The Szilvay Foundation Colourstrings Music Kindergarten Teacher Training Prospectus

Transcription

1 The Szilvay Foundation Colourstrings Music Kindergarten Teacher Training Prospectus What is Colourstrings? INTRODUCTION to the Colourstrings Approach Colourstrings is an approach to music teaching, which has evolved from the teachings of Kodály. It was developed in the 1970s by Dr Géza Szilvay, Director of the East Helsinki Music Institute and Violin Teacher at the Sibelius Academy in Finland. At Colourstrings classes, great emphasis is placed on developing a child s inner hearing using relative solfa (with a movable DO). Teaching is made as child-friendly and fun as possible. Pictures, stories and games bring alive the musical points, so that the children learn unconsciously and effortlessly. The musical results that Géza Szilvay has achieved with children in Finland are unique and quite extraordinary. Now in UK and across the world the same approach enables from Australia to the Faroe Islands to begin their musicianship journey from a very young age. What is solfa? At Colourstrings we use relative solfa with a movable DO. This means that DO can be any note and the scale is then built up from DO e.g. do re mi fa so la ti do (or from LA in the case of the minor scale). Each solfa name has its own hand sign. Children are then able to experience intervals eg so to mi, so to do for any pitch depending on the DO. Hand signs give a visual aid that helps to pitch the solfa names relatively. Children can do this from written notes or hand signs and, conversely, can visualise a written note or interval that is heard. Songs can be sung with words, in solfa or silently ( in our heads ). For a child in Music Kindergarten who then progresses to learning an instrument, keys and note names are avoided for the first 1-2 years. Note names and keys can be explained once a child has had the opportunity to explore the world of music and different tonalities through transposition and transformation, improvisation and composition. Colourstrings is child centred Colourstrings is a child-centred approach. Colourstrings classes are fun. The children are barely aware that they are learning anything at all, while in fact they are absorbing a great deal in an enjoyable and stimulating way. Right from the start children receive the foundations for a musical training that will provide a lifetime's resource. The earlier children start, the greater the benefit and the benefits are not only musical. Children who have attended Colourstrings classes have better concentration and memory, and more developed psycho-motor and social skills, as well as musical skills. We also recognise the importance of the relationship between parent or carer and child. What is done at home is key in the development of the child as a person and as a musician. The Singing Rascal books and CDs Page 1 of 7

2 The Singing Rascals books and CDs form the core Colourstrings material. The CDs set a story within which each song in each book is sung by a child, sung in solfa and then played in an arrangement by the Helsinki Junior Strings. There are five books and 3 CDs covering 2 books each. The `Rascals' books consist of nursery and folk songs, and other tunes. They are designed to cover all the basic principles of music: sound and silence; high and low (pitch); long and short (rhythm/duration); tempo; dynamics; character/style. The series also covers the pentatonic scale, do-do (major scale), la-la (natural minor scale) and rhythm names. Parents sing or use the CDs with their child at home. In the Music Kindergarten the tunes are used again and again, to convey various musical ideas in an enjoyable yet organised, but half-conscious, way. Unconscious to semi-conscious to fully conscious All the early work takes place on an unconscious level. For example, a lot of work with children under 3 years old emphasises the pulse of the music. We pat or rock as we sing the song while the pulse is experienced unconsciously. As the children get older, musical concepts are explained in a semi-conscious way, and eventually are made fully conscious. At around the age of 3, pulse can be made semi-conscious by introducing Mummy Bear who walks ta ta ta ta (ta is a crotchet and ti-ti is two quavers). Pulse might be made fully conscious for the 4-5 age group, by not only clapping the rhythms but by saying ta and ti-ti and by learning to write ta and ti-ti on the board. All musical ideas and concepts are introduced this progressive way. The child experiences the concept long before articulating what it means. Only once the child is at school age, or learning an instrument, does the material begin to become conscious. In the UK In the UK, children normally begin music kindergarten at 1-2 or 2-3 years. They continue until they are ready to learn an instrument. 5 or 6 years is considered to be the best age for starting an instrument, so long as the child has attended at least one year of Music Kindergarten.. Colourstrings instrumental tutor books exist for violin/viola, 'cello, mini-bass, piano, guitar, flute and recorder. The Role of the Teacher The role of the Colourstrings Music Kindergarten teacher is to create a warm and positive environment in which children aged 1-7 years can learn musical skills and develop their `inner ear' in an enjoyable, sociable and constructive way with the help of high quality materials and the backing and support of a thoroughly committed organisation. When you enrol on the courses for CSAK (Cert.) (Levels 1 & 2), the training you receive will equip you to start teaching Colourstrings Music Kindergarten in schools or set up private classes. As with any teaching, the learning process continues for the rest of one's life and you are advised to continue with further training courses and workshops/seminars as they arise. It may be that your enthusiasm leads you to relearn an instrument you had put away and forgotten, or encourages you to join a local choir. Music is most fun and enjoyable when it is shared with others. Colourstrings Associate Teacher Kindergarten (Certificate) Level 1 CSAK (Cert.) Page 2 of 7

