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M AGY AR KC)RUSOK r:s ZE~EKAROK SZOVETSEGE -KOTA AS SOC IATIO OF I-IC[';GARIA I CHOIRS A. D ORCHESTRAS Lcvclezesi cim: KOTA. 1537 Budapest. Pf: 406. Szekhely: I 0 II Budapest. Corvin ter 8. Tel: -36/ 11225-3713 Fax: --36/1 /225-3714 iv1obil: -36130/943-0933 E-mail: kota ~H kora.hu Honlap: ~\ \\.\\_,liDW,bl! '"I
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Alulirott Sugarne Mindszenty Zsuzsanna (sziiletctt: Budapest. I954. majus 9: anxja neve: Ba16 Olga). a \11agyar K6rusok es Zcnckarok Sz('ivctscge- KOTA (szekhe iy: I 0 II Budapest, Corvin ter 8.: adc.\sz
A Magyar K{mrsok es Zenekarok Szovetsege - KOlA ki)zcf 200.000.- tOvef. k()zossegi jelleggel dofgozik, a t{trsult tagcgyesiiictek iskofai. fefnott CS egyhazi enckkarok. IH~pdafkor()k CS hangszercs nepzcnci egy iittcsck. 4Cilckarok. valamint maganszcmelyek munkajat f0gja 6ssze, crdekvedelmct latja cl. Az i)ntevckeny zenei teriilctet gondozza. · Az egyetcmes zcnci kulttrra. ezen beliil a magyar korusmiiveszet nepzene minden sz{rmottev() ertckenek feltanisa, apolasa. megov
Hissziik, hogy a Kodaly-koncepcit) nemzeti ertek mel ) re biiszkek fchetiink. Kod
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ASSOCI ATION OF HUNGARIAN CH OIRS AND ORCHE STRAS Posta l address: I
Declaration
I, undersigned, Mrs. Zsuzsanna Mindszenty Sugarne (born in Budapest, on 9 May 1954, moth er's maiden nam e: Olga Bal6), as president of th e Association of Hungarian Choirs an d Orchestras (seat: 1011 Buda pest, Corvi n ter 8., ta x num ber: 19660372-1-41), in the name of our association, hereby declare that We are glad to join to Hungary's proposal, of which the them e is the l
MAGYAR KClDALY TARSASAG Alapitva: 1978 - Kozhasznu s.zerv ezet: 2009
1064 Buda pest, Vorosmarty u. 35. Ad6szam: 19040437-1-42 Bankszamlaszam: OTP 11706016-20822228 Tel./Fax:+36-1/322-1802 Email:
[email protected] Honlap: www.m-kodalytarsasag.hu ---- ---------- --~--------·------~ ------~
DECLARATION I, the undersigned dr. :tv1ihaly Ittzes hereby declare that in my own studies and during 50 years of personal practice as a music teacher I haYc used the Kod:ily concept of music education. I found this method very useful in the dewlopment of general musical abi lities, in ear training and also in practising musical reading and \Hiting. I have taught according to the KocL-ily concept in various school types li ke musical elementary and secondary schooL secondary school speciali zed in music for wo uld-be musicians as well as in tc11iary level. I taught both for Hungarian and foreign -tudents (wouldbe music teachers). It is my firm conYiction based on personal experiences that the great variety of the methodological tools of this system can be used in any level of mu sic ed ucation . The well-prepared methodology helps the teacher's work but freedom for the creati vity of music pedagogues is also obvi ous in it. Its most important role is in the education of musi c lovers. As a conductor of school choirs I found that the preparation of new materials needs sho rter time if the singers (children) are trained in relati ve solfa as it is adapted into the Koch11 y conct>pt. Many of my fonner and present col league.· in schools and in thL: Kod
I am surt> ihat 11-IE KODAL Y CONCEPT is worthy of being registered in th iist of tlle best cultural pra ·tice:. Budapest. Janua ry 8, 20 14
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Kodaly koncepcio - Kecskemeti Kodaly Zoltan Enek- zenei Altalanos Iskola, Gimnazium, Szakkozepiskola es Alapfoku Miiveszeti Iskola Iskolankban 1950. okt6ber 26.-an kezdOdott el az oktat6 - nevelo munka Nemesszeghyne Szentkinilyi Marta igazgat6 ininyitasaval. A zenetamir pedag6gusok, szam szerint jelenleg 8 enektanar a Kodaly koncepci6 alkalmazasaval vegeztek es vegzik az enek- zenei nevelest immar 63 eve. A mas tanszakokon tanft6 kollegaink is a Kodaly koncepci6t megismerve, es elismerve leptek be a tantestiilet kozos munkajaba, nagy szazaiekban korabbi ,Kodaly- iskolliskent" A mindennapos enek6nikon, k6rusfoglalkozasokon, ahogyan az egyeb tan6rakon is igyeksziink megval6sitani Kodaly Zoltan 1947-ben megfogalmazott 100 eves tervet: A kottaolvasas, kottairtis, koncert ltitogattis altaltinossa tete let, a magyar zenei k:Ozfzles eme/eset, a folyamatos haladast a jobb es magyarabb fele, a viltigirodalom remekeinek /Wzkinccse tetelet.
A kottaolvasas, kottairas keszsege fejleszti a figyelmet, a koncentnilast, a rendezett iniskepet az olvasas - inis feladatok javara is. Felismerheto a zenei neveles kapcsolt hatasa a matematikai -logikai, valamint az idegen nyelvi tanulmanyokban is. A zenei tananyag a magyar nepzenere alapul, ativel a nemzetek nepzenei anyagan es a zeneirodalom minden miiveszeti korszakan. Olyan alapokat biztosit ez a tananyag, ami meghatarozza a felnovekvo genenici6k kulturalis erdeklodeset, igenyesseget is. A tanul6ink nagy szazaleka tanul hangszeJjatekot, ahol hangszertamiraink is alkalmazzak a Kodaly koncepci6 elemeit mindennapos munkajukban. A tanul6 is eload6va valik, megtanulja az apr6lekos, rendszeres munkat, gyakorlast, am ely erteket jelent a maga es a koncert hallgat6i szarnara is. Az 1934-ben kezdemenyezett Eneklo Ifjusag mozgalomban, Kodaly Zoltan hitvallasa szerint a mindennapos enekles, ahogyan a k6rusenekles is, olyan elmenyhez juttatja a fiatalokat, ami hatast gyakorol a szemelyisegre, a kozossegformalasra, a kozossegben megtanulhat6 pozitiv magatartasfonnakra, a fegyelemre. Iskolankban 9 enekkar miikodik, a 3. osztalyosokt61 a 12. osztalyosokig. Ketevente Eneklo Ifjusag hangversenyeken vesznek reszt k6rusaink, Arany diploma es Ev K6rusa cimet elnyerve. A hangszeres tanul6k zenekarban jatszanak. Gyennekeink tiszta lelkii gyerekek, fiataljaink kis szazalekban veszelyeztetettek a karos tarsadalmi folyamatokban, szenvedelybetegsegekben. Kecskemet, 2013. december II.
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Iskohink enek tanszaka neveben: Antoni Andrea munkakozosseg vezeto
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Kodaly koncepci6- Kecskemeti Kodaly Zoltan Enek- zenei A.Italan os Iskola, Gimnazium, Szakkozepiskola es Alapfoku Mfiveszeti Iskola [Kodaly Concept - Koda ly Zoltan Singing and Music Primmy, Secondary and Vocational Schools and School of Arts in Kcc skcmct] Education and instruction began at our school on th e 26 1" of October 1950. under the direction of Marta Szentk inilyi Ncmcsszcghync. Principal. Music teachers at the school (currently there arc eight singing teachers) have employed the Kodaly Concept in music instruction for 63 years. Teachers in other faculties arc also familiar with and acknowledge the Kodaly Concept- many havi ng been fonncr students of the method themselves- contributing to the joint work of the teachi ng staff. In the daily singing classes. choral classes. as well as in other subjects we strive to cany out the l 00-year plan Zoltan Kodaly proposed in 1947:
Making musical score reading, musical notation cmd regular concert going a general practice, elemting the level of musical taste in Hungcn:\·. providingfor constant det·elopment tmrttrd better quality and more Hungarian-szrle music. and prm·iding for a general cnmreness (~(the maste1pieces (~ftmrld literature. The ability to read and write music notation enhances and develops attention spans and concentration and organizational ab ilities and improves performance in reading and writing tasks. Music training also has a concom itant effect on mathematical skills, logical thinking and foreign language learning. The music curriculum is based on Hungarian folk music. encompasses the folk music of other ethnic groups as \Ve il as the various mtistic periods of music. This knowledge shapes the foundation of upcoming generations for a genuine interest in culture and a refined taste in music. The majori ty of our students also learn how to play an instrument with our teachers also applyi ng clements of the Kod
Kodaly koncepcio - Kecskemeti Kodaly Zoltan Enek - zenei Altalanos Iskola, Gimnazium, Szakkozepiskola es Alapfoku Miiveszeti Iskola Ubrizsyne .Ersek .Eva nyugalmazott enektamir kollegank szemelyes gondolatait csatolom kozos velemenytinkhoz: A Magyarorszagon elsokent elindulo enek-zenei altahinos iskohiba jartam 1950-1958-ig. Enek-tortenelem szakos tanar Iettem es voltam 44 even at a hajdani iskolamban. Az oraim legnagyobb reszeben eneket tanitottam az also tagozatban, es 33 evig a 3.- 4. osztalyos tanulok Kicsinyek k6rusat is vezettem. Az enek-zeneibol hozott szellemi es emberi tobblet vezetett az enektanari palycira, az ott
kapottak inditottak el ezen az uton. Mi is volt ez a szellemi tobblet? Nemcsak a mindennapos enek6rak - a zenei iras- olvasas elsajatitasa, a sok-sok dal megtanulasa, hanem a k6rusenekles, a 2. osztalyt6l indul6 hangszertanulas, a von6s kamara egytittesben-, a zenekarban val6 jatek, az a sok neptanc produkci6, amit a 2. osztalyt61 8. osztalyig tart6 neptanc 6rakon megtanultunk. A k6russal, zenekarral, a neptanccal nagyon sokat szerepelttink, elmenyekben es sikerekben gazdag gyermekkorunk volt. Az elmenyek mellett akarva-akaratlanul a szemelyisegtink is forma16dott, hiszen a kozos enektes, zeneles: figyelemre, fegyelemre szoktatott - ha egy ember rontott, akkor mindenki eneket tOnkretette sz6rakoztatott a szo nemes ertelmeben sikere onbecsiilest hozott, osztonzo hatassal birt a tovabbi munkara oromet, boldog erzest jelentett, ha a mii tisztan, szepen, j61 megsz6lalt erositette az osszetartozas erzeset, az enekkar egy kozosseg, amiben minden ember fontos Ia batrabb enekes megerositi a gyengebbet/ az emlekezetet is javitotta, ugyanis a miivek legtobbjet kotta nelldil sz6laltattuk meg a kozonseg elOtti szereples hatarozottabba, batrabb fellepesiive tett minket a mindennapi eletben is igenyessegre szoktatott, mert a megsz6laltatott miivek a zeneirodalom jelentos miivei voltak, es tanaraink igyekeztek a legjobb eloadast megsz6laltatni velunk. Nagyon szerettilk a neptanc orakat is, mert a sok nehez, szellemet igenybe vevo ora kozben j ol esett a mozgas, pihenest jelentett, javitotta az all6kepessegilnket. igy hatassal volt az egeszsegi allapotunkra is. Sokat beszelnek arr61, hogy az enek targy transzferhatassal bir mas tantargyakra. Mi ezt ugy erzekelttik, hogy a kifinomult hallas segitett a helyesirasbari, kesobb a gimnaziumi evekben a nyelvtanuhisban. A zeneelmeletben nagyon sok a matematika, tehat egymast erosito targyak. A zeneileg kifejlesztett memoria altai konnyebb volt a hosszu versek megtanulasa. 2
Kodaly koncepcio - Kecskemeti Kodaly Zoltan Enek- zenei Altalanos Iskola, Gimnazium, Szakkozepiskola es Alapfoku Miiveszeti Iskola A valamikori osztalyomb6l sokan lettek pedag6gusok, tallin nem veletlenlil. Erzekenyebbek, nyitottabbak vagyunk embertarsaink inint, sok bennUnk a szeretet, a derii, aj6kedv, szeprej6ra fogekonyak vagyunk, kozossegi szellemii, humanus emberek lettiink. A zene szeretete mind a mai napig el bennlink, sokan enekelnek k6rusban, koncerthitogat6k vagyunk, minden evben tahilkoz6t tartunk az altalanos iskolai osztalytarsakkal. A "kerek" evfordul6kra miisorral keszliliink, linnepelyesen toltjiik el azokat. Hissziik, hogy a "vilag zene altaljobb lesz!" Boldogok es buszkek vagyunk, hogy az enek-zenei iskola elso tanul6i voltunk! 1
1Lb.~·v~!Gt , C~,ft_ ~ t (UPv Ubrizsyne Ersek Eva enektanar
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Kodaly koncepci6- Kecskemeti Kodaly Zoltan Enek- zenei Altalanos Iskola, Gimnazium, Szakkozepiskola es Alapfoku Miiveszeti Iskola [Kodaly Concept - Kodaly Zoltan Singing and Music Primary. Secondary and Vocational Schools and School of Arts in Kecskemct] In addition to our joint statement, I also enclose the thoughts of Eva Ersek Ubrizsync. retired former singing teacher at our school : From 1950-1958 I attended the first singing and music elementary school to open its doors in Hungary. I became a choral and hist01y teacher and taught at my former alma mater. Most of my class hours were singing classes for primaty school grades and for 33 years I also lead the 'Little Ones' Choir' for third and fourth graders. The additional personal and mental skills and that something extra instilled in me and honed in my early schooling at the singing and music school lead me to a embark on a career in teaching singing. What were these additional benefits? Not merely the daily singing classes, learning how to read and write music and learning the hundreds of songs. but also the choral singing. learning to play a musical instrument (from the second grade onward), playing in the chamber string group and the orchestra, numerous folk dance productions that we learned in the folk dance classes from second to eighth grade, the countless opportunities to perform in the choir. the orchestra and the folk dance group. These activities provided new experiences and successes in our childhood. Along with the experiences and skills learned comes an automatic shaping of personality since singing and playing music together also resulted in: focusing of concentration and attention and development of self-discipline -- for if one person made a mistake that ruined the overall performance a form of entertainment in the pure sense of the world successes that brought a sense of self-esteem and served as an incentive for continued v,:ork a sense of joy and happiness if the piece is playcdisung precisely and we II and sounds as it should strengthening of group cohesion. for in a choir each individual is important (stronger, daring singers encourage the weaker. more timid ones) improvement in mcm01y and recalL for most pieces were performed by heart a decisiveness and confidence from performing in front of an audience that carried over into other aspects of our lives a striving for perfection and meticulousness, for the pieces \Ve sang were significant masterpieces of great composers. which sounded as they should \Vith the guidance of our teachers. We thoroughly enjoyed the folk dance classes. for physical movement and a different type of learning were a break from the hours of concentration. It also improved our stamina and endurance. thereby having a positive effect on our overall health and physical fitness. Much is said about the transfer effects of music learning on the learning of other subjects. W c experienced that our keen sense of hearing led to an improved spelling ability and later in 1
Kodaly koncepci6- Kecskemeti Kodaly Zoltan Enek- zenei Altalanos Is kola, Gimnazium, Szakkozepiskola es Alapfoku Mfiveszeti Iskola high school faci litated the learning of foreign languages. Learning mus ic theory with all of its mathematics had a reciprocal effect on the learning of math, as well. Mcm01y development gained through music learning also helped in literature class fac ilitating the memorization of long poems. It is not by accident that many of my fo rn1 er classmates became teachers themselves. We arc perhaps more open and sensitive to the needs of others; we have a lot of love. joy and cheerfulness to impart on others; we have a refined sense of esthetics and values, are community oriented and benevolent. A love of music still lives in all of us. Many of us arc active members of choirs and we arc regular concert-goers. We meet for annual class reunions and fo r the big anniversaries w e prepare and celebrate with a performance. We honestly believe that 'music makes the world a better place'. W c arc ovctjoycd and proud to be the first alumni of the singing and music school. Eva Ersek Ubrizsync Singing teacher
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A Kodaly koncepci6 hasznalata tanari munkamban
Tobb mint 40 eves tanari tapasztalat van mogottem. Ebbol 22 ev zenetanitas angol nyelven. Val6jaban zeneakademista korom elott a magyarok tObbsegevel egyiitt en sem tudtam, bogy a , Kodaly koncepci6" valami kUlonlegesseg. Nepdalokat tanultunk, szolmizaltunk, kottat olvastunk es irtunk a legtermeszetesebb m6don. Reszben a kiilf6ldiek erdek16deseb61, reszben a magam nemzetkozi tapasztalataib61 deriilt ki, hogy a , magyar m6dszer" paratlan a vilagon.
