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1 MASTER OF MUSIC SPECIALISATION: MUSIC EDUCATION ACCORDING TO THE KODÁLY CONCEPT ACADEMIC YEAR

2 Culture cannot be taken over like an apartment, furniture or clothing. Each generation has to study it and experience it afresh. Zoltán Kodály of Music, Specialisation Music Education According to the Kodály Concept A well trained ear (listening and singing skills), A well-trained mind (musical understanding through music making and musicianship, reading and writing skills), A well-trained heart (emotional development and social skills), A well-trained hand (instrumental playing), These four areas of musical and personal development, mentioned by Zoltán Kodály in his article "Who Is A Good Musician?" have become a mission statement for Kodály teachers and students all over the world. They are being thought of as equally important for the development of both professional and amateur musicians, for music lovers and music listeners in order to understand the language of music. The two-year master program offered by the Royal Conservatoire lets students become masters in music education according the Kodály concept. They become specialists in musical learning for children in and outside schools, mainly using their singing voices. The program consists of three main areas of study: methodology, musicianship and research. These three areas of study are closely related: musicianship plays a central role in the study of teaching and learning music, and methodological principles are an important part of the musicianship training. Research will relate to methods as well as musicianship. It is an essential point in music education according to the Kodály concept: there is no division between craft and art, between pedagogy and musical content, between methodology and didactics. Music making, musical understanding and the musical learning process should become one. The master program is open for singers, instrumentalists and music teachers, who have completed a Bachelor study in music or in music education. Learning outcomes and objectives Skills and knowledge in the field of music education A master in music education according to the Kodály concept: 1. has an advanced understanding of, and is able to teach music to children according to the Kodály philosophy. 2. has an advanced understanding of the historical and pedagogical background of teaching music. 3. has an advanced understanding of the musical learning process and is able to design music lessons in small and logical steps that lead to high quality music making and musical understanding from the earliest ages. 4. is able to design and teach a curriculum for long term musical learning that may stretch up to 8 years or more. 5. is able to transfer musical content and musicality by means of their own voice, and/or their own instrument in music teaching situations. 6. is aware of the possibilities of childrens voices at certain ages and knows how to develop children s singing. 2

3 7. has a broad knowledge of the musical repertoire. 8. has a broad repertoire of music materials and teaching techniques and knows how to use these in order to achieve high quality music making. Students are expected to be able to demonstrate that they have a thorough understanding of the pedagogical and didactical practice and theory in the field of music education. Skills and knowledge related to research A master in music education according to the Kodály Concept: 1. can read and understand relevant literature and is able to relate this to the practice of music education according to the Kodály concept. 2. is able to design and conduct a master s research project in the field of music education. 3. can present findings aurally and in written form to an audience of specialists and non-specialists. Generic knowledge, understanding and skills A master in music education according to the Kodály Concept : 1. shows a high level of skills in musicianship, musical literacy and musical leadership. 2. is able to use a highly developed musical personality in their music teaching practice. 3. is able to initiate and organize work with others in music teaching activities. 4. can act independently and with initiative to meet challenges in the field of music education. Compatibility to international qualification frameworks AEC learning outcomes 2 nd cycle. (See Handbook of Music Programme) The Polifonia/Dublin Descriptors for 2nd Cycle Awards in Higher Music education are described as follows: Qualifications that signify completion of the second cycle in higher music education are awarded to students who: 1. have demonstrated skills, knowledge and artistic understanding in the field of music that are founded upon and extend and/or enhance those typically associated with first cycle level, and that provide a basis or opportunity for originality in developing and/or applying ideas, in the practical and/or creative sphere, often with a research dimension; 2. can apply their skills, knowledge, artistic understanding and problem solving abilities in new or unfamiliar environments within broader (or multidisciplinary) contexts related to their field of study; 3. have the ability in the practical and/or creative sphere to integrate knowledge and handle complexity, to formulate judgements with incomplete or limited information, and to link these judgements to reflection on educational, artistic and social and ethical responsibilities; 4. can communicate their conclusions and/or artistic choices, and the knowledge and rationale underpinning these, to specialist and non-specialist audiences clearly and unambiguously; 5. have the learning and practical/creative skills to allow them to continue to study in a manner that may be largely self-directed or autonomous. 3

