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Spring Course 2016 – Thoughts on Day 1

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Some of our attendees have been posting their thoughts on the Kodály Spring Course 2016 on Facebook and Twitter.

Here are the comments on Day 1 – remember to use #BKA2016

“A few minutes in and we are singing a Machaut virelai, switching between solfa and letter names (with some body percussion thrown in for good measure) then singing harmonic accompaniment before singing the melody while playing… ‪#‎bka2016‬” Ben Westley

“I was moved up to the level 7/8 musicianship group and I was shocked that I actually coped quite well. Today I have been doing modal transformations and singing in canon with myself playing… All thanks to some amazing teachers. ‪#‎BKA2016‬” Ed Jones

“Intervals add up to 9! Light bulb! ‪#‎BKA2016‬” Emma Ede“ presented marvellous concert of gypsy songs at tonight. Fab” Rebecca Berkley

“In Telford for four days Spring Course. Sharing expertise, singing and learning together. ” Will Green

“Tonight was a wonderful reminder that singing in it’s essence is just story telling. Music should never be separated from its meaning.” Rebecca Willson

And how about some informal music making to finish the night off?

 

Concert: Sam Lee

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An incredible evening with BBC Folk Award Nominee Sam Lee.

We were expecting a performance of the traveller songs he has collected over the past decade. However we received so much more. An accomplished story teller, Sam told the fascinating story of how he, a boy from Camden, has conserved so much of the fading singing culture of the different traveller communities in the British Isles. In addition to bringing so many of the songs to live by explaining their history and the story told by the song.

“Tonight was a wonderful reminder that singing in its essence is just story telling. Music should never be separated from it’s meaning.” Rebecca Willson

Here are some wonderful clips of the evening.

Explaining the story and origin of the folk song Georgie, including some idea of the variety of versions.

Teaching us one of the Gypsy Traveller folk songs.

Once we had got the hang of it.

The final song with our assistance with an effective drone.

 

The Role of Folk Song in the Kodály Approach

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What better way to launch the Kodály Spring Course 2016 than a lecture on the Role of Folk Song in the Kodály Approach by Dr László Norbert Nemes.

After getting us all moving with a fun Hungarian folk dance he explained Kodály’s views on folk music and their place in the pathway to understanding past, present and future Classical art music.

“In traditional songs the emotions of centuries are immortalised in a form polished to perfection…. No masterpiece can replace tradition.” Kodály, Selected Writings p145

Historically the children’s life would have been filled with music.

“Natural village life [was] saturated with music…” Kodály, The Role of Authentic Folksong in Musical Education.

The role of schools and music education in schools is to

“supply the lost natural evolution” Kodály, The Role of Authentic Folksong in Musical Education

Always thinking ahead, in addition to teaching us a beautiful song, László was also preparing us for our Choir session that evening where we revisited the song as our warm up with some great body percussion to get our blood pumping.

Sarolta Platthy

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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).

Malcolm Hawkins

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Malcolm HawkinsMalcolm Hawkins works as piano accompanist, organist, choir director and composer.
He is a piano teacher for the Buckinghamshire Learning Trust and organist at the parishes of Yarnton and Begbroke near Oxford. While living in the USA he was Music Director of the First Parish in Lincoln , Massachusetts. He attended the Kodaly Institute in Kecskemet on a British Council fellowship in 1986. His music has been published by Stainer and Bell, E.C.Schirmer in Boston and Keturi Verlag in Germany, and performed by the BBC Singers, Brighton Festival Chorus and various college choirs in Britain and the USA.

Sight Reading Research – Marion Wood

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Marion will be presenting a session on her sight-reading research at the Kodály Summer School 2016.

How do we read music? Music Psychologists have puzzled over why some people become better sight-readers than others, particularly at the piano. Whilst Kodaly-related materials provide careful step by step approaches for singing, one outcome of which is excellent sight-reading, there are few comparable programs for the Piano when it is taught in isolation. The frustration that goes with the struggle to master the notation is a significant factor in students giving up the Piano, or sometimes music altogether.

In this session, I will discuss the results of sight-reading experiments that asked intermediate and excellent pianists to look at three pitches when they appeared on a computer screen and play them as fast as possible on a keyboard. After many repetitions, using both clefs in turn, and changing the key signature approximately every 80 trials, some very interesting patterns emerged.