Mar enektanarkent is tudatositottam ezt diakjaimban, az angolul val6 zenetanitasban pedig a tananyagnak is resze mas m6dszerek megismerese. igy a diakokban is tudatosul, bogy meiUlyivel koiUlyebb a relativ szolmizaci6val a hallasfejlesztes, a lapr6l olvasas, a harm6niai elemzes, a formatan. Angol es amerikai nepdalok elemzesenel is a magyar m6dszert hasznaljuk.
Nagyon tanulsagos szamukra is, hogy ha kiilfoldi zenetanarok latogatnak az 6n1jukra, neheznek talaljak a mi tananyagunkat, gyakran nem tudnak olyan szinten kottat olvasni, mint a 15-16 eves diakok. Kodaly munkassagaval is megismerkediink, mindannyiunk szemelyisege gazdagodik az o zenemuveibOl es irasaib61, nemcsak a koncepci6 gyakorlati alkalmazasab61.
Kecskemet, 2013. december 9.
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lttzesne Kovendi Kata kozepiskolai enek- es angoltamir Kodaly Iskola, Kecskemet
Using the Kodaly Concept in my Teaching
I have over 40 years experience as a teacher of music and English and I have taught Music in English for 22 years.
Before studying at the Liszt Academy of Music, I was not aware, together with most Hungarians, that ,the Kodaly Concept" was something special. It was natural for us to sing folksongs, use relative solfa, and read and write music. Only when I saw foreign music teachers interested in the Hungarian method and I myself experienced different ways of teaching music in various foreign countries, had I realised the uniqueness of the , Hungarian method".
I already made students conscious of this as a music teacher and when I started teaching ,Music in English" as an optional subject in the Kecskemet Kodaly School, I made getting acquainted with other ways of music education a pm1 of my programme. Thus pupils have become aware how much easier ear training, sight-reading, harmonic analysis or the learning of musical forms is with relative sol fa. In folksong analysis we also use the Hungarian method.
Pupils see proof of the method when foreign music teacher attend our lessons \Yho find the material of our 15-16-year-olds too difficult and are often unable to sight-read as fl uently as pupils educated in Hungary.
We also get acquainted with Kodaly's oeuvre and our personality is enriched not only through the practical application of the concept but also through his music and \Hitings.
Kccskemet, December 9, 2013
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Kata Ittzes-Kovendi Teacher of Music and English KodMy SchooL Kecskemct
Muzsika Zeneiskola Alapfo.h.-tl Muveszeti Iskola 4400 ;.;-yiregyhaza, Csillag u. 46/A.
Tel.: (42) 462-260
Nyilatkozat a ,Kodaly M6dszer" hasznalatar61 a nyiregyhazi Muzsika Zeneiskolaban
Zeneiskoh1nk szolfezstamiri munkakozossegenek mott6ja: Kodaly Zoltan minden az enekes alapu zenei nevelessel kapcsolatos kerdesre elmeleti es gyakorlati megoldast adott, ujat kitalalni nem szi.ikseges, csak megerteni, es szakszeriien alkalmazni kell hagyatekat. Ezert mi a Kodaly Zoltan altai irtakat sz6 szerint vettiik, es ezek alapjan sajat kottarendszert dolgoztunk ki, aminek hasznalataval rendkivi.il eredmenyesen tudjuk hasznalni a ,Kodaly m6dszer" -t. Zeneiskolankban 6 alland6 enekkar miikodik. Felevi es ev vegi hangversenyeinken minden szolfezscsoport enekkar szeriien bemutatkozik. varosi, orszagos es nemzetkozi esemenyeken, versenyeken vesznek reszt enekkaraink. Es ami a leg fontosab b, hogy a zeneiskolankba jar6 gyermekek nevelesehez nagyban hozzajarul a ,Kod6.ly m6dszer"- rei vegzett tanitas. Gyakorlati tapasztalatunk, hogy aki enekes alapu zenetanitassal akar nevelni, annak megkeriilhetetlen a , Kodaly m6dszer"- rei val6 tanitas, mert az a zene alaptorvenyszeriisegeibol fakad. Barki szeretne t\jjat Ietrehozni - e targyban, mindig a ,Kodaly m6dszer"- hez fog kilyukadni.
Declaration on the application of the Kodaly Method at the Muzsika School of Music in Nyiregyhaza
The motto of the solfege teaching body at our school can be summarized as: Zoltan Kodaly has provided the theoretical and practical solutions to all questions pertaining to the teaching of music through singing. No further newer methods need to be developed, merely his has to be correctly interpreted and applied. We took Zoltan Kodaly's words literally and based on his teachings developed a system of musical notation with which we can effectively and successfully apply the Kodaly Method. Six choirs operate in our music school on a permanent basis. At mid-term and year end concerts each solfege group performs in choir form. These choirs then perform at city, national and international events and competitions. What is more, and perhaps the most important, teaching according to the Kodaly Method greatly contributes to the nw1uring and development of children enrolled in our school of music. In our practical experience we find that nurturing and education through singing based music instruction is impossible without application of the Kodaly Method. This stems from the fundamental essence and system of music. Any attempts to reformulate or develop a new method will always end up at the Kodaly Method.
Laszlo Kiss Principal Muzsika School ofMusic, Nyiregyhaza
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honfap: www. korh0··hpsufinet. hu
Koda ly javaslatara, az otve nes evek el ejen kezd6dott a ze nei tagozatos iskolak szervezese. M inden nap volt enekora , es a karenek a7 6rarend r(;s ze, quasi kotelez6 volt. Az ezekben az iskolakba n foly6 munka ro ppan t hatckonynak bi wnyu lt, mi nden hozza Wzott rernenyt val6ra valto tt. Eredrnenye a! 1970-es evekre mutatkozott meg iga zitn, amikor az o rszagban 150 ilyen t ipusll iskola mukodott. Az elsa 1950-ben Kecskemeten, aho l Ncmesszeghyne SLCntkiralyi M
A zenei tagozatos osztaly, a nehany parhuzamos evfoiya m egyiket jeltmtette. igy lehetoseget nyithatott az akar napi szinten to!'teno osszehasonlitasra. Azonos korosztaly, azonos intezmeny, akar azonos kozismereti szaktanarok es nagyon hasonlo szocia!is hatter. Az egyellen kiilonbseg a rn indennapos enekles, a re ndszeres
esgyakori ze nei-rn livf>sz:eti teveken yseg volt
az erne lt 6rasnimtl zenei kepze5 rnil yen
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hatcissal van a t6hbi tantargyra, illctve ami ennel fontosabb, az egesz
szemelyiseg, az emberforma las ugyere, osszehasonlitva a parhuzamos osztalyokban tanul6 gyerekekkel. A te ma a mai napig kutat
es aktiv zeneles bizonyithatoan homijarul a
krr-ativitas fej16desehez. A ze ne e rotelje~en hat az ~'rzel rni mtelligencia es a mozgas fej lcdesere, mig az enPkh'> :, k(JionOSPO
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Nern stetvalaszthat6, rn cll dig tar t a peclagogia, hoi ke zdodi k az el6ad6 m(iveszet. Az iskola, ill. a
tagozatos osztalyok tanuloinak ke pzese hcJ. hozzatartozik a k6ruse nekles. A k6rusinterpretaci6 szakmai bazisa
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zenei anyanyelv megfelel6 szintli ismercte. Ennck clsaja titasa tortenik
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eszkozbk olyan osszefon6dott rend szerben vannak egys1erre jeiPn, ami aligha v ~ias?thato kulcin . Nernzeti (~rdek a rnegfelc!o feltetelek intezmenyes biztositasa a jovo nernzedckcnek szcllcmi .. erzelmi erkolcsi fejlodesehez. tv1eg!e het6sen pontos iranyt(ikent tamaslkodhat unk az enek6 rakon rnegalapozott
hattertudasra,
izlesre, igenyessegrt>. A folyam at visszafele is igaz, ily rn6don ellent'irizhetjuk az enekorai zenei iz h~sformalas ha tekon ysagat. A gyermekk6rusok tJ gjai nern kialakult , kiforrolt P g yl' n i ~ P gek, nern kes z rnuveSt (>k . A lene, illetve
zenel0s szcrepe elett.ikben joval
c.i ~ s z !"tett ebb ,
meg ismer~se, megertesl.' c ~ ihie tett
mint a !elno tt el6acl6rnuvt'-slr:k vilagiih <m.
il
t-gy-Pgy zenern(i
interpr •t
gyerPkPk esetf>lpn a;onbctn c.l ~wrm'-lyisee kial akulasanak folyamat.ib a ~zo l bele, igen nagy hatasfokkal. Az
ene kles gyakorisaga C! zerwi eln1t~ n y belt~!t•fp~senek ismet lode~e a szeme lyisegtorm al~s hatekonysaganak
Azaz nemcsak a zenei ismereta nyag elsaj atitasa es a keszscgek kialakitasa okab61
alapfeltetele.
letfontosscig(J. Enelkiil az esztetikar nevefes eredmenye5sege kerdojelezodik meg, e s7h:.tikai neveles nelki.il pedig a n~velt:~ s. Jele nfeg iskof
es
Ze nei
Alaptok\r
fil(i vesre ti
ls kola ban
IH~gy
rnuki.idik
k6rus
fel men6
r ends 7erbe n , al apclv az e gymasra epiil es . A koru srnun ka 1·] 2 . evfolyamig a heti IH~gy enek-
;eneo ra sz akrna i mu nkajara
t'~p til.
az A pr6k kar at, a harmadik osztalyosok
A negyedik o t()di k osztalyosok alkotj.lk
e lokeszit6 korusfogl alkozasokon vesznek resz .
Az otodikesek heti egy elokc'!szito k6ruspr6ban ke szuln ek a r;yermekk6rusba valo belepe sre. 6 -10. osztalyos tanul bk ve sznek rcszt a gyerrnekk6rus rnunkajaban. A
gimnazistak
el sosor ban
(9-12.o )
ifjusagi
noikarkent
mukodnek,
de
az
iskola
h agyomanyos kara csonyi, es evzi:\r{J hangversenyen a zenei tagOZiltOS fitlk ktizremukode seve f tH~hany veg yeskari
A
mli is rneeszolal.
legelhivato ttabb
k<'H usc ne kese kbol
alakul t
ka marakorus
ko rtars
k6rusm uvek
b emutatas ara sp ecia lizalodott. A k6rusokat ugyana1 a kl;t karnacy, Ori Cstll<~ es UtlCr l~Uk y lszte r vezeti, tehat a fc lmrnc'i
H'nds?cr
ink cibb
meg
lmtositott.
A
gyereJ.:ek
m ar
II.
o sztalyos
korukban
h on
ifjtis
A kovetkezetes
egyma~ra
t'[Hilo
munka
megh ozta
eredrm!n yet,
mert
isk olan k k6rusai
k imagasl6 e redm enyekct ertek cl a legkulonfelebb rneg meret tetesek!~n . Ez nem csak pedagogia, hanem
s7 ~mleletrn6d,
filoz6fia. httvallas.
