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The African American Spiritual in the Kodaly Music Classroom:

The African American Spiritual in the Kodaly Music Classroom:
Connecting Mind, Body and Spirit

Presented at the International Kodaly Symposium: Brisbane, Australia
July 7, 2011

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Marilyn's presentation iks july 2011 Marilyn's presentation iks july 2011 Presentation Transcript

  • CONNECTING MUSIC, MIND AND SPIRIT THE AFRICAN AMERICAN SPIRITUAL IN THE KODÁLY MUSIC CLASSROOM Presented by Dr. Marilyn Brouette St. Peter Martyr School International Kodály Symposium Brisbane, Australia July 7, 2011
  • PURPOSE OF PRESENTATION
    • Demonstrate use of Spirituals as
      • Quality Primary Source Song Material
      • Effective Tool for Music Literacy
      • Adaptable to Kodály Pedagogical Principles
      • Conducive for Movement to Reinforce Core Music Concepts
      • Folk Music of the African American Child
  • VOICE OF KODÁLY
    •   “ A deeper musical education can at all times develop only where singing forms its basis.  Instruments are for the privileged few.  Only the human voice – can  accessible to all, free of charge, yet the most beautiful of all instruments be the fertile soil of a musical culture extending to all.”
    • Eösze, L. (1987). Zoltán Kodály: His Life in Pictures and Documents,19
  • THE SPIRITUAL AS SONG
    • Cultivates Lyricism
    • Connects with Emotional Heritage
    • Enhances Neural Development
    • Demonstrates Musical Expressiveness
    • Integrates Performance Practice and Literacy
    • Fosters Creativity and Improvisation
    • Delineates Musical Patterns and Expressions
    • Develops Skill in Pentatony
  • KODÁLY ON MOVEMENT
    • Zoltan Kodály
    • “ Singing connected with movements and action is a much more ancient, and, at the same time, more complex phenomenon than is a simple song” (1951).
    • Bónis, F., editor (1974). Selected Writings of Zoltán Kodály, 46
  • THE SPIRITUAL AS DANCE
    • Expresses the Intent of the Text
    • Embodies the Spirit of the Music
    • Demonstrates Key Music Concepts
      • Internalizes the Beat
      • Differentiates Rhythms
    • Creates Community
    • Articulates Kodaly Principles
  • KODÁLY and RHYTHM
    • Zoltan Kodály
    • “ The difficulties of rhythm and melody are so complicated that if we do not overcome them one by one, we will never be able to cope with them. First, one must be able to read rhythm...”
    • Koscar., Music Should Belong to Everyone, 25
  • WHY MOVE?
    • Creates Neural Connections
    • Connects Music and Meaning
    • Develops Rhythmic Awareness
      • Differentiates Duration from Beat
    • Reinforces Melodic Concepts
      • Distinguishes Form e.g. ABA
      • Delineates Phrases
  • KODÁLY Connecting Music, Mind and Spirit
    • Zoltan Kodály
    • “ Music is the expressive tool of the human soul, which is equally accessible to everyone...Music is nourishment and a comforting elixir. Music multiplies the beauty of life and all its values”
    • Koscár, (2002). Zoltán Kodály: Music Should Belong to Everyone:
    • 120 Quotations from His Writings and Speeches , 57
  • MOVEMENT AS A LITERACY TOOL
    • How do we know how to move?
    • Analyze the music!
    • Then, create movement that suggests the meaning of the text and reinforces at least, one core musical concept.
  • WISDOM OF KODÁLY
    • Zoltan Kodály
    • “ A thorough knowledge of the material must precede everything, for anything else can be built only upon this knowledge.  Any efforts to achieve aesthetic results which either precede or discard knowledge are equivalent to building castles in Spain.”
