What are the relationship among the three classic European metheods ( Dalcroze, Kodaly, Orff) regarding the development of aural skills, musical literacy, and creative musical expression
Mengfei song
CT 299 A
10/10/2014
Critical Thinking
What are the relationship among the three classic European metheods ( Dalcroze, Kodaly, Orff) regarding the development of aural skills, musical literacy, and creative musical expression?
The three methods of music education have plenty of overlaps as they all involved high student participation and various styles of learning: visual, audio, tactile, and kinetic. What I found distinctive about each was or the starting point of each teaching method. Kodály started with singing, Orff started with speech, and Jacque-Dalcroze started with body movement. Each is rooted in the core beliefs they have regarding the nature of music. Kodály believed the act of singing consolidated and confirmed the absorption of the concept of the sound in one’s mind. Orff believed that speech was the base of music in its rhythmic patterns. Dalcroze believed body movement was intrinsically linked to music, and its natural response could reinforce the sound.
All emphasized the importance of learning rhythm. Sarah Pang said, in an earlier comment, “Both [Kodály and Orff] methods use rhythmic syllable to deal with rhythmic learning. Students will develop accurate perception about the rhythmic patterns which they might encounter in the music later.” Dalcroze also emphasized rhythm.
Both Orff and Dalcroze emphasize improvisation as essential to the development of the understanding of music. This includes both instrumental or vocal improvisation as well as in bodily movements, such as dance. Kodály’s movement focuses on hand signs to reinforce the solfa, the sound.
All believe in the development of the “inner hearing”, (though Orff less explicitly so) which I completely agree with as a foundational cornerstone to pursuing music. This “inner hearing” or “inner ear” refers to the ability to picture sound within one’s head without actually physically hearing it. Kodály believes that this can be outwardly demonstrated through singing,
CT 299 A
10/10/2014
Critical Thinking
What are the relationship among the three classic European metheods ( Dalcroze, Kodaly, Orff) regarding the development of aural skills, musical literacy, and creative musical expression?
The three methods of music education have plenty of overlaps as they all involved high student participation and various styles of learning: visual, audio, tactile, and kinetic. What I found distinctive about each was or the starting point of each teaching method. Kodály started with singing, Orff started with speech, and Jacque-Dalcroze started with body movement. Each is rooted in the core beliefs they have regarding the nature of music. Kodály believed the act of singing consolidated and confirmed the absorption of the concept of the sound in one’s mind. Orff believed that speech was the base of music in its rhythmic patterns. Dalcroze believed body movement was intrinsically linked to music, and its natural response could reinforce the sound.
All emphasized the importance of learning rhythm. Sarah Pang said, in an earlier comment, “Both [Kodály and Orff] methods use rhythmic syllable to deal with rhythmic learning. Students will develop accurate perception about the rhythmic patterns which they might encounter in the music later.” Dalcroze also emphasized rhythm.
Both Orff and Dalcroze emphasize improvisation as essential to the development of the understanding of music. This includes both instrumental or vocal improvisation as well as in bodily movements, such as dance. Kodály’s movement focuses on hand signs to reinforce the solfa, the sound.
All believe in the development of the “inner hearing”, (though Orff less explicitly so) which I completely agree with as a foundational cornerstone to pursuing music. This “inner hearing” or “inner ear” refers to the ability to picture sound within one’s head without actually physically hearing it. Kodály believes that this can be outwardly demonstrated through singing,