A kozos alkot6 szakas.:ba n. ~1 k6ruspr6bak soran igazi, fajsulyos elmt~nyekkel gazdagodhatunk. fgyegy felejthetetlen zenei m ouanatot nemc ak sztilet ese pi!lanataban ~~Hi nk rnee m indannyian egyi.itt, hanem evekre biztositjCJ azt a lelkr 6ss7r-kapcsol 6d;)st . iJsszetartoza~t, ami a ktizos rniives zeti tevekenyseg sine qua non-ja . Nem alomkep, hanern ertekeket.
tCJpa~lt
valos
bszt5n6sen is rciert"mek a befekt et elt munka es
igt'·ny!ik iJL igdZI kihiv
A k{Jru :;verspnyeke n ;l gyPrf!k (' k s12r nos uj t,1pasttal aH;.;i g:ud<Jeodnak. zPnc•1 l;l!okor(Jk b6viil, mindez szernf'lyiscefejl6d csl.iket i'> ked vl::d t'n befolyasoiJa. l gy t>gv rc r KJ <>lV<~ ny utan akiir ok is rnegvalaszolhatnak, ho i van ,, magyar nern ze ti ku!tUr c helyt: t ur6pciban, rnind am) !, arn; s;
tlerlilhet ki, mekkora kiva lb
e'> le het6stg .
Kbzvctlcn ki:izvctito -· ennel pontosabban al igha lehe tne rneghataromi az enektanar i- k6rusvezetoi let igazi lenyeg<'t.
Elee
kozvetie n Jh l
Pt ,
husv rn o tivj!u l.:t:v': n, hugy b•zto nsdgeu Ptet nytijtso n, hogy
megkerd6je!eLI1etetlr n s;akllldt fcl k<' St liltwg gyerekeket.
birtok .iiJd l ~. ~ro~
•mocion
A k6ruspr6ba intim tle lyzet. A ka rnagy - cse tunkben ka rnar,yok - a zenelesben felold6dva, minden ved6n?tee nelkiil, kend ozetle niil teszik bele sajat magukat egy-egy zenei t6rtenesbe, ki.ilonosen a k6ruspr6ba k heveben.
Ezek a sn31ak nehezen definialhat6uk, rn(ikodes- es hatcismechanizmusuk aligha
magyarazhat6, de leti.ik alapvet6, nelki.iluk ni ncsenek oda-viss?aivelo zenei folyamatok. Olyan dimenziok vilaga ez, ahol a torvenyszerlisegeket nch('z feifedezni vagy kialakitani, de rendre tapasztaljuk, hogy ami ilyenkor ti:irtenik,
az minden szernpontb61 6rokervenyu. E7 form alja, es vegUI kialakitja azt a senki masra nem
jellemz6 el6ad 6i specifikumot, amit a hangszeres el6ad6k eseteben a muvesz es hangszere jelentenek, eseti.inkben pedig a karnagy
es a k6rus kozos auraja. 1\ gyerekek egy resze ezt inkabb erzi, mint erti. Az erzes
viszont semmivel nem 6sszehasonlithato. Emiatt kepese k a ta nitasi 6rak utan is vegigenekelni a ketoras pr6bat, es az utols6nak sorra kerul6 munek is () ri.ilni- ha jol tcrvelti.in k.
A jovo zeneszei, k6rusenekesci
es
es
ka rnagyai, zenehallgato
zeneszereto kdzonsege, meghataroz6
szem elyisegri es atlagernberei, a gyerrnekciket 1encr<> vagy akar zenevel nevelo szulok mind itt vannak ta nitvanyaink kozo tt. 1\ki gyermekkoraban rn egtapaSLtal ta, J z tudja igazan ertekelni az elobb emlitett dirnenzi6kut. Csak igy vezel til abba az ircinyba, hogy a zent> mi ndenkie lehesscn, mindenki szamara honaferhetove, erthet6ve es
le ts!liks6elettr~
v;i ljon.
Fgy tarsadalom viszonyc1 a kulturahoz nem egy udat a so k kozli l. Ujabb tavlatok, tljabb felelosseg. A gyermekkarok mliki:idesi terlile te szaktt=~naroknal,
ill
iskola. J6val konnycbb helyzetben vaeyunk a kozisrnereti
hiszen a zene, a zeneles olyan kon1munikdci6s hidat <'-pit, melyen mind az emociomilis, mind
az intellektualis k
A gyerekek mliveszeti liltasm
es
nevelcs eszkozeivel va l6ba n bei;Hhatatlan tavlatokat
nyithatunk.
Budapest, 2014. Jonucir 14
,.,. I '""'<;'
/ .
~-, ~
Or i
)}J\)Jv._,J' ~~~-
'
("""''
""-
\,._,.-•,
/
~
(~ilia
lga1gat6, Karnagy
c;PJ:
L\
Uherec~ fsLt er
Preszler Nora
Karnagy
zenei igh.
'
_)
Zoltan Kodaly Singing an d Music Primary and Secondary School and Music School for the Arts Winner of the Hungaria n Heritage Award and the Hungarian Arts Education Award
H-1022 Budapest Marcziba nyi te r 1
te l: +36-1-212-5680, +3 6-1-212-4185 w ww.kodaly-bp.sulinet. hu
Based on Kodaly's vision, public schoo ls in Hungary started offering a specialization in music in the 1950's. The curriculum included daily singing classes, and in addition choral singing was practically a compu lsory subject. Ed ucation in these sch ools proved to be very effective achieving the purported aims and hopes. The results were dramatic became obvio us in the 1970's when 150 such schools operated around Hungary. The first opened in Kecskemet in 1950, directed by Marta Szentkiralyi Nemesszeghyne, a former associate of Koda ly, th e second on Lorantffy Zsuzsanna Street in Budapest in 1954 (the precursor of today's Koda ly Sch ool on Marczibanyi ter, Budapes ) under the directorship of Irma Bors. Assessi ng the effects of the Kodaly Method was relatively straight forward even on a daily basis, for among the simultaneo us classes in each grade level one becam e a specialized music class there by resulting in ready control grou ps matched for age, type/quality of school attended, teachers of other su bjects and nearly identical socio-economic backgrounds. The only significa nt difference was exposure to the Method in t he form of daily singing and frequent music and art rel ated activities. The setting, therefore, also provided for an assessment of t he transfer effects of an increased nu mber of m usic class hou rs on learning in oth er su bject s, and w hat is perh aps more important, its effects on personality and individual development compared with students in simultaneous grad e levels without exposure to the method. The topic is still a subject of research today, according to studies by Dr. Val eria Csepe professor and researcher in experimental psych ology and neurology. Reg ular and active music playing signifi cantly contributes to the development of individual creativity. Music trainin g has a marked positive effect on th e develop ment of emotional intelligence and physical movem ent, while singing training specifically greatly fa cilitates im provement in la nguage attainment re lated competencies. Where the effects of pedagogy end an d those of performing arts begi n are not readily discernible. Ch oral singi ng was a comp ulsory element of t he school and the specialized music classes. A precon dition of choral interpretation is an appropriate knowledge of the 'musical mother-tongue'. Acquisition of this knowledge ha ppens in the singing class hours, ideally with the same individual serving as both singing teach er and choral director. Cause and effect, aims and means are so tightly intertwined in such a system that it is nearly impossible to se parate them . It is in our national interest to ensure an d provide t he in stitutional means for the mental, em otional an d moral develop ment of f uture generations. We can confidently depend and build on the foundatio n of general background knowledge, discerning taste and sense of high standards acquired in singing cl asses. The process is also similar in re verse -making it easy to monitor the effica cy of singing training on develop ment of taste and sense of aesthet ics . Members of children 's choirs are not performing artists, not fully developed individuals with mature personalities. Music and the making of music takes on a much more complex role in thei r lives than it
does in the adult artist in the perform ing arts world. Naturally, the process of studyi ng, becoming familia r with, understa nding and interpretin g a musica l piece has an effect on th e personal ity of an adult performer as we ll. However, in the case of a child the process not only has an effect, but actuall y ma rkedl y sha pes the entire course of his/her development. Frequent singing and the repeated im mersion in the musical experience is a basic premise of child personality development. It is essential, therefore, not only fo r the acquisition and developme nt of music skills and competencies in and of t hemselves. Without musical tra ining the efficacy of nurturing a sen se of aesthetics in children is in jeopardy; with out nurturing a sense of aesthetics their education and development is compromised. Currently in the Zoltan Koda ly Singing and M usic Primary an d Secondary School and M usic School for th e Arts on Marczibanyi ter four choirs ope rate at vari ous grade levels, one building upon t he next. Rehearsals in each of the choirs builds on the singing classes held 4 hours per week in each of the t welve grade levels sta rting from first grade upwards. Fourth and fifth graders belong to the Apr6 k [ Little On es] Choir, while third graders attend a choral preparatory class. Fifth graders ad dition ally atten d a prep aratory class in anticipation for membership to the Chi ldren 's cho ir. For high school level st udents (grades 9-12) primarily a fema le yo uth ch oir operates. However, at t he annual school Christm as and yea r-end concert male youth in t he speciali zed music program also partici pate in the presentation of mixed choral pieces. Th e most devoted cho ral membe rs also ha ve the opp ortunity to sing in th e Chamber Choi r, wh ich special izes in performing cho ral works f rom contemporary composers. As the choirs are directed by the sam e two directors Csilla Ori and Eszter Uhereczky, the upward progression is furt her ensured. Ch ildren are exposed to and become familiar with the musica l qual ity that gradually comes t o frui tion throu gh their practice in initially the Children's, then in the fem ale Youth Choir and eventually in the Chamber Choir. The co nsiste nt, system atic, and structured work paid off, for the choirs of our school consistently ac hieve disti nctions in various choral competitions. In reference to the model w e are speaking not merely of pedagogy but of a philoso phy, a mission, an outlook on life. Through the process of creating somet hing toget her in the chora l reh earsa ls we prod uce and gain significant far-rea ching expe rience s. We not only witness an d live the creation of individual musical el ements as a group, but develop an emotional link and sen se of belonging to each oth er th at is an essenti al conditio n of art activity. The result is not an impalpable visio n, but an experiential reality. Children recognize and acknowledge timeless va lues and intuitively see the causative con necti on between the work and practice invested and a successful performance. Children intuitively enjoy and expe ct tasks that challenge the m. They re lish worki ng t o their full est capacity as well as t he concomitant results and well earned successes. In choral competitions children ama ss numerous new experiences, their musical pers pective broadens - all having a beneficia l effect on their personality development. In the wake of these
events chil dren easily recognize the place of Hungarian culture - so mething they are intimately f amiliar with - within the scope of t he greater European culture; and they fully appreciate the magnitude of the benefits an d op portunities it affords. Direct intermediary is perhaps the most appropri ate te rm to describe t he true essence of th e singing teacher and choral director. An indivi dual characterized by openness and geniality to motivate and in still a sense of secu rity, yet possessing the competence and preparedness, coupled with strong emotional commitment to leading children. A choral re hearsal is an intimate situation. The director - in our case directresses - meld with the music, putti ng their own bared heart and so ul into the music created - especially in the midst of the passion and vehemen ce of a chora l rehearsal. The strands of these elements, the mecha nisms of their operation and effect are difficult to define, but their existence is fundamental and necessary for t he creation of reciprocally arching musica l processes. We are speaking of a re alm of dim ensi ons w here systemic elements are not readily defined or formed, yet we consistently experience that w hat comes about is eternal. It shapes and eventually gives form to the unique specificity of each performer, t hat is different from all others. For a musician it develops between th e artist an d his/her instrument. In our case it is the joint aura f orm ing between choral conductor and the choir. Most children have a sense of this rather th an co nsciously comprehen d it. However, the feeling is second t o non e. It is pre cisely this feeling that motivates the children to come to choral reh earsal after a t ypi cal school da y's other classes and participate with enthusiasm lasting through to the last piece sung- if we planned ap propriately. Determin ant and ordin ary members of the comm unity of mu sicians, choral singers, musical directors, music listeners and en thusi asts, as well as parents aware of the importance of music educati on or education their childre n through music were all once among our students. Anyon e who experienced this in childhood can truly va lue and appreciate the dimensions described above. It is only in this way th at music can truly become everyone's- accessible, un derstandab le an d a vital el ement for all. A society's attitu de to culture is not me rely another piece of data. It offers new future potential and also new co mmitment/ respo nsibi lity. The operationa l domain of t he chil dren 's cho ir is t he sch oo l. We have a great advantage compa red to th e teachers of othe r school subjects for in mu sic and in joi nt music-making bridges of commu nication inherently form where the flow of both em otional and intellectual co mmunication ta kes place in a different dimension. In shaping the artistic sense and view of children the teacher's most effective tool is his/her own personality. Com municating and t eaching of the arts tru ly leads to boundless horizons. Budapest, 14 January 2014
Csilla Ori Principal, Choral Director
Eszter Uhereczky Ch oral Director
Nora Preszter Musical Director
The Kodaly Concept
In the 1960s as an elementary school student I starte d attending the Liszt Feren c Sch ool of musi c in Kaposvar. At the time I had no I idea I was learnin g solfege accord ing to the Kodaly Method. We w ere doing so-mizatio n and coul d find the 'do ' in any key. The Toth Lajos (now Kodaly Zoltan) Elementary School had a ve ry good choir under the direction of Zsolt Zark anyi, who had t he good fortune of having met Zoltan Kodaly in pe rson. At the t ime ch oral sing ing was a coveted honor. All th e elementary and secon dary schools in Kaposvar had a ch oir and competitions were hel d to determ ine t he best. Thanks to my music school trainin g, I could determ ine where 'do' was and co uld sight read any music. This comparative advantage ena bled me to help the others . In si nging and in solfege cl ass we learned an immen se nu mber of Hungarian children's songs and folk so ngs. We sa ng th em with solmi zation, with lyrics and with the letters of notes and w e clapped out the rh ythm . I loved these cl asses and by the age of twelve I kne w at least 200 fo lk an d children' s songs and had won a solfege competition. The love of musi c and choral singing conti nued during secondary school. In fact it determ ined my choice of high schools -for the M unkacsy High School of Kaposvar ha d a very strong cham ber choir operating under the leadership of Eva Pa pp Merenyine. We refined and polished chora l pieces together with enthusia sm. Apart from my studies in th e general public school, I also attended music school. I played pi ano well and al so embarked on learning the flute . W ith this so lid m usical backgroun d and love of music I continued my studies at the Aca demy of Music in Pees. Tha t is wh en I realized an d became conscious of the fact that what I am and have been doing and my approach to music is according to th e Kodaly Concept. What did I gain from the Kodaly Concept? Sense of fe llowsh ip an d co mmunity belongi ng (choruses, chamber ch oirs and orchestras) frie ndship, logical t hinkin g (with th e tra nsposition of 'do', t he re lation between the names of notes and th e so-mi version, the structu re of triad and tertiad chords, th e analysis of ha rmon ies, etc.), the ability t o divi de attention mu ltiple ways (reading t he score, and hearing the various instrumental parts, paying attention to t he other parts, blending one's own part into the others for th e harmony of the whole), a love of Hungarian folk music and my country, exposu re to the folk music of other peoples, a love of the arts, self confidence, self esteem, perseverance, inn er ba lance and a useful leisure time activity. Th e Kodaly meth od is much more complex than mere solm ization; it's practicall y a way of life. All w ho step on this path - w heth er trained musi cian, amateur instrumenta list, enthu siastic cho ral singer or avid con certgoer- will contin ue to follow it fo r the rest of thei r lives .