It seems that we can separate features of piano sight-reading into two general groups: those that have to do with understanding and recognising the fundamental structures of music, and those that result directly from the way music is written down. The Kodaly approach forms an excellent basis for general musicianship, and consequently contributes to good sight-reading, but drawbacks of the actual written notation have been little-studied until now, and are surprisingly evident even in the most accomplished sight-readers of all backgrounds.

Can we use this knowledge to improve the process of learning to sight-read at the Piano (and other instruments)? Or can we begin to adapt our strategies to the particular strengths and weaknesses of different students? Both simple and more radical(!) strategies will be discussed.

Marion Wood

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Marion WoodMarion will be presenting a session on her sight-reading research at the Kodály Summer School 2016.

Marion Wood studied Music & Electronics at the University of Keele, and Postgraduate Orchestral Conducting at the RCM. Freelance conducting work included the Belfast Philharmonic Choir, and the National Youth Orchestra of Ireland, with orchestral work focusing on young professionals and experienced amateurs, and choir engagements ranging from absolute beginners (of all ages) to opera and chamber choirs. From 2006 Marion was Director of Music at Exeter University, responsible for supporting student music of all genres. Completing a Masters in Psychological Research Methods in 2013, she designed a pioneering study in Sight-reading at the Piano before moving to Germany. Marion currently teaches courses in Applied Music Psychology and Orchestral Excellence at the Musikhochschule in Münster, continuing her research with the Psychology department there.

John LeGrove

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John LeGrove 1John LeGrove read Music at Bristol University and at London University where he studied composition with Edward Gregson. He has worked mostly as a school teacher in the North West, in the Midlands and in Suffolk.

As an accompanist he has played at the Maltings, Snape, at the Purcell Room in a Music for Youth international competition and for BBC TV Young Musician of the Year. He is currently on the academic music staff at Chetham’s School of Music, where he directs its Year 7 and 8 Choir.

 

 

Teaching Musicianship through Singing, Movement and Dance – 25th to 27th July 2016

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Weybridge, Surrey

A three-day course for teachers of children aged 2 to 8

Course tutors:
Nikhil Dally MACantab, CertAdvStudiesGSMD
Maureen Murphy ARAD, LISTD

Dates: Monday 25th July – Wednesday 27th July 2016
Location: Church Hall, Christ Prince of Peace, Portmore Way, Weybridge, Surrey KT13 8JD

Apply: http://www.dally.org.uk/TeachersCourseJuly2016.pdf

“A fabulous, well-structured and inspiring weekend… Imagination / story-telling / creativity from both tutors – both inspirational in their respective fields.
– Elaine McCartney, Kodály Cert. music teacher, Durham

Stepping Notes is a holistic, integrated, multi-sensory approach to music education, based upon the philosophies of Kodály, Jaques-Dalcroze and Géza Szilvay. The hallmarks of the Stepping Notes approach are:
(1) Movement and singing as the prime conduits for musical learning.
(2) Developing the inner ear.
(3) Feeling and understanding the inner life of music.
(4) Maintaining natural body flexibility and sensitivity.
(5) The judicious and sensitive use of high-quality musical instruments.
(6) The world of the imagination; this is where young children live.

“Prepared meticulously and delivered with expertise and joy. All material was very relevant and sequenced imaginatively… Inspirational, exceedingly useful & most enjoyable.”
– Sue Hamilton, Dalcroze Cert. pre-school music teacher, Surrey

This course is designed to help those who teach children aged 2 to 8 to develop their students’ musicianship through the voice and the body. We will concentrate on the following areas:
(1) using singing, movement and dance to help children to feel and understand:
pulse and rhythm, metre and phrasing, melody and harmony;
(2) teaching musical literacy using singing and movement;
(3) choosing and using children’s instruments in such a way as to preserve and enhance
their co-ordination and sense of rhythm.
Please come willing to remove your shoes and socks and work barefoot, on the floor, to sing, to play, to move and to dance (no previous dance experience required!)

