Heart to Heart with Kodály

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Join the BKA in a series of online sessions, topics to include Choral; Active Listening; Movement; Early Years, Primary and Secondary Methodology and more.

Click here to Book Online

Outstanding national and international speakers will offer a stimulating and delightful variety of learning opportunities for you to experience and enjoy from the comfort of your home. Scroll down for more details and some videos from our speakers.

Click here to Book Online

The cost per individual session is £5.00. Please select the sessions you wish to book. You may book any number of sessions. Within each day there are three sessions run by different internationally renowned tutors.

Payment should be complete by Friday 31st July 2020. No payment refundable in the event of cancellation after that date. Charges include any applicable VAT and are quoted in pounds sterling; payment cannot be accepted in any other currency.

Sessions will not be available afterwards so please ensure you are able to watch the sessions when they are timetabled.

Any course questions, contact Lucinda Geoghegan on education@kodaly.org.uk or financial questions, contact John Oliver on treasurer@kodaly.org.uk

Download postal application form here

Speakers

Susanna SawChoral folk song arrangements from the Southeast Asian region
Participants will experience singing a variety of folk song choral arrangements from the Southeast Asia region. This score study session will help teachers to derive educational ideas from these works. It is also a great way to know the colourful and unique tone colours from this region.

Pete Churchill Jazz Phrasing – some useful tips for your choir
Whether you are singing in a choir, a small vocal group or singing solo, the art of jazz phrasing is seldom talked about. It is often assumed that you either get ‘the feel’ of jazz or you don’t. However there is much about this subject that can be explained and there are things you can practice that will
improve the ‘swing’ in your music making.
Pete’s workshop will take the participants through a simple SATB jazz arrangement demonstrating how the process of rehearsal changes to fit the style of music. The order in which you address the component parts of your piece will help you become more comfortable with your phrasing and lead to a more authentic experience for both performer and audience.

Allan Hubert-WrightThe many styles of Musical Theatre
This lecture will be an introduction to the idea that Musical Theatre covers many styles of music and different styles of singing. It will be more lecture style but be prepared – Allan will probably have you exploring different sound types at home!

Esther HargittaiCreative ways of connecting in the classroom via musical activities without pupils  leaving their spots
No moving around in the classroom? No circle games?  Staying on your spot, on your chair?
Music is like a river. You can put up a dam, but the water will find its way. Music and singing will always find a way to be a huge part of our lives, in our music education. This session will offer practical and creative ways to connect via music in the classroom carrying on teaching musical literacy, skill training, repertoire for primary, secondary, and older beginners. Mental tasks, quizzes, activities –  with beautiful music. By the way – not only for the pandemic!

Dr Árpád TóthThe most famous melody of the Earth
Let’s follow the exciting career of a renaissance melody, which has become one of the most well-known melodies of the European cultural history. One single melody line, which became a national anthem, the main theme of an ever-green classic, a jazz standard, Swedish, French, Czech and Hungarian folksong, and even a Christmas song!

Dr László NemesDevelopment of listening competences through singing and movement
The workshop seeks to answer how it is possible to transform passive music listening habits into music reception through activity-centered forms of music learning, primarily singing and rhythmic movement and how to help young people embrace artistic musical values ​​emotionally and intellectually.

Dr James Cuskelly OAMKeyboard Fun: Selected Piano Music in the Intermediate Secondary Music Classroom
This session provides an aural-vocal approach to the study of selected examples of keyboard music. Participants will look at the pedagogy for leading students to an understanding of rhythmic, melodic and harmonic elements within the music as well as gaining an understanding of writing for the keyboard as well. Participants do not need to be piano players to attend this session. 

Lucinda GeogheganMove, sing, listen, play
“Play is our brain’s favourite way of learning” – Diane Ackerman
Why is this important in the music classroom particularly at the moment where much of our teaching is online or potentially in a socially distanced classroom? How can we still be engaged in singing, active listening and keep the joy in learning? This will be a practical session so be prepared to bring your inner child along!

Dr Susan Brumfield Over the Garden Wall and Hot Peas and Barley O
Join us for an hour of fun as Susan Brumfield, Professor of Music Education at Texas Tech University returns to the BKA!
An expert folk music researcher and Kodály pedagogue, Dr. Brumfield is the author of two volumes of children’s songs and games collected in the UK. Hot Peas and Barley-O and Over the Garden Wall feature original field recordings, alongside recordings of singers from the National Youth Chorus of Scotland (West Lothian branch), Honeyboune Village School, The New Beacon School and others.
We’ll explore original recordings, view photographs and short film clips and slides of children performing the songs and games. We’ll discuss ways to incorporate these wonderful activities into a literacy-based
curriculum and how to teach musical skills using this collection.

Viktória Emese Gáll – Ringató: Hold in your lap, rock and sing!
The Ringató movement was established by Ilona Groh and her daughter Viktoria is now a colleague running Ringató sessions and publishing books. The members of the British Kodály Academy Study tour to Hungary frequently visit Ringató sessions and we are always astounded at the participation of the parents and the quality of the sessions.
Ringató sessions are held for parents / grandparents with young children at more than 250 locations and are led by more than 100 leaders who are all graduates of the Ringató method training course. In Ringatò sessions the belief is “ we do not teach the children , as they are so young. It would be a mistake! What we do is give a model to the parents – we would like to involve them into something that we find important. We aim to create an experience of singing and playing together with the adults, based on Zoltán Kodály’s principles. 

Borbála SzirányiActive and attentive music listening in upper Primary level
This lecture aims to introducing different approaches used in upper Primary school level to get children become actively involved in music listening. Besides watching and analysing of several short video clips recorded in Hungarian music classrooms, the participants also will have the chance to try out some music listening practices.

Maree Hennessy I am a musician. I do the the things that musicians do
Holistic musicianship for lower primary musicians.

Dr Orsolya SzabóThe SZO Method: Music is Your Body
“Music is your body” is a guide to freedom of artistic expression, a “relative movement system” which analyses all the movements appearing in the musical pieces and the body movements the musicians have to perform while playing. The course will offer an in-depth insight into both the theoretical and practical aspects of the method. The goal is to create a conscious connection between theory and practice. It starts from analysis (the body of the player and the notation) and concludes in an artistic
synthesis of the two. It is recommended for all musicians regardless what instruments they play.

Peter Tregear – The death of notation

Dr László NemesRethinking Kodály–Inspired Pedagogy in the 21st Century
Kodály’s music pedagogical ideas in recent decades have been interpreted in many different ways by many people around the world. The wide variety of interpretations almost seems to obscure the clarity of the original ideas. Do we understand exactly Kodály’s principles of music pedagogy, and is it possible to teach music along these principles in the 21st century?