Monika Soltra Nagyne M usic Teacher Kaposvar, Hungary
Weiner Leo Primary School for the Arts - Szigetvar
Declaration regarding the Kodaly Concept
Our application of the Kodaly Concept in the teaching solfege in practice has produced dramatic results even with children of the 21 st century. The simplicity and efficacy of Kodaly's pedagogical vision makes it suitable even for children raised in today's fast-paced world. Naming and practicing rhythmic units through movement results in the quick development of senses of rhythm and musical meter. In learning relative solmization the relation of individual notes to each other can quickly be mastered, intonation becomes precise, the reading and writing of musical notes becomes easy and a sense of tonality is achieved. Solmization with the use of hand-signing facilitates the understanding of the intervals between notes in relation to each other as the distance between signs corresponds to the size of the musical interval. Singing together in solfege classes enables children to overcome their inhibitions; they get used to paying attention to each other and undergo positive social development. Over the years of their training, children learn a large number of folk songs and become familiar with their own 'musical mother tongue'. Discovering and becoming familiar with folk songs is an exciting endeavor. If we manage to instill an affinity for our folk songs and music, then our students in turn will become nurturers and eventually conveyors of our traditional heritage. Children learn through playful, age- and development level-specific activities with an emphasis on their understanding of what they have learned and on their ability to apply it independently on their own.
Nikoletta Darvas Teacher of sofege Weiner Le6 Primary School for the Arts- Szigetvar
7900 Szigetvar Zarda u. 2. www.szigetvarizeneiskola.hu t: 73-310-31 5 e-mail : szi gctvarizcncis~ola(i:V.gmail.conl
Weiner Le6 Primary School for the Arts - Szigctvar
Declaration regarding the Kodaly Concept
Our application of the Kodaly Concept in the teaching solfege in practice has produced dramatic results even with children of the 21st century. The simplicity and efficacy of Kodaly's pedagogical vision makes it suitable even for children raised in today's fa st-paced world. Naming and practicing rhythmic units through movement results in the quick development of senses of rhythm and musical meter. In learning relative solmization the relation of individual notes to each other can quickly be mastered. intonati on becomes precise. the reading and writing of musical notes becomes easy and a sense of tonality is achieved. Solmization with the usc of hand-signing facilitates the understanding of the intervals between notes in relation to each other as the distance bet\veen signs corresponds to the size of the musical interval. Singing together in solfege classes enables children to overcome their inhibitions; they get used to payi ng attenti on to each other and undergo positive social development. Over the years of their training, children learn a large number of fo lk songs and become fam iliar with their own 'musical mother tongue ' . Discovering and becoming fam il iar \Vith folk songs is an exciting endeavor. If we manage to instill an affinity for our folk songs and music. then our students in turn will become nurturers and eventually conveyors of our traditional heritage. Children learn through playful. age- and development lewl-specific activities with an emphasis on their understanding of what they have learned and on th eir ability to apply it independently on their own.
ikoletta Dm·vas Teacher of sofege Weiner Leo Primary School for the Atts- Szigetv
7900 Szigetvar Zarda u. 2. w\vw.szigctvarizeneiskola.hu t: 73-310-315 e-mail: s zi g etvari z.~ne is koJa(cl), gp1ail.co n):
Nyilatkozat
Kodaly Zoltan szellemeben Mohacson ,Kulturat nem lehet oroko lni. Az elodok ku lturaja egykettore elparolog, ha mi nden nemzedek ujra meg ujra meg nem szerzi maganak." /Kodaly Zoltan/ Mohacs (d el-magyarorszagi ki svaros) kulturalis eleteben nagy szerepet jatszott Kod aly Zolta n szem elyisege, szellem isege. Nemcsak szem elyesen jart es gyujtOtt nepzenet a telepOiesen, de gyujtesre biztatta a helyi nephagyomanyok, els6sorban a nepd alok megorokitesevel es publikalasa val is foglalkoz6 rem ek zenepedag6gust, Schn eider Lajost. Kodaly szelle misegenek is koszonheto, hogy 1958-ban - az els6k kozott az orszagban - enek-zene t agozatos altal anos iskola, majd kiva16 zeneiskola, k6rus es nepdalkor is szervezodott. A mai napig tobb hagyomany6rz6 tanccsoport es zenekar is mukodik a varosban. Mohacson evente orszagos n epdalenekh~ si versenyt, val amint zenei es neptancos folk16rfesztiva lt rendeznek. A hagyomany6rzes es a zenei muvelodes a varas szerves resze, identitasanak meghataroz6 eleme. Tobb ezer gyermek nett fol varosunkban a Kodaly m6dszer segitsegevel kialakult zenei milioben. Tobb kival6, orszagszerte ismert es nemzetkozileg is elismert nepdalenekes, nepzenei egyi.ittes, es komolyzenei el6ad6muvesz n6tt ki a varoska zenei intezmenyeib61, hagyomanyaib61. 2014-ben a va ras az els6k kozott vehette at a ,Tiszta forras t elepules" dmet jelent6 marvanytablat Kodaly Zoltan, a varosban jelent6s nepzenei gyujtest vegz6 zenetud6s nevevel. Az errol sz616 elismer6 emleklap es az Magyar Tudom anyos Akademi a Zenetudomanyi lntezeteben tal<~lhat6, Mohacson gyujtott, arch iv felveteleket tartalmaz6 CD kiseretebe n. Kodaly Zoltan M ohacson: Berze Nagy Janos Baranyai nephagyomanyok cimu gyujtemenye hivta fel Koda ly Zoltim f igyelmet a Schneid er Lajos - helyi isko laban tanit6 tanar- altai lejegyzett mohacsi nepdalok ertekeire. Ezert Kodaly 1941-ben Mohacsra ki.ildte Dincser Oszkart, a Neprajzi Muzeum kutat6jat. Dincser kivalasztotta a legjobb enekeseket, osszesen 64 f6t, akik 1941 okt6bereben a budapesti radio stu di6jaban 23 moh
Kod aly Schnei der Lajosnak frt levelebo l: ,Kedves lgazgat6 Ur! KOidemenye igen becses, hogy a gyujtest fo lytatni erdemes, arra egyetlen dal is bizonyftek, a Borbely Agi /az egyi k adatkozlo/ fon 6da la ... J6 mu nkat kivan va koszon ti Kodaly Z." Budapest, 1951. febr. 28. Kod aly Zoltan es Schnei der Lajos hatasa a varos zenei, kultural is eletere, a zenei hagyomany megorzesere: A jelentos nepdalgyujteseket vegzo es azt Kodaly Zoltan hatasara szisztematikusan tovabb folytat6 Schneider Lajos meghataroz6 szemelyisege volt Mohacs zenei kulturalis eletenek . Hatasa mind a mai napig nagyon jelentos. Az ut6doknak, tanitvanyoknak koszonhetoe n moh
·~ ()'lAo- .....:kt --~ Horvathy Lenke' zenepedag6gus, a Schneider Lajos Nepdalkor vezetoje
Declaration In the spirit of Zoltan Kodaly in Mohacs
,,The culture cannot be inherited. The culture of the ancestors is going to evaporate in no time, unless evcty generation acquire that for itself over and over.'' /Zoltan Kodaly/ In the cultural life of Mohacs (South Hungarian town), Zoltan Kodaly, his character and his spirit played key roles. He was collecting fo lk music at the settlement and also encouraged Lajos Schneider, who was a music pedagogue and a keen collector and publisher of the local traditions and the folk mus ic. Due to Kodaly, in 1958 a musical primmy school - one of the firsts in the country - was established, then an excellent music school. a choir and a folk song group were also constituted. Up to this day, several traditi onal dance groups and music group functional in the town. There arc annual nation-wide folk singing competitions in Mohacs, as well as famous fo lklore festivals '''ith trad itional music and dance. The preserving process of our heritage and the musical education are major clements of the people 's identity and arc important parts of the town's life. Thousands of children grew up in Mohacs in the mus ical milieu wh ich was formed by the Kodaly method. Mohacs and its musical institutions mean the alma mater for many well known fol k singers. folk music bands and classical musicians. In 2014, th is town was one of the firsts , who deserved the "Clear Source Scttlcmcnf ' Price and get a marble plaque with the name of Zoltan Kodaly, who made significant folk music collection works in the town. The official paper of this price can be found at the Institute for Musicology of the Hungarian Academy of Sciences. with a CD, which contains archive records fro m Mohacs. Zoltan Kodaly in Mohacs: Janos Nagy Berze's book. the "Folk traditions of Baranya" was the collection. which drew Kodaly ' s attention to the folk songs from Mohacs (these songs were noted by Lajos Schneider. who was a teacher in the local school that ti me). Because of the above mentioned reason. Kodaly sent a researcher of the Museum of Ethnography. Oszkar Dincser to Mohacs. Dincser selected the best singers of the town. exactly 64 persons. so in the October of 1941 , 23 folk songs were sang by them and recorded by the Radio of Budapest. In 1950, Zoltan Koda ly travelled to Laj os Schneider to Moluks - the first time in the countly- wi th a portable tape recorder. The result of Kodaly's visit in 1950 September: from II persons. 54 Hungarian and 3 Sokac (Croatian ethnic group in Hungmy) folk songs were recorded. The tape recorder was operated by Kodaly ' s former sn1dent and colleague. Gyu la Ke11csz. During their common work, Kodaly reaffirmed Schneider's faith in the importance of further collections. and shared useful experiences with him connected with the fieldwork . The organising process and the transaction of Kodaly's an d Schneider's meeting were managed by Anka Kersics, who was a young folk singer from Mohacs. From that ti me, this young Sokac (Croatian ethni c group in Hungmy) lady was the ·'postman" . so the letters and the folk music materials replaced each other often. The letters were mostly \Hitten by Dr. Gyorgy Kercnyi. but when it was neccssmy, Kodaly also wrote letters to Moluks. In the November of 1950 Kercnyi wrote: '"To the collection of the children songs, which will be published by the Hungarian Academy of Science in this December. we also selected the best songs fro m the ' Folk Traditions of Baranya · book .. ,
Koda ly wrote to Lajos Schneider: " Dear Director! Your consignment is precious. and it is worth to continue the collecting. The proof of th is can be one song: the song of Agi BorbCiy /one of the informants/. I wish you a good work ! Best regards, Z. Kodaly. 28.02.195 I.'' The effects of Zoltan Kodaly and Lajos Schneider on the musical and cultural life of the town and on the preservation of the local musical traditions in Mohacs: Lajos Schneider, \ovho made significant folk music collecting works. was an important person in the cultural and musical life of Mohacs. The effect of him is rea lly remarkable nowadays as well. Thanks to the successors and students his folk song collections from Mohacs were published in several books. (I 970: Folk songs from Mohacs, 1981: ''In the mi ll of Mohacs, the reeds are shaking"". I 989: ''The Danube is a wide river""). In honour of him, a memorial plaque \Vas unveiled, bronze memorial plaqucttes were made, a memorial room was established in the music schooL and a monographic book was published about his life. In honour of his activities, the Schneider Folk Singing Competition was started in I 97 I, first in a regional and later in a national level. Since I 998 the Schneider Lajos Folk Song Circle. wh ich mostly presents local fol k songs has been functioned. I am the leader of the group. Our mission is to ma intain. present and research the folk song traditions of Mohacs. Since I 999 I am the organizer of the Schneider Folk Singing Competition and we try to invite famous folk musicians and folk singers to be jmy members eve1y year. An audio-cassette was publ ished in the same year. with the contribution of the winners from the previous 24 years. edited by Dr. Ferenc Varnai, who was a participant on the competitions for 25 years. In 2000. thanks to my work, the Folk song of Mohacs CD, which contains archive records from the Institute for Musicology of the Hungarian Academy of Sciences as well as folk songs from the Schneider Folk Song Circle was issued. The schooL where I teach traditional folk singing, also is named from Lajos Schneider. During these previous years, the folk singers from Mohacs, became participants and members of highly qual ified regionaL national and intemationa l fol k music competitions. At the events of the town, the Schneider Folk Song Circle is a regular performer. In 2014. during the "'Clear Source Settlement" Price's Gala. our group perfonned as wel l. The musicians of the Book Club of Mohacs's Citizens (in which I am a leader as well) also became main characters of the cultura l events of the town. Thanks to our works. many chi ldren. family, audience member. colleague get new perspectives about fo lk music. Our activities arc continuous. and we arc working several plans· implementation: for example on a complex multimedia data device of the folk songs fro m Mohacs, of Schneider, competitions, musical education in the town cct. Me. as person. who grew up in musical education of the Kod
Lenke Horvathy ~vl usic teacher and the conductor of the Schneider Lajos Fol k Song Circle
Nyilatkozat Kodaly tanftvanyakent Kodaly szellemeben 1947-53-ig a legendas Magyar Ori:ikseg Dfjas bekestarhosi enekis kola tanu loja voltam, aho l Kodaly Zoltan is jart szemelyesen. Ott talalkoztam vele eloszi:ir, amikor a szolfezsversenyi.inki:in reszt vett. Szamo mra a verseny olyan jol sikeri.ilt, hogy Kod aly , meghfvott" 6szt61 a budapesti konzervatoriumba diakkent. Zenetudomanyi- nepzene szakos hallgatokent keri.iltem a Zenekademiara. A nalam id6sebb, kes6bb neves nepzenetudossal, Sarosi Balinttal, Olsvai lmrevel, Vi kar Laszloval keriiltem egy csopo rtba. Kod aly instru kcioi alapjan ket hetenkent ki kellett menni.ink videkre nepdalokat, nepzenet gyujteni, amit azta n maga ellenorzott. Erdekelte, hogy az altala az 1920-as evekben gyujtott dalllamok elnek-e meg a nep ki:i rebe n, illetve talal unk-e variansokat az akkori nepdalokhoz. A helyszfne n els6so r ban fi.ilhallas utan gyujtotti.ink, mivel nem volt technikai fi:ilszereles, fgy meg kellett jegyezni a dallamokat es azo nnal lefrn i. Ezert szi.ikseges a szolmizalas es a bels6 hallas ismerete, amit a zenei kepzes saran sajaftottunk el. Kodaly iranyftott a tanari palya fele. A nepzenet erto, es nem muzealis ta rgykent kezel6 tanarokra van szi.ikseg - mondta -, olyanokra, akik altai a nepzenet a gyerekek el6 modon szeretik meg (a tanar maga olyan, mint egy adatki:izl6). A gyerekeket beoltottam a nepdalokkal, az orakon archfv felveteleket is mutattam nekik. Tanultam az Akademian nepdal lejegyzest, az iskolaban ezt probaltam a gyerekeknek is megtanftani. Mai napig visszajelzest kapok nepzeneszekka valt tanftvanyoktol, akik alig vartak, az enekorakat, mert szamukra olyan elvezetes vo lt. Az oktatas saran a eel, hogy a gyereknek ragyogjon a szeme, amikor enekel. 1975-ben a Zeneakademian rendeztek koncertet Bartok Bela halalanak 30. evfordulojara. Az en otletem vol t, hogy a korusm(ivek el6tt minden korus enekeljen Bartok altai gyujti:itt nepdalokat is. Hatalmas sikere volt a kezdemenyezesnek, hiszen el6szi:ir probaltuk kozossegi ki:izegben a nepdaleneklest ugy, hogy a Zen eakademiara vitti.ik be a nepdalcsokrokat. Raadasul j6 zenepedag6gia m6dszer is volt, hiszen egyben bemelegftes vo lt a ko rusmuvek ele. Egesz palyamat vegigkfse rte a nepzene elove tetele, peldaul tanchazba vittem a ta nftvanyokat. Ott eloben megtapasztaltak, hogyan kell enekelni a nepdalokat, mert a tancban benne volt a tem po. Orommel figyeltem, hogy lanyom, Sebestyen Marta mikent vonzodik kisgyerekko ratol a nepdalokhoz. Otthon mind ig enekeltem, es 6 ezt a peldat latva szi nten mindig enekelt. Elobb enekelt, mint beszelt, es meggy6z6desem, hogy 9 ho nappal a szi.iletese el6tt kezdodott a zenei neveles. 6vodas koraban szemelyesen is enekelt Koda ly Zoltannak, a 80. szi.iletesnapjan. Kodaly azt, mo ndta, ha mindenki ilyen szepe n e nekel, erdemes vol t megfrni ezeket a dalo kat. Otodikes volt, amiko r a Fazekas Gimnaziu mban a nepdalversenyen els6 lett. Vikar Laszlo volt a zsurielnok, akit61 egy lemezt kapott ajandekba. Ez volt a bu dapesti !FMC konferenciara kiadott lemez. (Magam is reszt vettem a konferencian, ahol elvittek minket az el6 adatkozlokhoz is.) Klilonboz6 tajegysegek nepdalai voltak a lemezen, Marta a moldvai csango Jan o An na neni balladajaba egyszeruen beleszeretett. Akkor mintegy megfert6z6dott a nepzenevel, beleasta magat az el6 nepzenebe. Ma UNESCO Artist fo r Peace cfm mel is re ndelkez6 nepdalenekes.