4 International Relations The Royal Conservatoire works in partnership with the Kodály Institute of the Liszt Academy Budapest and with the educational program of the National Youth Choir of Scotland (NYCOS). Further partnership in music education according to the Kodály concept is being developed in the Erasmus + project with the following institutions:(1) the Dublin Institute of Technology, (2) the National Youth Choir of Scotland, (3) the Hochschule für Musik, Theater und Medien Hannover. A period of Erasmus exchange for students is stimulated, but is not a compulsory part of the program. Planning The study program is a two year course (120 ECTS) and is organised in a trimester system. Each trimester contains 10 weeks of lessons and two class-free weeks. International guest teachers will be invited twice a year. Entrance requirements The specialisation in Music Education can be entered by students who have graduated in music or music education on bachelor level. Before being accepted, applicants take an entrance exam consisting of three parts: 1 The examination of instrumental/vocal abilities 2 The examination of musicianship skills and music teaching skills showing these musicianship skills 3 Evaluation of the study plan Ad 1. The candidate presents his or her repertoire, from which the committee can make a selection during the entrance exam. This test of instrumental/vocal abilities will take approximately 15 minutes. For students who have completed a bachelor course in Music or Music Education, their final exam is valid for the instrumental/vocal ability examination. The minimum mark is 7,5. Ad 2. The candidate shows his or her musicianship skills in a practical teaching situation with a group of students. Musicanship skills that are evaluated are: rhythm skills, singing in tune, polyphonic hearing, use of tools like solfa, rhythm names, hand signs, staff notation. Ad 3. The candidate submits a master study plan, according to the requirements for the master studies within the Royal Conservatoire. Overview of subjects and ECTS Methodology I II Kodály concept other music education methods - school systems and pedagogical philosophies repertoire and teaching portfolio 4 4 observation and internship 9 9 Musicianship aural skills and music theory 9 9 singing 4 4 keyboard skills or own instrument 4 4 4

5 choir and choir lab 6 6 Research introduction to research in the arts 1 musician s research and development elective 3 Extra masterclasses study tour Total Module descriptions Research In the research part of the s course students specialise in their own area of interest in music education. They can for example choose to work on translating methodology for singing to instrumental teaching, specialise in working with older beginners, investigate the posibilites of new technologies or develop music education programs according to the Kodály concept for children with special needs. This part of the study program meets the requirements of the research guidelines in the Handbook of Music Programme of the Royal Conservatoire. Introduction to Research in the Arts KC-M-AL-TRIP-11 This course introduces the student to the phenomenon of research in the master programme. This research is strongly connected to the main subject of the student. The research questions derive from the student s musical practice, the research method is practice-based, e.g. in and through performing or composing, and the final outcome of the research will often be musical practice, e.g. performances or compositions. During the course we will discuss these issues, in order to prepare the student to develop his or her own research project in the master programme. Students will also be introduced to the online Research Catalogue, as well as the various methods of documenting and presenting their research. At the end of the course the students should: be able to demonstrate an understanding of what research in the master programme of the conservatoire comprises; have an understanding of the use of source material; have an understanding of the skills required to document their research results; be able to demonstrate skills of formulating a preliminary research proposal and abstract; 5

6 be able to document their research process and results on the Research Catalogue. Information: Kathryn Cok, Henk Borgdorff and others 1 EC Relevant literature will be distributed during the course Seminar and individual study Attendance results (80%) and a written research proposal and abstract Pass-fail Klarijn Verkaart, studies assistant: Musician s research and development 1 st year: KC-M-AL-RD1-11, 2 nd year: KC-M-AL-RD2-11 There are three stages in the research element of the of Music programme:! becoming aware of the problem to be addressed and being able to clearly formulate the research question.! developing a research project and selecting a research method.! presenting the results of the research to an interested audience, having chosen an appropriate form of presentation and documentation. Students must write and develop their personal research proposal (a detailed description of their research project), as soon as possible in the first semester of the first year of the programme in consultation with their research coach, Circle leader, and study leader Kathryn Cok. Each research project is concluded and evaluated in its own particular way, but the results of the research must be in some way measurable and the content and level of the research must be capable of assessment. To this end the research components of the of Music programme requires the participation in the following three activities: Individual coaching: The curriculum provides that every student will have a personal research coach in the first year, from the beginning of their study up to their Research Presentation in March of the second year. Students will be assigned a research coach, selected from a pool of teachers whose duties also include coaching. In addition students may choose a coach from outside the school, with whom they can work part of the time in conjunction with their assigned coach. This will have to be discussed beforehand with Kathryn Cok, study leader. Each student has 15 minutes a week, or 60 minutes a month, for personal instruction by the research coach. This represents 15 hours of individual coaching, including preparation, over the entire course of the programme (including time spent with an external coach). The method and frequency of coaching (personal, in small groups, by or through social sites on the internet etc.) is entirely up to the coach and the student and will differ from one individual to another. Circle: Every month a Circle of first and second-year students meets under the chairmanship of the coordinator of a department or a specially invited chairman. At meetings of the Circles the participants discuss the Plans 6