3 This course leads to the Associate Teacher (Certificate) qualification. Teachers who gain this qualification are authorised by The Szilvay Foundation to teach Colourstrings Music Kindergarten to babies and children aged up to 4 years. A further course, leading to Colourstrings (Level 2) Certificate, authorises teachers to teach Colourstrings Music Kindergarten to children aged 4-7 years. Details of this course are in a separate pack. NOTE: You do not have to qualify as an Associate Teacher: you may only want to attend the Introductory 5-day Course. However, if you wish to work as a Colourstrings teacher, you must complete the whole training course and qualify. Entry Requirements for the Certificate: Prospective teachers should be able to demonstrate a level working towards Grade V in an instrument or voice + a Grade V theory level of understanding. They may be expected to perform to this standard or beyond in the performance assessment at the end of the course. It is essential to have a confident and clear singing voice. Note: Would-be teachers who do not meet the above entry requirement may teach if they work with a musician who has also trained in this approach. Such teachers will be awarded a Course Certificate to show they have completed a part of the training. By these means, the Szilvay Foundation seeks to give recognition to the fact that the teaching of under-7s is a specialised subject area and requires strong non-musical skills as well as musical ones. Would-be teachers who fall into this category will be accepted on the Certificate course at the Foundation's discretion. The Kindergarten Training Programme CSAK (Cert.) To gain the CSAK (Cert) Level 1 you must attend and participate in all of the five day introductory course PLUS three follow up weekend seminars and complete the written work set to a satisfactory standard. You must also pass a Performance and Musicianship Assessment at the end of the third weekend workshop. You will also need to do: a total of 5 days' observation (including note-taking), short practical assignments during the 5-day course and workshops written work set during workshops to be submitted by dates required by the tutors (see below) Also strongly recommended: attendance at 1x International Summer School (London, August) further training in Kodály musicianship Post-Course: Submission of video of own teaching or visit by a tutor. A satisfactory report of teaching practice Certificated Teachers are required to register ( 20 annual fee) Attendance at refresher workshops Page 3 of 7

4 The Kindergarten Training Programme CSAK (Cert.) Level 1 Course content The training sessions are participatory in approach and include the following aspects: Introduction - "What is Colourstrings?" Kodály principles Colourstrings principles Daily solfa classes Colourstrings Music Kindergarten - demonstrations and participatory sessions Working with small children, child development, pedagogy, elementary psychology of learning Successful communication as a teacher and professional (the importance of language, body language, positive attitude, etc.) Sourcing materials Planning and targets Background reading and resource books, magazines Developing a professional approach A short practical assignment (during the course) An introduction to Dalcroze Eurhythmics Video clips Individual attention on areas to develop The link to the instrumental methods Practical advice on setting up a kindergarten practice Written and Other Course Work (to be completed after the 3 follow up workshops) Teachers are required to: write an essay of 3000 words write Lesson Plans for under-2 s, Under 3's and 3-4 years answer a question paper on specific aspects of pedagogy and psychology write a short summary of a book on child psychology or child development prepare a one-hour workshop for parents make notes on observations of Colourstrings classes write a flier or information brochure advertising Colourstrings Music Kindergarten classes write a short report on the five-day course undertaken write an evaluation of their teaching experience including a description of age ranges and levels write a term s evaluation of their own teaching in their first year of practice submit copies of actual lesson plans used in teaching The Kindergarten Training Programme CSAK (Cert.) Course fees Fees may be paid in instalments. (Bursaries may be available from educational organisations such as ESTA or EPTA.) Associate Teacher (Certificate) & Non-Qualifying Fees Page 4 of 7