H uszonb~t evig tan ftott am a Hunyadi Janos enek-zene tagozatos altala nos iskola ban. Oda jartak 6rakat latogatni, a zenei nevelesi m6dsze rt tanulni a vilag minden reszebo l a ki.ilfoldiek. 1980-ban mentem le Bekesre es Bekescsabara tanftani, es 10 evig voltam itt. Kozben a Magyar K6rusok, Zenekarok es Nepzenei Egyi.ittesek Szovetsegenek (KOTA) titkara lettem. Megyei k6rusversenyeket, k6rustaborokat szerveztem. Elet volt az egesz mozgalomban. Sok tanftva nyomb6llett enektanar, k6rusvezeto, nepdalkorvezeto. 2006-ban volt az elso iskolam 50 eves evford ul6ja. Osszejottek a volt ta nftva nyai m, es akkor ugy dontottek, hogy folytat ni szeretnek az eneklest. fgy alakult meg a Hu nyadi ven diak k6rus, amely a mai napig mukodik.
Az enekles a kozoss eg felelosseget erosfti, minden tag egy felelo s szemely a k6 rusban. Szakmai reszrol nem lehet j6 muzsikus, aki nem latj a mit hall es nem hallja, mit lat- Kodaly utan szabadon. Ezt en hittel es val6sagba n csinalta m. Sok szep emlekem van, amit nem vehetnek el tolem. Elkfser, amfg elek. Egesz eletemben ezt szolgaltam. A Ko daly kon cepci6 felterjesztesehez Regiszterere messzemenoen tamogatom.
Sebestyenne Farkas Ilona Zenepedag6gus, enektana r, karvezeto
az UNESCO
Legjobb
Gyakorlatok
DE CLARATION
As Kodaly's pupil in his spirit
I was a pupil of the fa mous music-school of Bekcstarhos from 1947 till 1953. It is a Hungarian Heritage awarded institution which was visited by Zoltan Koda ly. I met him for the first time there, when he took part in the solfeggio competition in the school. I performed so well at the event that Kodaly 'invited' me to study at the conservatory in Budapest from aunmm. I became a musicology and folk music student in the Academy of Music and I was assigned to a group with older people who later became fam ous folk music scholars, such as Balint Sarosi, Imre Olsvai and Laszlo Vikar. Based on Kodaly ' s instructions, we had to go to the countryside to collect folk music and folk songs, and these activities were controlled by him. He was interested in whether the melodies he co llected in the 1920's were still living am ong the people, and also if he could find variants of those he collected. During the fi eldwork collection. we mostly rel ied on our hearing, as there was no techniqual equipment, so we had to memorise the melodies and immediately write them down. That is why the knowledge of the sol-fa and the internal hearing, thatt we acquired during our musical education, was necessary. Kodaly oriented me towards teaching . He said: 'There is a great need for teachers that understand folk music. and not for ones who treat it like a museum piece. There is a need for onesthat he lp children love folk music in a living way.' (The teacher itself functions like an informant of music). I made children love folk songs, and I showed them archive videos during the lessons. At the Academy of Music, I learned how to note down folk songs, and I tried to teach it to the students, as well. Up to this day, I have had feedback from my students that became folk musicians, and that were looking forward to every music lesson with me because it \Vas so enjoyable for them. In education, the ai m, is to make children si ng with beaming eyes. In 1975, a concert was organized at the Academy of Music, dedicated to the 30th anniversmy of Bela Bartok's death. It was my idea to sing folk songs collected by Bela Bartok, before choral works were performed. The initiative was a huge success because that was the first time whenwe tried folk song-singing in community, so we brought 'folk song bouqets' to the Academy of Music. Moreover. it was a good music teaching method, since it was also a wann-up for choral pieces. Throughout my career, I always tried to keep folk music alive, for example, I took my students to dance houses. There they could experience how to sing the folk songs in live because the dance helped them with its rhythm. I observed with pleasure how my daughter. Marta Sebestycn, started to have an inclination for fo lk music since her childhood. At home I was singing all the time, and based on my example, she always also sta1ted to sing. She sangbefore she learned ho\\' to talk and I believe that her musical education was started 9 months before her birth. When she was a kindergartner. she sang to Zoltan Kodaly personally, at his 80th birthday. Kodaly said: ' If eve1ybody sings so beautifully it was worth writing down these songs.' She was a fift h-class primmy schoo l student when she won the folk song singing competition at the Fazekas Secondmy School. Laszlo Vikar was the president of the jmy. and he gave a vinyl record as a present for her. This was the vinyl record thatwas issued for the IFMC conference in Budapest (I was a participant at this conferen ce and. I remember, we had the possibility to visit informants. Fo lk songs from different regions of Hungary were on the vinyl record. and Marta simply fell in low with the ballad of beldam Anna Jano from Mold\'a. At that time, she became ' infected'
with folk music and dug herself into live folk music. Today she is a folk singer. and one of UNESCO' s Artists for Peace. I have been teaching at the Hunyadi Janos music elementary school for 22 years. The foreigners came there from every part of the world. to visit the lessons. to learn the mus ic education method. In 1980. I moved to Bckcs and Bckcscsaba to teach, and I have been there for I 0 years. During this period, I became the secretary of the Hungarian Choirs ' , Music Bands ' and Folk Music Groups' Assosiation (KOTA). I have been organized regional choir competitions and choir camps. The whole movement was alive. Many educand of mine became music teacher. cmyphaeus or leader of folk song groups. In 2006. there was the 50th annivcrsmy of my first school where I \vas teaching. My old educands fi nally met at that time. and they have been decided to continue to sing. That is how the Hunyadi Old Student Choir was established. and it is still funci onatcs. The singing strcnghtcns the responsibility of the community, so cvcty single member is a responsible person in the choir. So to paraphrase Kodaly: From a professional perspective, who docs not sec what he hears or docs not hear what he sees simply cannot be a good musician. I did it with faith and in the concrete. I have plenty of beautiful memories what nobody can steel from me. They will accompany me ti ll I die. In my whole life I served this. I largely support the nomination of the Kodaly concept to the UNESCO's Best Safeguarding Practices Register.
Sebcstyennc Farkas Ilona Music pedagogue, sing-teacher, choir conductor
MAGYAR TUDOMANYOSAKADEMIA BOLCSESZETTUDOMANYI KUT ATOKOZPONT Zmetudomauyi lutezet 1014 Budap••st, lancsics Mihaly u. 7.; Telefon: 356-68-58; Fax: J 7--92-S2 1250 Bud.tpl'st, l'f. 9. E-m.ail: di-igaLgato btl...mta .hu
l\ YILA TKOZA T
A nepzcnei iiriikscg mcgiirzesc a Kodaly konccpcio altai
1. NESCO Lcgjobb megorzesi gyakorlatok
£ntezet ncpzenci es n~ptanc archinuna a magyar ncpzcne- es n~ptc-lnckutatas segcdanyagakcnt jott letrc az clmult cvszcizad alatt. Gondozasat <.:s fejlcsztesct 1953-tOI a Kodal} altai letre hozott cs ' ezetett MTA ·cpzenekutat6 Csoportja. majd 1974. az eg::- esitctt Zenctudormin) i lmc!?et lctrchozasa 6ta az intezet ki.il6nhoz6 elne,·ezcssel mukodott fcllklorosztalyai ,·egeztck. A B()lcsc zetrudom{myi l(utatokozpont 1 megalakulrosztalyok 1epzene- es 1eptanckutat6 Osztc11. es Archivumkent cgye. i.iltek, aminek koszonhetoen a g~ tijtemenyek kczdcsc LJjbt)l cgy :zcrYczcti cgyscg fcladata lett. .1\z 1960-as e\·ek bta archivumunk a magyar n~pzcne cs ncptrinc kt)zponti gytijtcmenye,·c v{tlt, ahoYa okan adt<-ik. adjak k g.} ujtcseikct. Cclunk az. hogy c kozponti archinunban lehetolcg minden gyfljtott Jh~pzenei anyag ,·alarnilycn zintcn dokumentah·a lcgyen. z dm(Jit ·o ~\·ben a nepzenci hangfeh eteh:k e n~pi to.1ncfilmf~ ln! te kk archimmanak zi ztcmatiku ki~pitesc ur6pai l' . zeha ..onliHi ban is kima::-a ·)6 jelent6segrc tett zert ArchiHununk hangzo tel\'~telbol mintegy 18500 6ran) i a n~ agot oriz. amel~ bol kb. 13000 6ra olyan ajat tulajJonLJ li:l\'~td. amclyn ~;k a torni. anyng:.1 is a Zcnctudom:'ln) i lntczctben t·tl{tlhat(>. l\agyjab61 3500 Lminyit t~;; sznek ki a ,·atamcly m <~s gyi.ijtcmeny tulajdonaban Ievo. de eredeti hord<m)jukon ::ltkcrlilt telvetrlck. cs :woo 6n\t a m{ts e) tijtemcnyck 1eln~telei b61 z{mnazo ma, olatok. Ez ut6bbiba tartoznak tcibbek ~ozott a . ~Pnl.J Zr ifLrzeum fonogrftfh..:ngcrei. mm:lyek zcnei anyaga analog e imrmir digitalidilt fonmiban is megtalalhat6 n(ilunk. Neph1ncfeh et ... kink LOmet filmen oriai.ik. tintegy 700 6rtm~ i erttke: fi lmfeh etel i.ink \ :Ill az 19.:'0-as en~ktol. Gonyei Sandor e. Molnar L!Yan kla. :7.ik u. fi h·etekir61. az 19:0-es c\ k nag~ szab;i tl g) uj te. ein. \I art in Gy\) r 0 ~. Pc ovt'lr Erno c. Ferenc. ndra. fal\'y Bcn alan. ~1aac z Laszlo. Erdelyben Kall6. Zoltan. majd kc 6bh Ti1mir S<'i.ndor tilrnfeh·etekin at az 1990-es eYek kezclcteig ba•iro]ag. ami tartaJmiJag ()s:z.e. en mintegy 2 -0000 meter (a forditI adL1doan a gyt:ijte:ek. illetve telvetelek lefn) adatainak s7amitt)gepre ''itele. Nemcsak az ndatok nagy mennyis~ge oko7J.a uzonhan. hogv az an:hinnn tcljessegenek s:tdcskor[r A
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DECLARATION
Safegua rd of the Folk Music Heritage by the Kodaly Concept for the Proposal for UNESCO's Best Safeguarding Practices
The folk music and folk dance archives of the Institute of Musicol ogy were create d as a side material of Hungaria n folk musi c and folk dance rese arch during the last century. It has been looked after and developed since 1953 by t he Fo lk Music Research Group of the Hu ngarian Academy of Sciences created by Kodaly, and since the estab lishment of the Institute of Musicology in 1974 by the folkl ore departments of the Institute working under different names so far. By the creati on of the Resea rch Centre for Humanities
1 ,
the folkl ore departments united to be Department of Folk Music and Folk
Dance Research and Archives, tha nks t o whi ch th e treatment of collections again beca me th e task of an organizational unit. Since the 1960's, our archives became the central collection of Hunga rian folk m usic and f olk dance where many people have been and are handing in their collections. Our aim is t o docu ment to some extent possibly every collected fo lk music materi al in th e central archives. In the past 50 years, th e systematic cre ation of th e archives of fol k mu sic sound- and fo lk da nce filmrecordings became by now of a highlighted importance even on the European scale. Our archives have an alm ost 18 500-hour sound materi al, out of which app r. 13 000 hours are such privateproperty recordings of which the source material can also be found in t he Institute of Musicology. Approximately 3 500 hours of recordings belong to other collections, but which were handed in on t heir origina l data carrier, and 2 000 hou rs of recordings are copies of reco rdings from other collections. To t his latter belong, among others, the phonograph-cylind ers of the Museum of Ethnography, of which the music material ca n als o be f ound in an alogue and in digitalized form, t oo, in the Arc hives. The majority of folk da nce recordings are kept on film s. We have almost 700 hou rs of valuable film recordi ngs from the 1930's , from Sandor Gonyei's and Istva n Molnar's classical recordings, through t he large-scale collections of the 1950's, an d Gyorgy Martin's, Ern6 and Ferenc Pesovar's, Bertalan Andrasfalvy's, Laszlo Maacz's, in Transyl vania Zolta n Kallas's and later on Sandor Tfmar's recordin gs, to the beginning of th e 1990's, whic h means altogether an al most 250 000-metre-long {due to reversa l film s, in fact, 400 000-metre-long) film ban d. Beside this, we also have 200 hours of analogu e and digital video recordings. Paper-base d dat a, e.g., notes without soun d recordin gs made on the spot, collection notebooks, copied data of 19th-century editions, notes of soun d recordings, altogether appr. 250 000 pages, make a considerable stock in our folk music collection. Besides, a great amou nt {appr. 80 000 pictures) of photos {mai nly black and white negatives, in a smaller number slide-positives, as we ll as colou r negatives) is ke pt. Archiving, of course, also means that the recorded data are kept in a proper way and that the retrieval of data is ensured. As a consequen ce, another important activity of ours is the entering of th e description data of the colle ctions and recordings into the computer. It is not only the big amount of data that makes that setting the entirety of the archives widely accessible seems to be a long and almost endless work. Historically, the greatest personalities of Hungarian folk music science
1
The Research Ce ntre for Humanities, t hat was establi shed by the fusion of indepen dent research institutes previ ously, started its
operation as from 1st January 2012, based on the decision of t he General Assembly of the Hungarian Academy of Sciences.