7 Type of grading: submitted by the first-year students, and rework them into practical research projects. The second-year students report on the progress with their own research projects and any problems they have encountered, and the group discusses possible solutions. Guest lecturers, speakers from the professional field and alumni of the conservatoire can also be invited and interviewed, and there is room for criticism and confrontation. Individual research and presentation: In order to complete the requirements of the of Music programme, each student must successfully undertake an individual research project, and present the findings of this project in a public Research Presentation during the Research Symposium, which is held in March of each year. The format of the final presentation can vary (see Handbook of Music Programme). At the end of the research component of the of Music programme, students should be able to:! develop a deeper understanding of and insight into why and how music education works! increase, through the findings of their research, their understanding of the professional environment, and of their own opportunities and possibilities! formulate judgments with incomplete or limited information and to link these judgements to reflection on educational, artistic and social and ethical responsibilities.! present the result of their research project to specialist and non-specialist audiences. See entrance requirements Patrick van Deurzen a.o. Year 1: 11 EC. Year 2: 15 EC. The individual research coaching will occur on a one to one basis. The Circle meetings will take place in the form of a group lesson. Active participation in and 80% attendance of the Circle meetings, regular contact with the assigned research coach and a successful presentation of the research results during the Research Symposium. At the presentation, all students are required to demonstrate the following points:! the relevance of the research for the professional teaching practice of the student! internal consistency and structure of the presentation! the relationship between the research process and the final presentation! the accuracy of the informationpresented! the correct handling of the source material! a critical approach Qualitative results (excellent, very good, good, more than sufficient, sufficient, insufficient, not present) 7

8 Information: Klarijn Verkaart, studies assistant: Additional information on the Circles Attendance in the Circles is compulsory for 80% of all sessions per year. Teachers must keep a record of attendance and submit it to Klarijn Verkaart, studies assistant Students who wish to switch to a different Circle may do so if there is room and provided the relevant Circle leaders are given sufficient notice and the studies assistant is informed in time. Methodology The Kodály Concept and other Music Teaching Methods Music education according to the Kodály concept forms the basis of the methodology classes. The starting point is always making music (sound). Then awareness (musical understanding) and practice (exercise) can lead to musical literacy. The process of learning is connected to the student s teaching practice. Students develop their teaching material through pedagogical research and artistic evaluation. Per year there are three modules containing 10 weeks of lessons and two class-free weeks. Each module will be introduced by an overview of the methodology in the studied area. Model lessons will be performed and analysed, and students develop their own lesson plans and content, using the provided models. During the two year master study program there will be six compulsory modules: 1. Pre-school music education 2. Music education for 6-8 year old children 3. Music education for 8-10 year old children 4. Music education for year old children or older beginners 5. Instrumental teaching according to the Kodály concept 6. Relations to other (music) teaching philosophies. The methodology modules will concentrate both on in-school and after-school situations. At the end of the course the student: has a professional understanding of, and is able to teach music to children of different ages according to the Kodály philosophy, has a good understanding of the historical and pedagogical background of teaching music, has a detailed understanding of the musical learning process and is able to design music lessons in small and logical steps that lead to high quality music making and musical understanding from the earliest ages, is able to design and teach a curriculum for long term musical learning that may stretch up to 8 years or more. Ewan Gibson, Daniel Salbert, Suzanne Konings, Anne-Christine Wemekamp, guest teachers: László Nemes, Lucinda Geoghegan a.o. In total 18 EC: 9 EC per year, 3 EC per module Ádám, Jenö Growing in Music with Movable Do. New York: Pannonius Central Service. 8

