Sejarah Zoltan Kodaly (1882 – 1967

)
Di sebut KO – DAI Lahir 16 Dis 1882, Kecskemet, Hungary  Cendiakawan: etno, pendidikan, falsafah &

linguistik  Pengajian: Franzs Liszt Academy, Uni Of Hungary, PHD (Linguistik- Bahasa Hungary & Jerman)  Memperjuang semangat kebangsaan

Sejarah Zoltan Kodaly (1882 – 1967)
 Kodaly dan Bartok bekerjasama

mengumpulkan lagu-lagu rakyat Hungary  Dances of Marossek & Dances of Galanta karya terkenal beliau  President International Society For Music Council & International Society For Music Education  Menghembus nafas terakhir pada 16 Mac 1967

Pendekatan Kodaly
Aspek pembelajaran muzik nyanyian, lat.

pendengaran, notasi muzik dan permainan alat Penekanan kpd nyanyian semerta & merencana melodi dgn notasi Pengunaan isyarat tangan, latihan solfa, tangganada pentatonic, nyanyian lagu rakyat secara accapella

Prinsip Asas Kodaly
Literasi muzikal: kebolehan membaca/menulis Bermula dengan suara Mula peringkat awal kanak2 Mengunakan bahasa ibunda Muzik berkualiti

Strategi Kodaly
Strategi Kodaly Penggunaan Muzik bermutu Muzik utk semua Pengalaman mz dr peringkat awal knk2 Berasaskan budaya tempatan Muzik dgn asas vocal acapella Nyanyian solfa Pengalaman muzikal sebelum mpelajri notasi Urutan p&p berpusatkn murid

Objektif Kaedah Kodaly
Menyanyi,bermain alat muzik, gerakan

berasaskn mz ibunda Persembahan, pendengaran, analisa, seni muzik Mencapai kemahiran muzikal spt membaca,menulis,mneyanyi, part of singing

Contoh Aktiviti kaedah Kodaly
Menyebut perkataan dlm bentuk irama Menepuk detik asas Melangkah mengikut detik Menepuk irama mengikut teks Menepuk irama sambil berfikir menyebut ttp

tidak disebut perkataan

Alat-alat teknik
Nyanyian
   

Isyarat tangan-curven hand ‘Doh bergerak’ solfa pentatonic nyanyian lapis vocal Suku kata berirama: ta, ti-ti Stick notation Ritma diajar bersama vocal Nyanyian semerta dan catatan pendengaran Djlnkn semasa mnulis,mbaca mz, nyanyian dan rentak

Rentak
  

Mbaca dan menulis muzik

Latihan pendegaran

ZOLTAN KODALY (1882 – 1967)
 Zoltan Kodaly was a Hungarian

composer, educator, and ethnomusicologist. His philosophy of music education led to a highly sequential system of teaching music. The system was developed by those influenced by Kodaly’s vision of music education. Varied pedagogical tools are utilized to reach the central philosophical objective; “Music belongs to everyone and is necessary for health human development”

uential Approach (child-developmental base)
The Kodaly method is highly structured and sequenced, with well-defined skill and concept hierarchies in every element of music. These sequences are closely related to child development—the way in which young children progress naturally in music. The major body of teaching material must lie within children’s capabilities. However, at all times some musical materials must be included that are designed to expand those capabilities. As the child develops physically, socially, emotionally aesthetically, and intellectually, they are also led to develop musically in the acquisition of increasingly complex skills and more involved concepts.

uential Approach (child-developmental base)
1.Melody--- 3-note songs and chants (la-so-mi), tetra-tonic (so- mi-re-do), and pentatonic (la-somi-re-do) songs comprise most of the earliest melodic teaching materials. As voices mature and musical abilities increase, musical materials are extended to include more songs in diatonic major and minor keys, modes, and altered scales. 2.Rhythm---the meter of young children’s movements (walking, running, skipping, swaying, bouncing) is duple, either simple or compound 3.Form, harmony, tempo, and dynamics are also sequenced into hierarchies so that the young children may experience all aspects of music at their own level. 4.Aural learning and then attach labels 5.Spiral learning. Each level builds upon the previous. Mastery is important before moving on

e application at middle/high school level
• Sing at sight with ease • Sing fluently in movable-do solfa and in absolutes • Switching from one to the other at a given signal • Sing in two and three parts from score • Identify binary and ternary forms, both in songs and in larger works • Aurally identify the modes; aeolian, dorian, ionian, mixolydian, lydian, phrygian • Take melodic and rhythmic dictation from voice or piano • Perform two or three musical ideas simultaneously; singing a melody, tapping an ostinato, stepping a beat • Identify some art music by style and period • Improvise within known scales, meters, and rhythms

GALERI GAMBAR KODALY

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