were at a time excell ent comp osers and highly-cu ltivated musicians (Zoltan Koda ly, Bela Bartok, Laszlo Lajth a, Pal Jard anyi, etc.). Therefore, since the begin ning, the m usical interpretation and the m usic-based arrangement of the collected materi al have always been given a big emph asis. From the point of view of musicology and folk musicology, this ana lysing an d comparing data-processing ma d e possib le the birth of many new and im portant scie ntific resu lts. It helped to define the relationship of t he music of the Hunga rian and t he co-living, as well as the related peoples. It also explo red the stylelayers with in Hungarian folk music and tried to give an answer to the origins and the spreading range of the different styles. Right fro m the beginning, they plann ed even to edit the huge material on a m usical base. Its science-historical docume nt is the Bartok- and Kod aly orders, but even now t he critical edition of Hungarian folk music is sti ll done according to musical criteria in the framework of t he Magyar Nepzene Tara (Corpus Musicae Popularis Hungaricae) series
2
•
The fo lk mu sic and fol k dance archives of t he Institute of Musicology primarily serve the scientific research an d publication of folk music. The institute' s most important task in this service is t o preserve th e institute-owne d rich folk musi c and folk dance collection for the f uture, as w ell as t o make it accessible in an ord erly form f or research and publishing. It is also the respon sibility of our institute to keep the central fea ture of th e coll ection it supervises and looks after, as well as to collect as completely as possibl e the folk musi c and folk dan ce tradition of Hungarians of t he Carpathian basin. It is esse ntial to set our treasure and results on the internationa l sce ne, t oo. Therefore, a big emphasis has t o be put on the maint en ance and development of internation al relations. It is als o imp ortant to keep a continuous con tact with t he fie ld of publi c cult ure, let's ju st refer t o the tradition of the folk dance house movement. Our results made so far in part can alrea dy be fou nd on internet; different collection units became accessibl e online on the institute's w ebsite; t he Folkl6r Adatbazis (Folklore Da tabase) operated jointly with the Heritage House is now accessible, 3
as well as the Nepzenei peldatar (Folk Music pattern store) according to Dobszay-Szendrei's type catalogue. Ou r archives are represented in different professional orga nizations on the international level. The archives co-foun ded t he Open Network of Europe an Ethnomusicological Archives
4
,
t he fi rst
European-level professi onal organization of folk music archives established in 2010. During the past 6 years, it took part in t wo calls for proposals of the European Union: within t he EU 6 frame programme, th e aim of the call ethnoArc (Linked European Archives for Ethnomusicological Research) is to co nnect the datab ases of folk mu sic arc hives, as well as to provide an online search possibility in several different archives at a time. The aim of the call created within the EU 7 frame progra mme is to create the possibility of audio content supp ly an d to ensure data sup ply within the framework of the EDL (European Digital Libra ry) big project. Budapest, 26 March 2015 Dr. Pal Richter director
'• A critical edition (source edition) se ries established by Bela Bartok and Zoltan Kodaly, in which 12 vol umes have been published so far. I. Gyennekjatekok 1951, II. Jeles napok, 1952, Ill. Lakodalorn A-B 1955, IV. Parositcik 1958, V. Siratcik 1965, VI. Nepdaltipusok 1. 1973, VI I. Nepdaltipusok 2. 1987, VI II. Nepdaltipusok 3. A- B 1992, IX. Nepdaltipusok 4. 1995, X. Nepdaltipusok 5. 1997, XL Nepdaltipusok 6. 2011, XII. ~ep daltipusok 7. 2011. Th is latter volum e's types illust rated by sound patterns: http://db.zti.hu/mn t12/mn t.asp
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Folk music archives partici pating in the orga nization: Phcnog rammarchiv Berlin; Phonogrammarchiv Vienna; Archives of ISPAN Institute of Art Warsaw; Slovenian Aca demy of Sciences- Archi ves of Scientific Research Centre, Ljubljana; Archives of t he Centre for Swedish Folk Music and Jazz Research, Stockholm; Archives of the Fondazione Cini , Venice; and Folk Music Archives of the Hungarian Academy of Sciences- Research Centre for Humanities- Institute of Musicology, Budapest.
:\'VILATKOZ.-\ T A nepzenei orokseg megoa·zese a Kod:ily koncepcio altai U~ESC O Lcgjobb mcgorzcsi gyakorlatok p~ilyaza thoz
A Liszt Fer~ nc Z~n~m un~szeti Egyetcmen 2007-ben beindult fel s6foku gyakorlati hangszeres es en ekes nepzenesz alapkepzessel. \'alamint a 201 0-ben kezd()d(itt nepzenetamiri mcsterkcpzcssd bezarult az a kLir. amcly hivatalosan cs szakmailag d lenorzott modon biztositja hagyomanyos zenei kult1u·ank e1etben tm1asnt es \'isszataplalasat a tarsadalomba. Hasonl6an a kultura mas tcri.ileteihez e .. korforgas·· fenntartasa. apolasa a nept:enenel is szakertelmiseget feltetele z, de ez nem jelenti azt, hogy a nepzcne ertelmisegi kultura Jenne a sz6 kizarolagos ertelmeben. Mint altahiban a zenekulttmihoz. a nepzenehez is megtalt. 3 :\ hat\"anas-hetven ~s eve kben jelentek meg l:kres Janos nepdalokra alapoz6 furul) atanitast celz6 kiadvanyai . Gyc:ikcres ni. lt oz~ist hozott a hetvenes e\ ek elejen elindult t segitsegeyeJ. B e r~s .hino inin\ itasa alatt. Ezt kot \'etleni.il meueloz0en Deme Tanui · i ·kolaklserletet kell emlitenlink lSZii;t:~n Obudan 1. melynek resze ~\'ol t a m~pzene es a nephad-yomany is. , apjainkban orszagszcrte szam : zeneiskol{tban (Wl b mi nt 80 in t~ .lln~ n: hen l oktatnak autentikus nepdalenekl est vagy hangszerjatekot alap fokon. e.: ttlbb he! ye n Szekesfehen ::ir. Miskolc, Vac. Nyiregyhaza. Bekesc aba. Budape_tJ zenei s:takkt>Lepiskolai keretben k(.)zepfok on is b~indult a tanitas. [ redmenyesseget es nepszeri'iseget jelzi. hog)' '2006-ban megrendeztek a ZenemiivesLeti SLakk ")zepiskolitk els6. _009-ben m.isod ik. majd 20 I ~-ben a hannadik orsDigo_ nepz.enei \'er. enyet. melyek sikeresek Yoltak. 20 15 ta\ aszan a di
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ZE NEAK ADEMI A Reszben a kodbbi kezJemt?n\ ezesek nyonuin es a Bartok es Kodal y t:!Yfordul6k (2006- 200 7) kapcsan lehetoseget nyilt az onall6 hangszeres es enekes nepzencsz kepzes beinditasara, eroteljes el meleti oktatassal bbdt\·e a gyakorlati studiumokat. Ismeretes. bogy a Lcncakademia kcretcin beli.i1 korabban mar tolyt magas szintu etnomuzikologiai kepzes. 1951-ben a zenetudomanyi tanszak parh uzamos Wr1enesz es nepzenesz osztalyokkal indult. .-'\. nt:!pzenesz <.LZtalyt (.4ntsi Bela. O!srai lmre. '\(irosi Balin! es l()fh Jfargi! j wzettc. Kodal y nyugdijazasaval. majd halalaval a rH~pzenetudom {myi kepzes abbamaradt. On endetes. es n!szben a gyakorl ati m!pzenesz-kepzt:!s elindu1asanak is kosziinheto. hogy 2011 -t61 a zenetudnrminyi mesterkepzes kereteben t'rjb61 lehet etnomuzikologia szakin'tnyt is \·egezni. A nepzene teremto kiizege. amelyben hosszu evszazadokon. embero!tokon keresztUI fonnalodott. amely e hagyomanyos zenei kult(rra aute ntikus koz()ssegi al kot6miihelye Yolt. ttdnyom6 reszben megsziint. iilctve megsziino tC!ben van a magyar nyelYteri.ileten. Teny. hogy eletkoriilmenyei jekntosen megniltoztak. akti\ , \·iru lens korszaka lezarul6ban van. de tradi~iomilis zenckent reperto{trja. ell.)ad6i gyakorlata nc:m csak archinm1okban. hanem a zcnei gyakorlatban is meg6rzendo. Raadasul meg teljes mertekben ismerjiik , hogyan sz<.'llt. hogyan szt'lbltatUik meg (elh:ntetben sok rmis zenei kincsiinkkel ~ ). . nepzeneszeknek az oktat{tsi rendszerben is lehet6sl!get kell adni a szelcs k(irii zenei mtiwltseg megszerzesere. Az also- es k{)z~pfiJkll intezmenyekben megfelel() gyakorlati e::- dmdeti tuda::- birtok{tban kv6, kepzett tanaroknak kelt a nepzenet oktatni. A kepzesnek az egyik kiemelt celja. hogy akik ' 'egeznek. tudjak, hogy mi az autentikus nepzene. es ne kepzeljek mag ukat parasztkultttrabeli jclens6gnek. hancm e kult(rra szakembereinek. szakteriiletiikon biztosan t
Kelt: Budapest. 2015 . rmircius 26.
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DECLARATION Safegua rd of the Folk M usic Heritage by the Kodaly Concept for the Proposal for UNESCO's Best Safeguard Practices
At Liszt Ferenc Academy of Music, with the higher-educa tion al und ergra duate 'instrumental and vocal folk musi cian' programme started in 2007, as well as the gradu ate 'folk music teach er' progra mme started in 2010, the circle, which ensures officially and in a professionally supervised way th e preservation of our traditiona l music culture and its feedback into society, ha s cl osed. Sim ilarly to other fields of cultu re, the maintenan ce
and preservation
of this 'circulation' presumes
profes sional ism in folk music, but it does not me an t hat fo lk music is an intellectual culture in the exclusive se nse of the word. As much as to music cult ure in general, all parts of the society can f ind its connectio n points to folk music, too, independ ently from the level of education or degree. Earlier, there have already been initiatives to teach instrumental f olk music at the Acad emy of Music, as well as at oth er higher education institution s, but in all cases t hey made allusions to Zoltan Kodaly's program of Hu ngarians of the 1920's as an anteced ent, in whi ch one of the most important parts of tea ching was folk songs. In t he program such teachers taught as Jeno Adam or Benja min Rajeczky, an d stu dents got to know living f olk music by listening to origina l reco rdings. The Enekes ABC {Singing ABC) and Koda ly's lskolai Enekgyujtemeny (Son g Compilation fo r Schools) contained folk songs, too
1
.