9 Information: Choksy, Lois The Kodály Method I Comprehensive Music Education. New Jersey: Prentice Hall. Choksy, Lois The Kodály Method II Folksong to work. New Jersey: Prentice-Hall. Choksy, Lois and Abrahamson, Gillespie, Woods and York Teaching Music in the Twenty-First Century. New Jersey: Prentice-Hall. Dobszay, László The World of Tones Introduction to Music Literature, part I and II. Kecskemét: Kodály Institute. Dobszay, László After Kodály Reflections on Music Education. Kecskemét: Kodály Institute. Elliott, David J Music Matters A New Philosophy of Music Education. New York: Oxford University Press. Forrai, Katalin Music in Preschool, translated and adapted by Jean Sinor. Queensland: Clayfield School of Music. Gordon, Edwin (2012 ed). Learning Sequences in Music. Chicago: GIA Publications. Gordon, Edwin (2013 ed). A Music Learning Theory for Newborn and Young Children. Chicago: GIA Publications Houlahan, Micheál and Philip Tacka Kodály Today: A Cognitive Approach to Elementary Music Education. New York: Oxford University Press. McPherson, Gary (editor) The Child as Musician: A Handbook of Musical Development. New York: Oxford University Press. Rainbow, Bernarr Four Centuries of Music Teaching Manuals United Kingdom: The Boydell Press. Rainbow, Bernarr Music in Educational Thought and Practice. United Kingdom: The Boydell Press. Rowsell, Cyrilla and David Vinden The Music Handbook Teaching Music Skills to Children through Singing. Beginners and Level 1, 2 and 3. United Kingdom: Jolly Learning Strobbe, Lieven and Hans van Regenmortel Klanksporen Breinvriendelijk musiceren. Antwerpen: Garant-Uitgevers. Szönyi, Erzsébet Kodály s Principles in Practice. Budapest: Editio Musica Budapest. Vajda, Cecilia The Kodály Way to Music, Book 1. England: Halstan & Co. Vajda, Cecilia The Kodály Way to Music, Book 2. London: The British Kodály Academy. Group lesson For each of the six modules students have to present lesson plans in their teaching portfolio, referring to the studied literature and the analysed model lessons. Pass or Fail per module 2 hours per week (100 minutes), 6 modules of 10 lessons 9

10 Information: Repertoire and Teaching Portfolio In this practical class activities include the experience with and development of suitable teaching material: song repertoire with games, canons and part songs for different age groups and teaching situations. Teachers and students bring their musical teaching activities to the workshop-lessons and collect the repertoire in their teaching portfolio s. The material is analysed for its musical components and is added to the Kodály teaching materials database. At the end of the course the student: has a broad repertoire of music materials and teaching techniques and knows how to use these in order to achieve high quality music making, is able to design his or her own musical activities using a variety of musical repertoire, games and songs, is able to analyse the musical and game material. Ewan Gibson, Daniel Salbert, Anne-Christine Wemekamp In total 8 EC: 4 EC per year Group lesson Attendance 90%, developing and submitting content for database Pass or Fail per module 1 hour per week (50 minutes), 6 modules of 10 lessons Suzanne Konings: Observation and Internship After the first semester, students will have arranged a music teaching situation where they can regularly practice the things they learn in the course. This can be classroom music teaching or private after school music teaching to a group of children. The teachers of the course will supervise the students, and they will prepare and discuss their lesson plans together. In this central part of the master study students will use their learned skills and knowledge in real time and relevant music teaching situations. At the end of the course the student: is able to teach music to a group of children according to the Kodály philosophy, is able to design and perform music lessons in small and logical steps that lead to high quality music making and musical understanding, is able to transfer musical content and musicality by means of their own voice, and/or their own instrument in music teaching situations, 10

11 Information: is aware of the possibilities of childrens voices at certain ages and is able to develop children s singing, is able to use a broad repertoire of music materials and teaching techniques in order to achieve high quality music making, shows a professional level of skills in musicianship and musical leadership, is able to initiate and organize work with others in music teaching activities, can act independently and with initiative to meet challenges in the field of music education. Ewan Gibson, Daniel Salbert, Anne-Christine Wemekamp In total 18 EC: 9 EC per year Group lesson Reports on at least 20 hours of observed lessons and reports on at least 40 hours of own music teaching per year. Reports consist of lesson plans, videos and reflective comments. Pass or Fail 2 hours per week (100 minutes) / 60 lessons per year Suzanne Konings: Aural Skills and Music Theory Students develop their own practical musicianship skills needed for high quality music teaching to children: stylistic understanding, melodic, polyphonic, harmonic and analytical hearing, musical imagination, singing in tune, improvisation, music reading and writing skills. Students practice their musicianship skills through singing, moving, sing and play, performing different kinds of melodic, harmonic and rhythmic activities in different musical styles and genres (classical, folk, popular, jazz etc.). Techniques used in Kodály music teaching are actively learned: relative solmisation, hand signs and rhythm language. Per year there are three modules containing 10 weeks of lessons and two class-free weeks. Per module different musical styles or techniques will be the main focus point. 1. Middle ages and Renaissance 2. Baroque 3. Classical Style 4. Romanticism 5. Contemporary Music 6. Jazz and Pop. At the end of the course the student: shows a high level of skills in musicianship and musical literacy, is able to use a highly developed musical personality in their music teaching practice, shows a high level of musical literacy, has knowledge of the methods for learning and teaching musicianship skills. 11

