Perspectives on Kodály Cello Teaching

Wiesje van Eersel

Name: Wiesje van Eersel Main Subject: Music Education According to the Kodály Concept Research Coach: Patrick van Deurzen Title of Research: Perspectives on Kodály Cello Teaching Research Question: In which way can the Kodály concept form an integrated part of a cello teaching curriculum for children? Summary of Results: In search of a suitable method to educate my pupils towards comprehensive cello playing, I came across the Kodály concept. My first encounter was promising and I decided to pursue this further. My research investigates possible ways to integrate the Kodály concept in cello teaching for children. In my research paper, first the Kodály concept is defined, and on that basis, existing methods and practices are analysed and examined. In addition to the study of the written sources I have also observed lessons and experimented with the materials myself. Alongside this investigation I have been integrating the Kodály concept in my own teaching for three years. The reflection on that experience, together with my findings from the existing methods results in the conclusion that there are many possible ways to integrate (elements of) the Kodály concept in cello teaching. In the analysed methods, and in my own teaching, choices on how to integrate the concept depend on several factors. The initial perception of the concept is of influence, but also the practical reality of a particular teaching practice. I came to the conclusion that a structural, full implementation of the concept would have implications for the practical arrangement of my teaching. In my presentation I want to show the different perspectives, give practical examples and share my thoughts on a possible way to realise the concept in my teaching practice. Biography Wiesje van Eersel is cello teacher at the PI, Junior and Young Talent Department of the Royal Conservatoire, where she teaches children between 5 and 12 years old. She also teaches cello methodology at the Royal Conservatoire and the Conservatoire of Amsterdam, and teaches in a public music school.

Research Question

In order to get as much insight as possible and to obtain maximum benefits for my own practice, I formulated my research question as follows:

In which way can the Kodály concept form an integrated part of a cello teaching curriculum for children?

Subquestions:

1. What do existing Kodály-based methods, like Colourstrings, have to offer in this respect?

2. How can and would I design my own teaching practice according to the Kodály concept?

Research Method

1. Find and read literature and define the Kodály concept in relation to instrumental education

2. Find, read and analyse Kodály-based methods and literature

3. Find, visit and observe teachers who use those methods or apply Kodály methodology in their (cello) lessons

4. Experiment in my own lessons with the methods

5. Document own experiences with the Kodály concept

6. Draw conclusions

As can be seen above, the methodology of the research consists of two tracks, along which I try to reach the destination of answering my research question and subquestions. The first track is literature study; the second track is an investigation in practice.

In the literature study, I try to get clear what the present-day Kodály concept means, and what might already be known about its application in instrumental teaching. I also analyse existing Kodály-based methods.

The practical part of the research consists of observing lessons based on Kodály-based methods, experimenting with the analysed material with my own pupils. I give a description of my practical work and how I implement tools and principles in my own teaching. I consider this last part an on going field trial.

The research process was hampered a little by a few complications. Firstly, by being dependent on third parties for obtaining information on the practical use of the studied methods. As these methods are not available in the Dutch language, I had to look abroad. In case of the Colourstrings method, I went to London for five days and was able to observe many different lessons. In case of the Essential String Method I managed to find, after an intensive search, only one teacher, and my visit to her will only be after handing in this paper. Fortunately, this teacher was willing to share her experiences with the method with me. For the analysed piano method, I found two respondents who wanted to share their teaching experiences with me. For the other methods I had to rely only on the material in paper.

I am aware that it is difficult to compare these methods, especially when they are not all seen in practice. Still, I tried as much as possible to retrieve additional information, including testimonials from users, teaching guides, etcetera. And I am quite positive that, with great care, I can draw at least some first conclusions.

Secondly, the experiments with the studied methods were impeded by the fact that the methods are strongly culture-based (7). That makes the Colourstrings method more accessible for pupils of that nationality (Finnish and Hungarian), The Essential String Method and the other methods more suited for British children. So trying these methods with Dutch children in practice could form an obstacle for the research, because these children would lack the necessary cultural background. Fortunately, I had the opportunity to try the Colourstrings method with a Hungarian pupil, and The Essential String Method with a pupil who is attending the British school. Since I hereby had to make concessions to age differences, prior knowledge and also on the number of students, I realize, of course, that these experiments have no significant scientific value. Nevertheless, it provided me with a more complete set of viewpoints for this research.

The description of my own teaching practice, and the reflection on the role of the Kodály concept and its results are also of a limited value, scientifically. First: the ways and principles of implementation go a long way back, some of them were accidentally already ‘invented’ by myself before I had anything to do with Kodály, and it is difficult to describe the initial situation. Second: because this process went very organically, there were no research methods, no control group, etcetera. I therefore consider this part of the paper more as an article on a practical example in the setting of various Dutch cello teaching situations, rather than a scientific research. Still, to be able to answer the subquestion on how I would design my own practice, it is good to have a clear understanding of where I stand now.

During the process of researching from a cellistic point of view, I came across the issue of transferability to instrumental education in general. Would it be of interest to my colleagues to take note of this? I co-produced two workshops on "Kodály and instrumental education", with participants from all possible instrument groups. There seems to be a wider group of people to whom my findings might be relevant. So I have found it appropriate to dedicate a small section of this paper to this subject, and include also non-cellistic material.

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