5 Introductory 5-day course Three weekend follow up course Total cost of CSAK (Cert.) course & award: Workshop content (Subject to change, according to course schedule) Workshop 1 (10 hours) Repertoire for Under-3's Developing ideas for the LA Singing Rascals books Singing and use of the voice, working with children s voices Psychology in teaching Child development and stages of learning Baby classes Solfa (3 hours) Workshop 2 (10 hours) Lesson planning Repertoire for 3-4 year olds Teaching by topic Developing ideas for the DO Singing Rascals book Singing and use of the voice, including performance Solfa Workshop 3 (10 hours) including musicianship assessment Setting targets, musical development Use of Percussion Setting up a Kindergarten Practice Developing a professional approach Performance assessment (if required) Solfa Musicianship test of the solfa course prepared during the weekends Solfa training A core part of the Kindergarten (KG) training is training in solfa. You will receive 6 hours solfa tuition on the introductory course and 3 hours on each of the 3 follow up weekends. Learning about solfa may seem like going back to the beginning, especially if you have had professional music training. We go back to the basics to learn the language of solfa so you will feel confident when using it with children. Page 5 of 7

6 The whole Kodály approach is very different to a traditional Western classical training in its thinking and philosophy. It considers musical details from the inside in a way with which most of us are unfamiliar; but many brilliant and highly trained musicians recognise its value and feel it has opened a door to a way of hearing that they had not previously experienced. It has also given access to many adult learners who felt left outside of the world of music and helped them to become musicians a key and a door. Solfa has its roots in the work of an 11 th century monk who devised it to help monks learn plain chant, with interesting repercussions for the development of western musical practice and theory. Solfa was very much a part of the training of Italian and French musicians, reaching a peak in the 19 th century. AIMS OF SOLFA TRAINING ON THIS COURSE: To develop an elementary fluency in tonic solfa through the experience of varied song repertoire. To further develop this fluency and get a deeper understanding of the Kodàly/solfa approach through exercises and games aimed at working on musicianship skills. Materials used: children s songs, folksongs, Kodály material (333s and 77s), solfa and classical examples, canons SKILLS ACHIEVED DURING COURSE: Solfa fluency and hand signs Intonation Quality of singing phrasing and musicality Inner hearing Memory Two part hearing Improvisation Working and playing with form and structure Ensemble singing Rhythmic skills Conducting (simple patterns) ASSESSMENT Aims: By the third weekend of the follow up course, students should be able to demonstrate: a basic fluency in solfa eg sing a folksong song in solfa (major or minor) Singing in tune with an awareness of the need to correct tuning musical awareness in phrasing and expression motivation and good preparation Objectives: By the end of the course, students are expected to be able to: Page 6 of 7

7 sing a do and a la, a re and a so pentatonic song in solfa from memory with words and then with hand signs. sing a pentatonic scale from do, and re and mi and all the notes of the pentatonic scale; starting on same pitch identify a pentatonic scale from hearing it on the piano demonstrate polyphonic hearing by singing a Kodály 333 exercise and clapping the rhythm two beats behind, or adding a rhythm ostinato; or being able to sing the melody and play it in canon on the piano. demonstrate a harmonic awareness by singing one part of a two part Kodály 77 while experiencing the other read solfa from the stave write an 8-bar rhythm in 2-time from dictation and in stick notation Recommended Reading Vinden, Yuko & David, Songs for Singing and Musicianship Training The Kodaly Centre of London (Tel/fax: ) Forrai, Katalin, Music in Pre-school (available through British Kodaly Academy) Singing Rascals Books (Pentatonic, LA and DO) - Essential reading, available on course or from: Colourstrings International Ltd, Book & CD Dept, 4 Ullswater Close, London, SW15 3RF, UK Tel: +44 (0) ; E: sales@colourstringsbooks.com; W: Geoghegan, Lucinda Singing Games and Rhymes for Early Years, National Youth Choir of Scotland, ISBN Solfa Skottowe Earl, Gillian, With music in Mind, British Kodaly Academy Vajda, Cecilia, The Kodály Way to Music, Boosey and Hawkes Kodály, Z., 333s Reading exercises - Boosey & Hawkes Essential reading Bicinia Hungarica Vol 1(2,3,4)Let us sing correctly 77 two part exercises For further information contact Tony Di Marco Adv. Cert Ed. MHCIMA, MRSH, FCFA Colourstrings Kindergarten Training Administrator One The Tatt Yalding Kent ME18 6HT Phone & Fax: colourstrings@aol.com Page 7 of 7