After World Wa r II, Sandor Janosi (father of And ras Janosi) hold song-, music- and dance
2
courses secretly, in differe nt flat s; Lajos Vass published his Furu lyaiskola (Flute School) in 1947, to w hich Kodaly hi mself wrote the prefa ce
3
•
In the 1960's-70's, th e editions of Ja nos Beres on flu te
t eaching based on folk songs were pu blished. A fund amental change was made by th e 'folk da nce house' movement started at the begi nning of t he 70's, in which enth usiastic young people st udied intensively instrumental fo lk music, and such excellent f olklore researchers took part in their professional lead ership as Lajos Vargyas, lmre Olsvai and Gyorgy Martin. Instru mental folk mu sic learning, however, took place outside the official fra mework of education, in different organi zed co urses. Th e first national music school education started in 1975-76 in t he 6buda Music School with th e help of Otto Till, m usic schoo l director, under Janos Beres's leadership. Right before th at, w e have to mention Tamas De me 's sch ool experim ent (also in 6buda), of wh ich a part was folk music and folk traditions . These days, nation-wide in many music schools (in more than 80 institutions) authentic folk song singing or instrumental play are ta ught at the primary level, and at a nu mber of places (Szekesfeh ervar, Miskolc, Vac, Nyfregyhaza, Bekescsaba, Budapest), teaching starte d at the second ary level, too, in the framework of secon dary music schools. Its efficiency and popu larity is re prese nted by that t he national folk music competition of Secon dary Music Art Schools was organized for the first time in 2006, for the seco nd in 2009, and for t he third in 201 2, all of them being successful. In th e spring of 2015, students can com pare their skills in t he fourth national competition. Un der the new secondary sch ool diploma (G.C. E.) system, more students chose folk music as one of th e final exa m areas, and almost in every year th ere are app licants for it. There has been a demand for it to continue; many stud ents want to finish at the higher level wha t they started at the secondary one.
1
Benjamin Rajeczky (ed itor) : Enekes Abece, Budapest, 1938. 13 1950; Zoltan Kodaly and Gyorgy Kerenyi (editors): lskolai Enekgyujtemeny HI., Budapest, 1943-1944. 2 Andras Janosi's ora l information. 3 Furulyaiskola 1-11. publisher: Lajos Vass. Nepi Egyuttesek Muveszeti Kollegiuma, Budapest, 1947. Zoltan Koda ly: 3 Retrospective I. (ed. : Fere nc Bonis), Zenemukiad6 Vallalat, Budapest, 1982 . 206.
Partly in the wake of previous initiatives and due to th e Bartok and Kodaly anniversaries (2006-2007 ), it became possible to la unch a separate instrumental and vocal folk musi c artist education programme, in which a strong the oretical educati on is added to the practical studies. It is kn own that within the f ramework of the Academy of Music, a high-level ethnomusicology programme was already offe red previo usly. In 1951, th e department of musicology sta rted parall elly w ith th e historian - and the folk musician department. The folk musician department (Bela Avasi, lm re Ol svai, Balint Sarosi an d Margit Toth attended th e f irst class) was led by Kodaly and Laszlo Lajth a. By Kodaly's retirement and death , the f olk musicology programme was cut. It is joyful, and partly due to the start of the practical folk musician program me, that since 2011 within the musicology prog ramme it is agai n possible to study ethn omusicology, as well . The creating medium of fol k mu sic, in whic h it was f ormin g throug hout long cent uries, and which w as the authentic wo rksho p of the commun ities of this t raditional music culture, predominantly ceased to exist, or is about to ce ase to exist now on t he Hungarian-s peaking territori es. It is a fact th at its life circumstances changed considerably, its active, virulent era is about to fini sh, but as traditi onal music, its repertory an d performe rs' practice should be preserved not only in the archives, but also in musical practice. Furthermore, it is still known today how it sound ed an d how it was played (to t he contrary of many other musical treasures of ours!). Folk musician s have to be given th e possibility of acquiring a wide musical culture in t he education system, as well. In primary- or secondary-level institutions, trained teachers having a proper th eoretical and practical kn owledge must teach folk music. On e of th e highlighted objectives of the programme is th at those w ho gradua te sh ould know what auth entic folk music is, and that they shou ld not imagine the mselves as a phen omenon of peasant culture, but rather as its experts or consciou s musicians and teach ers t hat orientate confide ntly on th eir professional field . On the longer term , only higher education can ensure a co ntrolled learning from an umpteenth han d. Thus, similarly to classical m usic and jazz, quality measures of folk music playing should be created; and only th e building up of the whol e system of education (p rimary-, second ary- and high-level) can ensure a wide and clea r view wit hin t he genre.
Budapest, 26 March 2015
Dr. Pal Richter head of department associate professor
Declaration of the Hungarian Heritage House
The Hungarian Heritage House uses the Kodaly Concept's sources in many fields in the course of its work. In the operation process of our institution, we performs a wide range of tasks of the social recovery of the folk musicology's result (which is a function assigned by Kodaly). These tasks are affect all sections of the institution' s professional activities. The Hungarian Heritage House, as the main institution of the applied folkloristic, takes part in the archiving process of the folk musicology's different documents, in the transformation of the researches results, in the preparation of the social utilization, and in the adaptation and translation of the folklore goods to an artistic level. The three big professional department of the institution were established in accordance with Kodaly' s concept. As the public collection of the Hungarian Heritage House, the Laszlo Lajtha Folklore Documentation Center and the Gyorgy Martin Media Repertory are intended to digi tally process different documents which were piled up during the different workflows of the folk musicology. To provide a library access as well as scholarly forums , where the experts (making researches about the collection of fo lk music or about the archiving process or the disclosure of folk music) can share their results and opinion with each other or with the audience. The Folk Art Methodology Yard, as the public education repertory of the Hungrian Heritage House, use the results of the ethnomusicology during its folk music trainings and courses, which were developed in accordance with the Kodaly concept. In parallel with the above mentioned thoughts, the institution uses those aspects in the process of composing the materials of the courses and trainings, which have been already formulated in the Kodaly concept and later in the Dance House Method. The publication process of these materials is broad. Those gramophone records, which were issued between 1936 and 1963 (and were initiate by Kodal y) were re-issued and digitalised by the Hungarian Heritage House, as well as those digital media devices which were based on the contemporary music folkloristical collections were bring out. Folk song and musical instrument handbooks were also published by the institution. In the wo rk of the Hungarian State Folk Ensemble which is the artistic repertory institution of the Hungarian Heritage House, the endeavour to the authentic regional style (which stems from the Kodal y concept) as well as the critical thinking based on the conscious music aest hetics and the music-history are both appearing. Accordingly, in the selection process of the Hungarian State Folk Ensemble' s music repertoare, they also tries to foll ow Kodaly's methodology. In 1969. t\.\'O years after Zoltan Kodaly's death. as a manifesto of his concept. a folk music television talent show. called Ropiilj pava! (Lets fly, peacock!) has been started. The Hungarian Heritage House assumed the revivification of the show , which was stoped in 1983, with the elaboration of the professional concept of the Folszallott a pava (The peacock has flewn) in 2011. Threfore the institution became the professional operator of this competition for the third time (3 season).
Conside ring the fact. that this shO\Y·s broadcasts and the refore the values of the hungarian fol k music, got to mill ions of TV viewers, the main obj ective of the Kodaly concept seems to come true: it is our du ty to provide w ide access to the values of the musical mother tongue. It is important to use all of the modern tools in order to .. Let the music be all of ours !.. Under all these, we certify, that the Hungarian Heritage House, as a directl y affected institute by the program , with its free decision, would like to join to the supporters of the Kodaly Concept' s nomination of the Register of the UNESCO's Best Safeguarding Practices. Budapest, 24th, March 2015
Laszlo Kelemen director
V ASS LAJOS NEPZENEI SZOVETSEG 1012 Budapest, Varfok utca 8. Adoszam: 18080502-1-41 Telefon: +36-30 243-0106 E-mail: [email protected] Web: www.vasslajos-szov.hu
Ogyintezo: Horvathne Bakos Ilona Targy: nyilatkozat
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Dr. Csonka -Takcks Eszter elnok asszonynak Szellemi Ku lturalis Orokseg Szakbizottsag UN ESCO Magya r Nemzeti Bizottsag A Vass Lajos Nepzenei Szovetseg 20 eve alakult azzal a cellal, hogy a nepzene irant elkotelezetten erdeklodo maganszem elyeket, kozossegeket, muveszeti csoportokat valamint a terul et szakembereit osszefogja, t evekenysegu ket segftse, a magyar kulturalis eletben. A Szovetseg segfti a nepzene barmely agaval foglalkoz6 muveszeti csoportok, hagyomanyorzessel foglalkoz6 intezmenyek, magyar es hataron tu li egyuttesek, egyesuletek egymas kozotti kapcsolatanak kiepfteset, versenyeket, talalkoz6kat, szakmai konferenciakat, taborokat, t ovabbkepzeseket szervez es rendez. A Vass Lajos Nepzenei Szovetseg a legnagyobb szervezet, amely a nepdalok fennmaradasat szolgalja, osszefogja a Magyarorszagon mukodo nepdalkoroket, citeraegyOtteseket, hangszeres-, enekes sz61istakat. Je lenleg, 720 csopo rtot, s 260 sz61istat tartunk nyilva n adattarunkban, akik a nepdaleneklessel foglalkozn ak. Ennek a letsza mna k 30%-a a gyermek-ifjltsag i ko rosztalyba tartozik. Kiemelt programjaink: Vass Laios Nepzenei Verseny: a versenysorozat resztvevoi harom fordul6n - 18 regionalis elodonton, egy-egy tajegyseget 6sszefog6 kozepdonton, majd a legjobbak a karpat- medencei donton - mutatjak be hagyomanyukat. A rendezveny sorozat fo celja a nepzene ertekeinek megismerese, megismertetese , megorzese, apolasa, az eload6k kozotti ka pcsolat kiepftese, a tapasztalatok atad asa. A jelentkezok altalaban sajat zen ei dialektusukb61 szabadon valasztott anya got mutatnak be . Torekednek arra, hogy valtozatos, ertekes osszeallftast adjanak elo, kevesbe ismert helyi szoveg es dallamvariansokat, az alkalomhoz illo 61t6zekben vag y nepviseletben.
Reqionalis Nepzenei Tovabbkepzes sorozat. Vass Lajos Nepzenei Tovabbkepzo Tabor: a tovabbkepzesek programj a elmeleti eloadasokra es gyakorlati foglalkozasokra epul, am elyek soran nagy hangsulyt kap az egyes nepzenei dialektusok bemutatasa, s ez altai mindenki alapos ismeret et kap a sajat, s mas dialektus teruletek hagyo manyaib61. Az enekes hagyomanyok mellett a hegszeres hagyom anyokba is bepillantast nyern ek a resztvevok. Egy-egy reg ionalis tovabbkepzesre 30 -40 csoportvezeto, sz61ista jon el, hogy bovftse elm eleti es szakmai t udasat, s olyan ismeretanyagot vigyen haza, amelyet tovabbadhat csoportja nak. A tovabbkepzesek hatasa ennek koszo nhetoen nem csak a resztvevokre terjedt ki, hanem altaluk tobb szaz dales hasznosftja az itt megszerzett t udast. A Vass Lajos Nepzen ei Szovetseg hozzaj arul a Kodaly koncepci6 felterjeszteshez, az UNESCO legjobb megorzesi gyakorlatok regisztere be, amely altai nemzetkozi szinten is kozismertte valik nepzenei droksegunk megorzese nek e kival6 m6dszere. Budapest, 2015. marcius 24.
LAJOS VASS FOLK MUSIC ASSOCIATION 1012 Budapest, Va rfok u. 8. Tax number: ..... Telephone: +36 30 243 0106 E-mail: vasslaj os-szov@vasslaj os-szov.hu W eb: www.vasslajos-szov.hu
Officer: Ms. Ilon a Bakos Horvathne Subject: Decl arati on 24 March, 2015 To the attention of Ms. Dr. Eszter Csonka-Takacs, President Intangible Cultural Heritage Com misson Hungarian National Commission f or UN ESCO Lajos Vass Folk M usic Associatio n was foun ded 20 yea rs ago with the aim to unite, and support, in the Hungarian cu ltural life, the activity of in dividuals, communiti es, art groups, as well as the fiel d's professio nals that are commitedly interested in folk music. Th e Association fosters networking among institutio ns, domestic an d tra nsborder ensembles, and societies, as well as it organizes competition s, meetings, professional conferences, camps and further trainings. The Vass Lajos Associat ion is the biggest organi za ti on th at serves the su rvival of fol k songs an d unites folk song circles, zither bands, instrumental and vocal soloists working in Hungary. At the moment, 720 groups and 260 soloists engaged in folk song singi ng are registered in our database. The 30% of th is nu mber belongs to the child-j unior age group. Our highligh ted p rogram_~ ~
_lil.IQ? Vass Foils_ M usic_COn:!.Q.~tltio n: the participants of the competition series present t heir traditi on in three rounds: in 18 regional pre-selection s, in a sem i-fina l uniting each re gion, and then the best ones, in the Carpathian Basin's fin al. Th e m ain objectives of the event series are to recognize, present, preserve and cultivate the values of folk music, as well as to build relationships among performers and to transmit experiences. In general, applicants present a f ree selection of their own musi c dialect. They strive to perform a diverse and valuable compilation; less known local lyrics and melody variants, in a cl othing or folk costum e that matches t he event . Region al Folk Music Further Training series, La"os Vass Further Trai nin Camp : Th e program of th e further trai nings is based on theoretical lectures and practical workshops through w hich a great emphasis is put on the presentation of th e individual fol k music dialects. Thus, everyone can get a deep knowledge of the traditions of his/her own dialect region, as we ll as of other ones. Beside vocal traditions, participa nts can get a view on instrumental tra ditions, too . In each regi onal furth er training, 30-40 group leaders and sol oists are present to enlarge th eir theoretical and profession al knowledge, and t o take home a lea rning material that can be
t ransm itted to th eir groups . Tha nks to this, the effect of the further trainings did not only cover the partici pants them selves, but also several hundreds of singers that utilize the knowledge gain ed there. Lajos Vass Folk M usic Association contribute s to proposing the Kodaly concept to be registered to be one of the best safeguard practices of the UNESCO, by which this excellent method to safeguard our folk music heritage becomes known on the international level, as well.
