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Lietuvos muzikos mokytojų asociacija Klaip ėdos universiteto Menų fakulteto Muzikos teorijos ir pedagogikos katedra
Klaip ėdos pedagogų švietimo ir kultūros centras
Klaipėdos universiteto Menų fakulteto koncertų salėje (K. Donelaičio g. 4). 2013 m. lapkričio 15-16 d.
spalvingas, įvairiapusis, skambus seminaras muzikos mokytojams MUZIKUOKIME, KURKIME, DŽIAUKIM ĖS
Pagrindinis lektorius:
Lektoriai:
Informacija: Seminaro apimtis 12 val. Seminaro pradžia lapkričio 15d. (penktadienį) 13 val. Registracija nuo 11.30 val. Dalyvius
prašome registruotis tel. (8-46) 398734 arba el. paštu: [email protected] Registruojantis pateikite šiuos duomenis: vardas, pavardė, švietimo įstaiga, įstaigos kodas ir adresas. MALONIAI PRAŠOME REGISTRUOTIS IŠ ANKSTO.
Mokestis: Seminaro kaina 60 Lt. Mokestį už seminarą galite sumokėti registracijos metu arba pavedimu: AB Swed Bankas, banko kodas 73000, sąskaitos nr. LT417300010002332168. Gavėjas: Klaipėdos pedagogų švietimo ir kultūros centras. Adresas: H. Manto g. 77, Klaipėda. Įmonės kodas: 195175552. Mokėjimo paskirtis: Už seminarą „Muzikuokime, kurkime, džiaukimės“. Dalyvio pavardė. (Išankstines sąskaitas galima išsiimti Klaipėdos pedagogų švietimo ir kultūros centro buhalterijoje, H. Manto g. 77, II a., tel. 8-46 400360).
♪ Sebastian Bielicke (Vokietija) – muzikos teoretikas ir praktikas, aktyviai propaguojantis Franziska Martienssen-Lohmann ir Paul Lohmann vokalinio-muzikinio ugdymo sistemos principus, dirbantis vokalinio ugdymo srityje. Dalyvavo įvairiuose muzikiniuose ir edukaciniuose projektuose, publikavo daug straipsnių muzikinio ugdymo tema, vedė seminarus įvairiose Europos šalyse, nuolat bendradarbiauja su įvairiomis pasaulio muzikinio ugdymo organizacijomis ir asociacijomis.
TEMOS: Vokalinio ugdymo strategijos, Psichologinės vokalinio ugdymo prielaidos, Vokalinio ugdymo su vaikais ir studentais praktikumas.
♪ Algytė Merkelienė – liaudies instrumentinės muzikos teoretikė ir praktikė, folkloro specialistė. TEMA: Skudu čiavimas: tradicija ir dabartis
♪ Skudučių ansamblių koncertas. Skudučiuoja jaunieji muzikantai iš: Klaipėdos Vytauto Didžiojo gimnazijos, Gargždų “Vaivorykštės” gimnazijos, Klaipėdos Vydūno vidurinės mokyklos, Klaipėdos Vyturio progimnazijos, Klaipėdos Vėtrungės gimnazijos, Klaipėdos universiteto.
♪ Rūta Agafonovienė – vokalinio ugdymo teoretikė ir praktikė. TEMA: Dainininko balso anatomija
Knygų „Dainininko balsas ir jo priežiūra“, „Vokalizės balso lavinimui“ pristatymas.
♪ Sandra Rimkutė-Jankuvienė, Rūta Girdzijauskienė – muzikinio ugdymo specialistės, muzikos programų, vadovėlių, mokymo priemonių autorės. TEMA: Muzikuokime išradingai: k ūno perkusija, balso ir
judesio panaudojimas.
Schedule Friday, 15th November 10:00-12:00 “German Pronunciation in Classical Singing”, teaching demonstration
10:00-10:25 Student 1 10:25-10:50 Student 2 10:50-11:15 Student 3 11:15-11:40 Student 4 11:40-12:00 Conclusive discussion with teachers
12:00-12:25 “The European Range of Influence of the Prussian Voice Teachers Franziska Martienßen-Lohmann and Paul Lohmann” 12:25-12:50 “Introducing the European Voice Teachers Association” 12:50-13:30 Discussion about the foundation of a Lithuanian Association of Voice Teachers - lunch break - 15:00-16:30 “Cultivating the Singing of Kindergarten Children – The German Approach”
15.00-15:45 Lecture 15:45-16:15 Teaching demonstration with children from a Lithuanian elementary school 16:15-16:30 Conclusive discussion
16:45-18:00 “Learning Types, Strategies and Styles”
Saturday, 16th November
10:00-12:00 “German Pronunciation in Classical Singing” (continued) 10:00-10:25 Student 5 10:25-10:50 Student 6
11:00-13:00 “Genderspecific Voice Physiology” (incl. voice exercises with the audience)
Friday, 15th November, 10:00 – 12:00 / Saturday, 16th November, 10:00 – 11:00
Teaching demonstration „German Pronunciation in Classical Singing“
Short report
In total, six students of singing (four female, two male) took individual lessons with me, in the presence of teachers and fellow students. We worked on arias from operas, oratorios and cantatas by Bach („Mein gläubiges Herze”), Händel („Wie lieblich ist der Boten Schritt”, „Gott Dagon hat den Feind besiegt“), Mozart („In diesen heil’gen Hallen”, „Welche Wonne, welche Lust”) and Wagner („Wie Todes-ahnung...O du, mein holder Abendstern“). The following issues with German pronunciation occurred:
1. Closed vowels (e.g. “Seele”, “der”, “Erden”) were often replaced by the open version of the same vowel.
2. Mutated vowels (=“Umlaute”), i.e. „ä“, „ö“ and „ü“ were often pronounced as “a”, “o” or “u”, respectively.
3. Consonant clusters (e.g. in “vergnügt” or “Pflicht”) are particularly difficult to articulate and have to be practiced with attention and patience.
