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.

d. Synthesis Kodály concept

From the chapters above, I have put together the main principles of the Kodály concept and instrumental teaching into one format. In this I distinguish three areas: skills, tools and principles.

Skills

1. Singing

2. Performing beat, rhythm, metre

3. Inner hearing

4. Polyphony, part playing

5. (Aural) analysis: phrasing, form, harmony

Tools

1. Relative solmisation, handsigns

2. Rhythm syllables

3. Physical movement, body percussion, (singing) games

Principles

1. Experience-based music-making, active music making, learning music through music, from sound to symbol (37)

2. Choice of relevant repertoire

3. Prepare-Present-Practice

In the next chapter I will analyse the various methods integrating the development of musicianship skills. I will use the three above mentioned areas to do so. For practical reasons, I will cluster the elements of skills and tools. Of course the areas will overlap in different ways, so it is difficult to draw strict boundaries.

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