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.

b. Analysis from Kodály perspective and comparison with the analysed methods

When I review my own teaching in the light of this research, I see that I manage to include musicianship skills into most of my lessons. Through singing and physical movement, I address issues of beat, rhythm, metre, form, phrasing, polyphony and harmony. I connect the learned skills to the cello playing, or more: I prepare the cello playing by ensuring the availability of the required musicianship skills. The focus may come from the playing and all its facets, rather than from the pure musicianship line, but with taking into account a logical build up in this, conscientiously and as far as my training permits.

From the above description of my practice it thus becomes clear that the development of musicianship skills is a part of my lessons. But it becomes also clear that I work this way ‘full time’ only in the youngest age group and in the group lessons. In the individual lessons I still use the tools and I offer new elements in this way, but it is less a system and the Kodály elements are more ‘serving’ to the cello playing. I feel that I could do more, but I still have to find a way into this, without it being awkward or unnatural in a one-to-one situation. A solution could be to offer group lessons to all pupils.

The principles of experience-based learning and active participation are present in my lessons as the pupils learn by doing, and discover little by little the concepts along the way. I provide them with the suitable repertoire, to prepare the next repertoire and practice the skills already mastered. The PPP-principle I recognize in the choosing of matching (but developing) sequences, the bundling of songs, exercises, scales, improvisations and pieces.

The repertoire I use is different from the repertoire in the analysed methods. For sure because of the language, and a little because of taste. I try to offer divers repertoire. From children’s songs to Bach and themes from all classical style periods, including until 20^th century music. But I use also ‘lighter’ pieces, found in today’s regular method books. In the more advanced stages I draw from the rich cello repertoire. The other difference in the repertoire choice is that although I have some solid songs for introducing a certain rhythm, or a certain technique, I do not like to have a fixed repertoire.

In comparing my own ways of teaching according to the Kodály concept so far, with the methods I have analysed, and the lessons I have visited, I noticed the following differences.

1. Use of movement in the instrumental lesson

In my lessons I use physical movement in different forms, dances, body percussions, etcetera for the pupils to get a hold on the concepts of for instance metre, or form. I did not see this back in the method books I analysed. Also the subjects to be revealed by physical movement (90) seemed less worth to teach, and get less attention than e.g. intervals, solmisation singing, and rhythm.

2. Development of polyphony

In exploring polyphony and practicing polyphonic skills I integrate rhythm work, singing and cello playing in my lessons. Being in the fortunate situation to give group lessons, I have a lot of possibilities to enjoy part-playing. In the method books I saw a lot of separate exercises to work on polyphonic skills, mostly rhythm exercises, but not in all of them on such a regular basis. I tend to use it whenever I can, in singing, body percussion and playing, or a mixture of this. The analysed methods cover it sometimes only marginally. This difference has probably to do with the method’s focus on individual tuition (91).

3. Position/role of the instrument

The direction of the interaction from instrumental skills to musicianship skills is not in all methods the same. In Colourstrings there are made some choices: the method books focus on melody and rhythm, from a general musicianship point of view. But there is also a strong motivation coming from the instrumental methodology. Especially in the left hand technique, it is a real combination of both.

The Essential String Method realises a harmonious living together in one method: acknowledging that some things have to be done on the cello, but providing also in a step by step musicianship methodology.

Both DaCapo books focus on how you can deal with the methodically ordered material according to the Kodály concept, but there is not so much thorough instrumental guidance, which you would expect from a cello method.

Both With Music In Mind, and My Solfa Recorder Book seem to look at this issue from the other side: the methodology of the musicianship taking the lead. This is also expressed by the way the authors order their chapters: according to the order of the presentation of the main musical elements. The Teacher’s guide of With Music In Mind states: “This part of the teacher’s book is essentially a guide to the way in which musical elements are taught, according to Kodály principles, and then applied to the lessons at the piano. It does not set out to be, neither does it claim to be, a guide to teaching piano technique.”

In my own cello lessons, the instrumental side is very important, but the development of instrumental skills can only work in a meaningful context, I would place myself between Colourstrings for the principle of linking technique with musical content, and The Essential String Method for methodical the build up of that technique.

4. Literacy training in the instrumental lesson

Where in the method books a strong emphasis on literacy, in the sense of reading and writing music, can be found, I have recognised this to be the important missing in my own initial teaching.

I come to the point of presenting the names and symbols, of for instance, ‘ta’ and ‘tadi’. I let my pupils play from handsigns, or from the musical solmisation stairs, and I let them improvise/compose with these tools. Sometimes my spots represent solmisation sounds, and they ‘read’ from them, and I used A4 staves and fiches, to notate known songs or motives. But my pupils do not have to bring the, in Kodály education so characteristic, pencil and sharpener. I do not have a sufficiently worked out methodology towards notation.

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