Chosky on Kodaly Reading 3 POI's

POI #1. The hand symbols.

There are many reasons why these hand symbols are pedagogic gifts. On that I find most intriguing is that they can take on a religious form. When I observed at a private Christian school last semester, I noticed a poster on one of the walls in the music room. The poster contained all of the hand symbols, but each was associated with a specific aspect of Christianity.

The Do symbol represented God, as he is the foundation of everything as well as what everyone should serve. Therefor he is the base and the top of life, just as Do is always tonic. In addition, Do was elongated for Do(minus) the Latin for master.

While I do not remember the other hand symbols specifically, I do remember that all of the children used them. Outside of religion, I think that the hand symbols are a great tool for solfege. Each symbol shows the function of the note that is being used. Si or Ti points up to Do, where it will inevitably resolve. Also La sits atop Sol, as it does in a harmonic setting. I think it is a great way to teach many concepts to young and older children alike.

POI #2: Childhood development.

I found Kodaly's views on education the child based on their developmental stage very interesting; yet some how I do not think that I would use it in my classroom.

I understand why Kodaly does this. I am aware that when subjects are related to events and happenings that are more familiar with a students that they learn it quicker. However, I feel that this method does not allow a child to broaden their horizons.

I think that a child will always relate what they know to what they will learn, so when it comes time to teach a new subject or to introduce them to a new topic, it is okay to approach it from a more mature standpoint.

Of course, more complex material such as counterpoint or improvisation over chord changes will not be brought up with young students. I am not saying that all children should be taught like they are mini adults. I am only suggesting that sometimes it is okay to not teach to the child. Sometimes it is okay to teach from a more intellectual standpoint.

POI #3 Quality.

Yes! Yes! Yes! I am not sure about how much emphasis Kodaly actually put on quality, but I think it is very important to have students experience quality music all of the time.

It is important for students to hear quality music because, well, it is quality music. There is a reason why it should be listened to. It was practiced, perfected, and performed to the highest caliber. Students should have the opportunity to listen, watch, and participate with high level players so their experience is quality.

Players that listen, in my opinion, trump those that only play. Once a player learns to listen for tone, articulation, style, dynamics, or phrasing, they are now connecting themselves with an ensemble and not individuals. When a student hears a piece that is performed by an ensemble that has performed a piece of music accurately, it is imperative that they listen.

Once the child hears this piece, they will gain insight to tone, blend, and most importantly music. I think that Kodaly wanted quality music for his students because of how much a musician can learn from listening and not just from performing.