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.

Conclusions and considerations

In this paper I investigated in which way the Kodály concept can form an integrated part in a cello teaching curriculum for children. After completing this study there are multiple answers to this question.

The methods I analysed showed me a divers range of possibilities. Colourstrings has a unique fusion of musicianship and cello playing in the development towards literacy. The use of solmisation and the order of sequencing the intervals support the cello-technical vision of Colourstrings, and are at the same time in line with the philosophy’s appropriate repertoire.

From cello-technical point of view, this is a challenging and intensive method which askes full engagement from teacher and pupil. To ensure to contribute to the development of the remaining areas of musicianship, it is desirable that Colourstrings students go through a preparatory phase in Kindergarten and keep musicianship classes alongside the instrumental lessons. The fact that there is an organisation behind it ensures the continuation of the curriculum and the possibility of cooperation between teachers.

The Essential String Method chooses a different strategy and teaches cello playing and musicianship partially parallel, partially together. This method has a more commonly used approach to cello technique.

In the other methods I have seen both very literal renderings of the classical Kodály concept, faithful to the conventional methodological steps, and more free adaptations where exploration and creativity play a greater role.

Besides the fact that the methods show interesting different perspectives, they have things in common: all methods use relative solmisation and rhythm syllables and all methods there is work towards musical literacy. In the development of these three area’s the methods take similar steps, and keep close to the original Kodály method. In all the methods the Kodály concept appears in an integrated way.

In reflecting on my own practice, I have to conclude that for the full implementation of the Kodály concept, individual lessons are not the best suitable form. For example, to be able to use, convincingly, the work forms to cover the development of the musicianship skills of singing, beat, metre, form, phrasing, harmony and polyphony, at least a small group is needed. Since the analysed methods are intended primarily for individual lessons, they also seem to struggle with this.

To come to a decision on how to implement the Kodály concept, there are thus a few things to consider:

The first matter to take into account is the question of how broad or how narrow the Kodály concept should be interpreted. Which and how many elements have to be integrated, to call it still ‘Kodály’, and not a set of eclectically gathered techniques? More important, and apart from the name, how can we maintain a workable concept?

A second issue is the point of departure: is the musicianship central, or is the instrumental side leading? How is this in balance, and how will this develop over the years of tuition?

The third point that arises, concerns the more practical conditions for such a teaching: is there an individual lesson only, or is there additional time for group-work? Does it make sense for a single teacher to teach in this way, or must there be a broader network supporting?

After examining the different approaches, I can value them in their own right, respecting their various priorities. For my own teaching practice and beliefs, the methods give me diverse ideas, some more suitable than others.

I envision a form where children do have a preparatory year, where they learn elementary musicianship skills through experiencing music. In the cello lessons this early development needs to continue, and it should also be nourished by an additional group lesson. The instrumental quality of cello teaching should not and need not be compromised. In this way general musicianship and instrumental tuition can go hand in hand.

Concerning the content of such a curriculum I consider the Kodály concept at its strongest in addressing all aspects of music. In developing broad musicianship skills, the children gain intrinsic understanding of the musical concepts and ownership over the musical skills. For me it is obvious that singing, the use of physical movement, and the use of relative solmisation and rhythm syllables, will be great resources that can be used to support this development.

The concrete development of such a curriculum will be a great and rewarding endeavour, which I am ambitious to contribute to in the near future.

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