    • Eösze, L. (1987). Zoltán Kodály: His Life in Pictures and Documents,18
  • EVERYBODY UP…LET’S MOVE
    • Sing off my hand sign, please.
  • Michael Row The Boat Ashore
  • ANALYSIS SPIRITUAL TONE SET RANGE DIFFICULT RHYTHM MOVEMENT CORE CONCEPTS Michael Row Your Boat Ashore d-r-m-s-l Sixth d-l Ti-Tam Beat and Duration
  • FIND A PARTNER WITH YOUR ELBOW
    • Movement Reinforces Beat and Duration
      • Hold hands with your partner
      • BEAT:
      • Swing arms right, left, right, left
      • DURATION:
      • Swing arms right hold
      • Swing arms left hold
  • Michael Row the Boat Ashore VERSES
    • 1. Michael Row the Boat ashore, Alleluia. Michael Row the Boat ashore. Alleluia.
    • 2. Michael reads the gospel book. Alleluia. Michael reads the gospel book. Alleluia.
    • 3. Angel Gabriel Blows his horn, Alleluia. Angel Gabriel Blows his horn, Alleluia.
    • 4. Trumpet sound for rich and poor. Trumpet sound for rich and poor. Alleluia.
    • 5. The river Jordan is deep and wide. Alleluia. The river Jordan is deep and wide. Alleluia.
    • 6. Michael stands upon the rock. Alleluia. Michael stands upon the rock. Alleluia
    • 7. My Jesus stands on the other side. Alleluia. My Jesus stands on the other side. Alleluia.
    • 8. Father plants his garden there. Alleluia. Father plants his garden there. Alleluia.
    • 9. Eat the fruit and you shall live. Alleluia. Eat the fruit and you shall live. Alleluia.
    • 10. Michael Row the Boat Ashore. Alleluia. Hear the glory trumpet blow. Alleluia.
  • Elijah Rock
  • ANALYSIS SPIRITUAL TONE SET RANGE DIFFICULT RHYTHM MOVEMENT CORE CONCEPTS Elijah Rock s,-l-d-r-m-s-l Ninth s, - l Syn-co-pa Beat, form, phrase
  • EVERYONE HOLD HANDS IN A CIRCLE
    • Movement Reinforces Beat and Stress
      • Walk the beat in a circle, snap out on beat 1 and snap in on beat 3 on “Elijah rock…”
      • Movement Emphasizes Melodic Changes
      • Stop, hands over head, palms out on “Comin’ up Lord
      • And Form:
      • Tap Beat on knees on “Satan’s a Liar…”
  • ANALYSIS . . SPIRITUAL TONE SET RANGE DIFFICULT RHYTHM MOVEMENT CORE CONCEPTS Ezekiel Saw de Wheel s-l-d-r-m f and t Seventh f-m Ri-Tim Tim-ri Beat, form, phrase
  • Make Circles of Four
    • Right hand to center in a pin wheel
      • Circle to the right eight beats
    • Left hand to center in a pin wheel
      • Circle to the left eight beats
    • Palms outward touching neighbors
      • Circle to the right eight beats, then left eight beats
      • Stop sway hold right and left, hands in air (repeat)
    • Hold hands, pull back and slide right eight beats and left eight beats
  • JESUS, BUDDY-0
  • ANALYSIS SPIRITUAL TONE SET RANGE DIFFICULT RHYTHM MOVEMENT Tell My Jesus Buddy, O s-l-d-r-m Sixth s˛- m Tam-ti Ti-tam Beat, Eighth Notes (Quaver)
  • KODÁLY THE ESSENCE OF MUSIC
    • Zoltan Kodály
    • “ Music is the expressive tool of the human soul, which is equally accessible to everyone...Music is nourishment and a comforting elixir. Music multiplies the beauty of life and all its values”
    • Koscár, (2002). Zoltán Kodály: Music Should Belong to Everyone:
    • 120 Quotations from His Writings and Speeches , 57
  • CONNECT
    • C ultivate Core Music Concepts
    • O riginate Movement to Support Literacy
    • N urture Musicianship through Kodály
    • N ame Pedagogical Intent
    • E xperience Cultural Literacy
    • C reate Passionate Performance Practice
    • T ransform Music Education
  • THE REVIEW
    • The Overview
    • Spirituals connect mind, body and spirit
    • Spirituals articulate core music concepts
    • Spirituals reflect the legacy of Kodály
    • Thank you for your kind attention.
    • [email_address]