Course fee: £180.00 if application received by 13th May
£ 195.00 if application received by 18th June
£ 210.00 thereafter
(N.B. £90.00 non-refundable deposit required upon booking)

“Fantastic practical ideas for the classroom. Nikhil’s passion and understanding of how to give children an intrinsic appreciation of music was inspirational.”
– Vicki Rogers, assistant head teacher, Berkshire

The course tutors:

Nikhil Dally received first-class honours in music from Cambridge University, and studied composition at the Guildhall School of Music. Nikhil founded the Stepping Notes Music School in 2000. He designed the Stepping Notes curriculum himself and teaches all classes, for children aged 2 to 8. The school now has about 100 students on its roll, and recently won the award for Best Local Activity with What’s On 4 Little Ones. Nikhil is increasingly in demand to lead workshops for teachers on the Stepping Notes approach. Recent engagements include a series of workshops at the Colourstrings International Summer School and the British Kodály Academy Summer School, a workshop for the Dalcroze Society Professional Development Day, a training session for teachers at the Len Tyler Music School, four INSET courses for Bracknell Forest primary school teachers, and a course for the Association of Early Childhood Educators of Singapore. Stepping Notes teachers’ courses are regularly over-subscribed.

Maureen Murphy is a holder of the Advanced Teachers Certificate of the Royal Academy of Dancing. She is also a Licentiate of the Imperial Society of Teachers of Dancing in Ballet, and an Associate in the National Dance branch. Maureen founded the Lester School of Dance in 1969 and has been its Principal ever since. She has taught dance at Broomfield House School since 1990. She has also taught at the London College of Dance and Drama, Kew Montessori School, and Ashton House School. She has studied Pilates body conditioning, Playford dance, Dalcroze eurhythmics, Alexander technique and Topf technique, and integrated these into her ballet teaching to produce a Holistic Approach to the Teaching of Dance. Maureen developed a Body Awareness programme for children which has been demonstrated several times at the Royal Academy of Dance, and her Music and Movement programme for children was demonstrated at the Dalcroze summer school in 1993.

Nikhil and Maureen have worked together since 1991. He has been one of her main musical collaborators. She, in turn, has inspired him to develop his methods of teaching music through movement. This is their sixth course together.

“Totally inspiring… Enjoyed having the stimulus of two course leaders – both excellent in their field… I can’t wait to incorporate some of these ideas into my practice.”
– Anne Porter, early-years music teacher, Gateshead

For further information, please contact:
Nikhil Dally
Winches Cottage, Church Road, Shepperton, Middx. TW17 9JT
E-mail: nikhil@dally.org.uk
Tel. 01932 241196
Website: www.dally.org.uk/steppingnotes

Music For Autism – 19th May 2016

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Newhaven, East Sussex

Using Zoltán Kodály’s approach to music to address the communication and social understanding needs of autistic individuals.

Tutor: Andrew Haveron

Location: Hilcrest Community Centre, Hillcrest Road, Newhaven, East Sussex BN9 9LH

Time: 9:30am – 3:30pm

A practical, fun, informative and “non-intimidating” one day workshop – previous musical skills not required
This enjoyable workshop will aim to demonstrate the importance of using music to develop learners’ communication, social and musicianship skills regardless of their abilities and give you, the participants, lots of ideas to use in your respective settings.
It will make particular reference to the effectiveness of the method devised by the Hungarian composer Zoltán Kodály, of unconscious learning, through the medium of traditional rhymes, songs and games and will cover the key areas of pulse, rhythm and pitch.
As well as giving an overview of autism, the course will refer to and illustrate the link between music and the key areas of development of the child and how music can be used to address “gaps” in stages of development.
By the end of the workshop, all participants should have more awareness of their own musical skills, understand the importance of choosing appropriate repertoire carefully for specific communication purposes, have a clear understanding of Kodály’s “process of learning” and feel confident in leading their own musical sessions in their respective settings.
Handouts will be available and there will be a Q&A session at the end.

Cost: £65

For more details or to register email haverona@yahoo.com

Download Flyer

About Andrew
Andrew is a an experienced and fully qualified teacher and a member of the British Kodály Academy. Having been Head of Music in mainstream comprehensives, he took a break to train in community arts with InterAction in Milton Keynes and then to work as a freelance musical director, performer and composer. On his return to teaching, he diversified to work as music coordinator in specialist ASD schools and is presently responsible for music at Northease Manor School in Sussex – a specialist school for students with dyslexia and associated learning needs.