12 Information: Ewan Gibson, Daniel Salbert, Suzanne Konings, Erik Albjerg, Jaap Zwart In total 18 EC: 9 EC per year, 3 EC per module Curwen, John How to Observe Harmony. London: J. Curwen & Sons. Curwen, John Tonic Sol-Fa. London: Novello, Ewer and Co. Geoghegan, Lucinda and Christopher Bell Go for Bronze, Silver, Gold; a Comprehensive Musicianship Training Programme for Young Musicians. Glasgow: National Youth Choir of Scotland. Hegyi, Erzsébet Solfege According to the Kodály Concept, volume 1. Kecskemét: Kodály Institute. Hegyi, Erzsébet Solfege According to the Kodály Concept, volume 2. Budapest: Editio Musica Budapest. Hegyi, Erzsébet Stylistic Knowledge on the Basis of the Kodály Concept, volume 1. Kecskemét: Kodály Institute. Hoffman, Richard The Rhythm Book. Franklin, Tenessee: Harpeth River Publishing. Kodály, Zoltán Choral Method Revised Edition. London: Boosey & Hawkes. Szönyi, Erzsébet (1954). Musical Reading and Writing, volume 1. Budapest: Editio Musica Budapest. Szönyi, Erzsébet (1954). Musical Reading and Writing, volume 2. London: Boosey & Hawkes. Szönyi, Erzsébet Musical Reading and Writing, final volume. Budapest: Editio Musica Budapest. Group lesson Students perform and analyse music showing their musicianship skills: stylistic understanding, melodic, polyphonic, harmonic and analytical hearing, musical imagination, singing in tune, improvisation, music reading and writing skills. Per module students design one musicianship lesson on the specific topic themselves. Pass or Fail per module 2 hours per week (100 minutes), 6 modules of 10 lessons Suzanne Konings: Singing Students sing as a group and individually to develop their own voice and learn how to sing with children. At the end of the course the student: is able to transfer musical content and musicality by means of their own voice in music teaching situations, 12

13 is aware of the possibilities of childrens voices at certain ages and knows how to develop children s singing, Information: has a broad knowledge of the musical repertoire. Anne-Christine Wemekamp, a.o. In total 8 EC: 4 EC per year Group lesson with 4 students Presentation of studied repertoire in ensemble and/or individual singing. Pass or Fail 1 hour per week (50 minutes), 30 lessons per year Suzanne Konings: Keyboard skills or own instrument Students continue their own instrumental development after their initial Bachelor s degree or years of practical experience in professional music making. They may choose for their own instrument or may learn to play keyboard instruments in order to be able to use these in music teaching situations. At the end of the course the student: is able to transfer musical content and musicality by means of a keyboard instrument, or their own instrument in music teaching situations, is aware of the possibilities of using an instrument in a music teaching situation, has a broad knowledge of the musical repertoire. In total 8 EC: 4 EC per year Chosen by teacher and student Individual or group lesson with two students Presentation of studied repertoire in ensemble and/or individual performance. Pass or Fail 0,5 hour per week (25 minutes), 30 lessons per year 13

14 Information: Suzanne Konings: Information: Choir and Choir Lab (conducting) Students and teachers sing in the choir to develop their ensemble singing skills, intonation skills, explore new repertoire, examine the repertoire on possibilites and difficulties and create an artisitic performance. Students conduct the choir, choosing and preparing the music for studying and musical learning, using techniques they have learned in the methodololgy and musicianship classes. At the end of the course the student: shows a high level of skills in musicianship and musical literacy, has a broad knowledge of the musical repertoire, can lead a vocal ensemble or class or children s choir in singing. Ewan Gibson, Daniel Salbert In total 12 EC: 6 EC per year Kardos, Pál Intonation and Vocal Training in Choir Three Studies. Kecskemét: Kodály Institute. Kontra, Zsuzsanna Let us Try to Sing Correctly Training for Singing in Parts. Kecskemét: Kodály Institute. Sapszon, Ferenc Az Intonáció Iskolája. Budapest: Kodály Zoltán Kórusiskolai. Group lesson Attendance 90%, concert Pass or Fail 1 hour per week (50 minutes), 6 modules of 10 lessons Suzanne Konings: Elective (see Handbook of Music Programme) Every student in the first year must select at least one subject in the series and attend at least 80% of the associated series of lectures. Participation in more than one Elective course is only possible if places are available; priority will be given to students chosing the Elective course as their first choice. Students must register for the Electives with Klarijn Verkaart, studies assistant Important: Students will only receive 3 EC credits for these electives, even if otherwise indicated in the course description. Any extra points offered by the courses may not be used towards the required 120 EC credits necessary for completion of the programme. 14

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