I was “doing it right”, I felt immense relief. I continued and the more I did, the better I felt, especially my back which had become a kind of obsession by then.

I soon noticed another very welcome and surprising effect…it improved my violin playing immensely!! I felt a visceral, physical pleasure and ease that I had never known. I also became much more creative in my practice, coming up with all sorts of new ideas no teacher had ever taught me. As long as I did a Feldenkrais lesson before I played, I was (still am) guaranteed to have a rewarding, creative, productive practice session. It just became so fun!

Last season the manager of the contemporary music group I play with in Israel offered me a solo on viola by the Argentinian composer Matalon. I immediately agreed. When the score arrived I nearly had a heart attack! It was BY FAR the most technically difficult piece I had ever taken on- 40 minutes of unbroken, solo, virtuosic writing, on VIOLA! (I’ve played a lot of the major violin and chamber music repertoire and this was another story). It also included extra-musical, coordination demands such as co-ordinating the music with a silent documentary film by Luis Bunuel with subtitle cues in French and using a foot pedal for electronic effects.

If it wasn’t for Feldenkrais I have no idea how I would have done it!

Feldenkrais gave me a way of working, of “organic learning”, that helped me every step of the way. I promised myself I would feel no stress, keep everything easy. If I detected the slightest change in quality in my work (stress) I would take a different approach. I found innovative ways to build it up gradually and in the end, the performance was a great success- all with minimum stress! It was definitely a first for me and showed me what’s possible.

I still do a Feldenkrais lesson every day if I can. It has such a spurring effect on my work and everything I do, including parenting. I’ve definitely learned more about violin playing from Feldenkrais than any of my teachers, great though they were. There’s just no substitute for feeling it yourself and that kind of integration that’s only possible through this kind of learning, which is in common with Kodály’s method. “Listen” is the key verb used throughout an ATM. It’s another way to train listening.

Here is a link to a TED talk by a fellow student, Dorit, from my training, with some footage of our teacher, Eilat Almagor working with a toddler. I find it a cute and inspiring presentation:

A Feldenkrais Lesson for the Beginner Scientist: Professor Dorit Aharonov at TEDxJaffa

As many of us spend a great deal of time sitting, either as professional musicians, working at a computer or travelling, I think these lessons can be directly relevant to everybody.

Sarolta Platthy

Sarolta PlatthySarolta Platthy graduated from the Liszt Academy of Music with distinction, majoring in Choral Conducting and Music Education.

She went on to teach at a Music Primary School in Budapest from 1971 to 1991, where she taught all levels. She also founded and conducted the school choir.

As a master teacher, from 1984 she tutored students of the Liszt Academy in Methodology during their teaching practice.

Sarolta has been on the faculty of the Kodály Institute, Kecskemét since 1991, teaching Solfege, Music Theory and Methodology. Between 1998 and 2006 she taught classes (age 10-14) in the school of the Hungarian Radio Children’s Choir.

For the last thirty-five years Sarolta has given lectures, led workshops and been instructor at several Kodály Summer Courses throughout the world including the USA, Canada, Great Britain, Ireland, Austria, Switzerland, South Korea, China, Singapore, Malaysia, and the Philippines. She was also a visiting professor in the Kodály Programme of the Holy Names University in Oakland, California in 1977 / 78 and in the autumn semester of 2000.

She is a co-author of the National Curriculum for Music Primary Schools (1997).