J6zsef Vass President of the Vass Lajos Fol k Music Association
NATIONAL YOUTH CHOIR of 113SCOTLA ND Evidence to support the proposal of the Kodaly concept to UNESCO Intangible Cultural Heritage Register of Best Practices. Our belief is that singing and musicianship go hand in hand, and t hat t he singing/education experience should start as early as possible in a child's life. With this in mind we embrace the Kodaly philosophy in the following strands of NYCoS work: Mini Music M akers: 18 classes around Scotland. Classes from 0- 5 years. At the core of these classes is music ed ucation through singing- experiencing music concepts th rough participation with parents. Our guidance for these classes very much follows the words of Katalin Forrai. The core resource is the NYCoS publication, Singing Games and Rhymes for Tiny Tots. Active Learning through Music - (For children age 4- 7) Training and resources building on the experiences in Mini Music Maker Classes. Resources consist of step by step guidance to support the specialist/non specialist teacher in the delivery of a music education programme based on the Kodaly Philosophy- the early packs consist of material to prepare the child for musical reading and writing and the later packs introduce the children to early rhythm and pitch reading. Supporting this programme is t he pu blication Singing Games and Rhymes for Early Years. School workshops/Teacher training in Primary Schools (for children age 7- 12)- based on our musicianship programme Go for Bronze/Go for Silver - using the t ools of the Kodaly Philosophy- Rhythm names/H andsigns/ Solfa, t he ch ildren are taken through a progressive programme with Singing Games at it's heart, preparing the children for musical reading based on the sound before symbol approach. Supporting this programme in Primary Schools is the publication Singing Games and Rhymes for Middle Years. Area Choirs: ( 7 - 18) The re are currently 15 Area Choirs around Scotland with around 2000 children in total rehearsing weekly using t he Go for Bronze/Silve r/Gold musicianship programme . Each ofthese musicianship levels is tested and the children move through the six levels (2 Bronze, 2 Silver, 2 Gold) . A pass at t he fin al Gold level has recently been recognised by the Associated Board of the Royal Sch ools of Music and is accepted as an alternative to Grade V theory. Musicianship is a core part of every reh earsa l evening alongside the chora l singing rehearsal itself. National Choirs: There are currently a number of National Choirs: National Boys Choir (consisting of Junior Corps/National Boys Choir and a Changed Voice Section) Age 10- 16 National Girls Choir (consisting of a Traini ng Choir and National Choir) Age 12- 16 Na tional Youth Choir (consisting of a train ing choir and the National Youth Choir itself· age 16 - 24)The yo~nge r choirs receive musicianship training at the residential courses ·every year. National Choirs
Education
Area Choirs
Publishin g
Mini Music Makers
National Youth Choir of Scotland, The Mitchell, North Street, Glasgow G3 7DN telephone: 0141 287 2856 Scottish Charity No: SC024899
fax: 0141 287 2858 Registered in Sco:tand No: SC16 5 i~9
e-mail : [email protected] VAT Reg No: 699 6829 40
website: www.nycos.co.uk
Registered Office: CapeUa B:iiciing (Tenth Fioor). 60 YCw G2 8JX
Training Opportunities: We offer tra ining throughout the year in various formats: One day introductory cou rses on early yea rs, primary music education, Go for Bronze/Silver/Gold as well as training for our Choir Staff. Pa rtnership organisations: We work with other organisations e.g. Scottish Booktrust, delivering train ing in order to raise th e sta ndard of singing across Scotland. Many local authorities have also adopted the Kodaly approach to music education, and are using it within school settings and after school activities. Creative Scotland (formerly the Scottish Arts Council), supports many of these programmes. Annual Kodaly Summer School: At which we offer musicianship training, pedagogica l courses for early years/primary and secondary t eache rs as well as instrumental teachers and choral conductors. Dr Laszlo Nemes is a regular tutor at this course. Kodaly Musicianship/Methodology modules are offered at the Royal Conservatoi re of Scotland to Undergraduate and Postgraduate Students as well as external students who attend the Conservatoire for tuition. We are committed to the continued use of Kodaly principles as we have seen great benefits over the yea rs in the standard of musicianship and singing from birth to adult. The involvement of our Hungarian friends and Colleagues is key to our future work. Our Ed ucation Patron is Dr Laszlo Nemes who bi-an nually arranges a study tour f or our NYCoS staff and frien ds and we are eternally grateful for his support for NYCoS activities.
December 2013
.... Artistic Director, National Youth Choir of Scotland
Lucinda Geoghegan Education Director, National Youth Choir of Scotland
(U NESCO declaration)
The Kodalv Concept- statement on behalf of the British Kodaly Acaderrw
Music Te ache rs wh o belo ng to The British l
approac h to music education and th e relevance it continues to offer to us in the United Ki ngdom. We valu e this music !earning process wh ich is structured and seauential- moving by logical steps from simple, unconscious learning at Early Years through to later conscious understan ding of musical elements, and thence to development of musicians wh o are skilled for life to tackle cha llenging and com plex music of all genres with confidence and musicality. 1\odaly's approach to music ed ucation, based on teaching, learning end understanding music th roug h the experience
of singing, offers teachers simple tools so that they can introduce music to very young children through songs, and so p:-ovicie the vital foundation on w hich understanding and appreciation of musical complexity can be built. The tools with whic h we practise with the young are relative solfa, rhythm names and handsigns- guidelines ra ther than a "method"- and still useful for adu lts too. Singing irwclves hearing the sound in the head before producing it- inner· hearing- so V\'E begin with the voice, the instrume nt we ail possess.
We are convinced of the value of using re lative solfa, appreciating that practice in it enables singing in any key, as ail major/m inor sca ies are reduced to one pattern . Each solfa name has a fu nction with in t he give n tonality and an ~mdersL o liding of t his hel ;.:;s 'Nith
hearing ir.rerva !s, triads ana so on. We see in cur work w ith chil dren how it he lps
t hem to cleve!op th eir sig ht rea ding skiils end, for musicians of al l ages, it offers understanding oi form, harmonv an d so on. 'vVe he ar in our choirs how rela tive solfa helps not only ;.vith sight re ading but wi~h inton2 tion and good tu ning. The rhvth rn names convey the lengt h of musical so unds and he lp ch ildren who can say the rhyt hm names
accu r2tel~' ,
to ciap and play accurate ly as well. \Ne fin d it helpful to te ach rhyth m in a w<Jy that e nables peop1e to overcome the difficulties of compl icate d rhythmic patte rns la ter on.
1:\Je fi nd tha t t he handsigns are a re aily usefu i visual aid, he lpi ng chil dren to understand the relative positio ns of each pitch- o;n d they are heipfui as the introductior; to two-par~ singing &s wei !. Thev are still relevant w musicians of al!
ages: it is amazing to be gathered v.,ritl1 peopie from many cou ntries c;nd guided thro ugh e: new song via ha ndsignset:• p,-,as is!ng th at rn usic is a ~m !vers a ! !;:; ng uagt: .
-.v e vall!e the holistic ben efits of the f
b ehavic~J r.
Cn discove::ng th: i(ode:J ly appro ach, t e2c hers at a S i(.L, v~.~~ h i c f-:
inspi,..:=:s thei r fu t ure mus~c
te ach~n g
CC L! :·se
fee! they have receiv ed a ''.life-changing experie:•:::c:- "
journey.
;~od ~ly n:; :::ognised the ·;a!ue of m~1s i c's up lifting quahv whe n he said t hat " m usic is t he: u.prEss ive too ! of the huma'l ss.L
i \·v hich
~ iJP i v i ng
i5
equally acce ssible tc everyo ne" and this is he;v," \\'e see ou:· priv: iege ana ··ole as m usic t eachers
i\o dci ly's co ncepts to ot:r •.vorL.
fvi 2rga r et Oliver- 8K/', Chair m: Trustc:E:s
iP
I Kodaly Society of Ireland C/0 95 Glasn evin Avenue, Dublin 11, Ireland
To Whom It May Concern
The Kodaly Concept is very useful to me in my professional work in the area of music education. The concept offers several teaching tools that help teachers to make some diffi cult concepts in music to be easily understandable by students, even when the students are very young. The particular leaming points covered are in the areas of developing an understanding and experience of pulse, rhythm and metre, aural imagination of and recognition and identification of sounds in exact relation to each other and, most importantly, bringing all these together holistically to develop good musical understanding. The significance of this is progress in musical und erstanding is rapid, musical development occurs at a rate suited to each student and the student becomes confident as a musician at his level. This can be measured against other ways of teaching where the student makes good progress, but despite his achievements, may not have inner confidence and security that arises from understanding full y and knowing completely. Specifically, these teaching tools suited to beginners are Tonic Sol-fa, Hand Signs, French Time Names, Printed Teaching Materials (a large collection of published printed works in music notation and sol-fa), Usc ofFolksongs (especially from the national repertoire of each student) and Singing. While some of these tools \Vere the original ideas and works of other mus ic educators, the assembling of them into the collection associated with the music teaching ideas of the Kodaly Concept is unique to Kodaly (the man). Most importantly, the words of Kodaly describing his philosophy of music teaching which arc in print offer persuasion, encouragement and direction to music teachers individually, collectively and even worthy enough to be considered at the level of State. In my country, Ireland, the syll abus for th e primary curriculum music is heavily influenced by the Kodaly Concept despite gi ving any special mention or credit to it explicitly. The movemen t of Music Schools in Hungary is another exampl e of how Kodal y's music teaching ideal s res ulted in a style of schooling that has benefits for students. He was concemed with both the musical den~ lopment of potential professional musicians and also the development of a nation of musically infonned people who could benefit from the nourishing nature of music and its capacity for offering a more meaningful life. For more advanced students, the approach is experience-based: practice precedes theory. This approach supports meaningful learning. Students benefit by having highly trained and sharpened listening skills whereby they may identify or recognise what they hear, have a capacity to deal with larger memory chunks and instantly recognise mu.sica l fo m1s and textures . Kodaly' s work has been developed in these ways by the teachers which foll ow his lead as living colleagues and also as subsequent generations of disciples devoted to his concept.
Personally, my commitment to the Kodaly Concept has caused me to devote much of my free time working voluntarily to spread awareness about it to mus ic teachers, musicians and national school teachers: I organise a successful in-career development course annually.
I recommend the Kodaly Concept as a significant pm1 of human culture worthy of recognition and protection for future generations. So much could be said to support the concept. However, best recommendations are brief. Further detailed information may be retrieved from the website of the Kodaly Society of Ireland (l isted below). Any fo llow-up questions about the above are welcome and will be answered quickly.
Yours faithfully,
Dan .le I wa Ish
Digitally sig ned by Daniel v.•a!s.h DN:cn= D.'Iniei Walsh,o=Kodaly Sod ety
of lreland. ou:Cha;rman"s Office. emaii::: Oa n~e ~ Kodal ylreland .co m. <•IE
Date: 20 13. 12.16 21 :05:0 2 Z
Daniel Walsh M.A. (Hons)(M us) Chainnan: Kodaly Society of Ireland (Web : kodalyireland.com) Director, Annual In-career course: Acti ve Music Making: The Kodaly Approach Director, Playright Music Ltd., Dublin Ireland Tel: +353 I 842 2463
Report for UNESCO on the Kodaly method in China Although China sent professional musicians to Hungary to study in the 1950s, those musicians didn't pass on Kodaly's philosophy to the Chinese people. It was not until the 1980s, when Chinese students went to study in Hungary that Kodaly's methods were introduced to the mainland. However during that time, this method did not spread throughout the nation's music colleges, and therefore gained the image of being a method to teach children and beginners. Soon after, the Chinese Kodaly Society was built in Beijing, but it was not active enough to spread this philosophy to the whole of China. By that time, the word "Kodaly method" only meant some technical key words, such as Kodaly hand sign, rhythm name, relative solfege, music reading and writing, choral teaching and so on. The essence and larger goals of the Kodaly method were not well understood or taught. From the beginning of the 21st century, the Chinese education system started to adapt to the needs of a new generation of Chinese students. People put more attention on general education than elite education, and the goal of education turned to quality-oriented education from exam-oriented education. It was during this time that music education also began to be reformed, and the Institute of Music Education (lOME) was born. After doing research into the music education philosophies used in different countries, the deans ofiOME, Prof. Jianjin Gao and Prof. Naixiong Liao, decided to bring the Kodaly philosophy to China and systematic integrate its principles into the Chinese music education reformation. When the Kodaly system was first introduced in Hungary, the conditions of that country were similar to the conditions prevailing in China today, most notable is that China's traditional music is on the decline. Second is that, although there are many minority cultures contained within Chinese culture as a whole, there is not enough teaching resources that take advantage of these cultures' music. Third is that the gap between specialist music education and general music education is too wide in China. Fourth is that prior to the importation of the Kodaly method, China's teaching resources, teachers, and methods were too isolated from one another. For example, music education resources were not created by actual education specialists, but rather theorists with little practical experience. Also during this time, the overall goal of music education had changed little from the 1930s, that is, the only focus was on training professional performers, while ignoring the general population. In bringing the Kodaly system to China, the first steps taken by lOME were to invite Kodaly specialists from Hungary to teach for extended periods of time, among those invited were Borbala Szirany and Professor Peter Erdei. The first goal was to improve the musical abilities of the students who would become future music educators, while at the same time introducing the fundamentals of the Kodaly system. These students, who would later become the first generation of teachers for the lOME, were then taught how to integrate and apply Kodaly's methodologies to their own teaching. At first the Kodaly specialists were invited to teach a large portion of the classes, but as the lOME's own students began to take over some of the teaching, the specialists were asked more and more to observe and guide these young teachers. Finally, lOME was greatly fortunate to have the help and guidance of Hungary's Dr. Katalin Kiss and Dr. Laszlo Nemes in creating a detailed, workable music education curriculum and textbook for music teachers across the country. The results ofiOME's efforis to improve music education have been substantial. The goal of improvi ng China's music education has received strong governmental support, which has, among other things, lead to the creation of China's first music primary school, located in Beijing. Also, for the last three years, the lOME has successfully hosted a short term music teacher training program that accepts
teachers from all over China and introduces them to the Kodaly method as well as other philosophies. This program has given over 1500 teachers from over 20 provinces the chance to experience modern teaching philosophies in practice, an opportunity they could not have had otherwise. Currently, lOME teachers are using their experience in the classroom and knowledge of Kodaly's teaching method to create textbooks and other teaching materials, suitable for use with primary school students, and more importantly, suitable for Chinese students' unique experience and cultural background. The project to create suitable Chinese music teaching materials highlights the larger objective of the program. That objective is to not just duplicate the Hungarian teaching methods, but to adapt and integrate them into the larger context of Chinese education. The research in how to "localize" different teaching methods has been an ongoing goal ofiOME.
Professor Jianjin Gao Dean of the Institute of Music Education, CCOM