4. Almost unknown was the rule that voiced plosives at the end of a syllable become voiceless (=“Auslautverhärtung”), e.g. the “d” in “Hand” is pronounced as a “t”.
5. The voiceless palatal fricative (like in “ich” or “nicht”) is hard to find and was often replaced by “sch” or the dorsal “ch” (like in “Bach”).
6. The nasal consonant “ng” was mistakenly pronounced with a voiced velar plosive at the end, e.g. “bringen” was pronounced like “bringgen”.
7. In general, it was pointed out that clear and energetic consonants are important for a professional and expressive performance.
Apart from this main focus, issues like breast breathing, extreme smile position of the lips, the need for effortless focus of the voice, overconcentrated facial expression and conducting movements of the singer were discussed.
Friday, 15th November, 12:00 – 12:25
The European Range of Influence of the Prussian Voice Teachers Franziska Martienßen-Lohmann and Paul Lohmann
(1936) (ca. 1960)
Franziska Martienßen-Lohmann (1887-1971), teacher and author, professor of singing in Munich, Berlin, Weimar and Düsseldorf, trained Leonore Kirschstein, Emmy Lisken, Jutta Vulpius, Dieter Slembeck, Hermin Esser, Edmund Illerhaus, amongst others, and she also worked with distinguished artists like Elisabeth Grümmer, Maria Stader, Judith Beckmann and Dietrich Fischer-Dieskau. Paul Lohmann (1894-1981), concert singer, teacher and author, professor of singing in Berlin, Wei-mar, Frankfurt/Main and Wiesbaden, trained singers like Simone Mangelsdorff, Helmut Krebs, Ja-kob Stämpfli, Peter Wetzler, Ingrid Bjoner, Roland Hermann, Ortrun Wenkel, Günter von Kannen, and he also worked with Siegmund Nimsgern, Poul Elming, Knut Skram, Erna Skaug and many others. These two teachers married in 1929. Until 1945, they developed their way of working in the Bran-denburgian Potsdam and Berlin, where both of their inheritances are kept in the State Archive today. She was born in Eastern Prussia, while he chose to call himself a Prussian as his habitus was regar-ded as such (as confirmed to me by Swiss and Danish participants of his courses). Traditional virtues like diligence, disciplined concentration, respect for the teacher, efficient orga-nisation of work are marks of their school, together with a precise and creative use of the German language, a strive for deep understanding of music and poetry as well as psychological and even philosophical reflections on singing and its pedagogy. Despite of the fact that there are reasons to call them specifically Prussian voice teachers, their back-ground and their range of influence is pan-European. Among the “pedagogical ancestors” of Franzis-ka Martienßen and Paul Lohmann were personalities like Johannes Messchaert (a famous Dutch baritone), Julius Stockhausen (a German trained in Paris who worked with Johannes Brahms), Ma-nuel Garcia junior (a Spaniard who lived in Paris and London, the founder of modern voice pega-gogy) and his father Manuel Garcia senior (a Spanish tenor, collaborating with Gioachino Rossini, a late representative of Italian bel canto tradition). We can see that the school of Martienßen and Loh-mann roots deeply in European lines of tradition, finding a balance between sound orientation and word expression.
Regarding this “descent”, it is not surprising that the ten aims of voice formation as worded by prof. Martienßen-Lohmann in her book “The Development of the Human Voice” (translated by J. Favaro-Reuter, University of Washington) are for the most part congruent with belcanto ideals:
1. Faultless breath control 2. Clean and precise vocal attack and pure intonation 3. Command of dynamics, messa di voce 4. Clear articulation 5. Vowel balance 6. Resonance 7. Unity of registers 8. Evenness of tone and line 9. Quickness and flexibility of coloratura 10. Technical command of phrasing in legato, martellato and staccato
Apart from these technical aims, a connection between one’s notion of the own sound and the emotional connection with the text was an important part of the singers’ training. The following aspects of teaching occurred repeatedly in my interviews with former students: Technical aspects:
- posture: lifted chest, belly flexible, legs in step position - breathing technique: stop exercises - register: balanced mix based on head voice - articulation: clear consonants, concept of leading vowel - integration of all functional circuits: notion of sound
Pedagogical aspects: - method: no singing demonstration, thus no imitation of the teacher - interpretation: intellectual insight in the underlying poetry - exercises: suggestive texts that lead to an emotional connection with the exercise - material: Vaccai (Italian style), Lütgen (coloratura), Hey (German pronunciation) - auxiliary means: exercise books, individually written by the teacher - psychological basis: intense teacher-student-relationship
International range of influence: Because of the inspiring books they published and the successful students they produced, their fame spread on an international level by different means: Permanent presence (residence or regular masterclasses):
Germany, Switzerland, Scandinavia Occasional activities (congress presentations, occasional masterclasses etc.):
Austria, France, Romania, Turkey (university organisation project) Written publications (articles and books incl. translations):
Denmark, the Netherlands, Czech Republic, Poland, France, Japan, USA Students and masterclass attendants:
from and in all continents (incl. Argentina, Indonesia, New Zealand and many more). Conclusion: The pedagogical work of the Prussion voice teacher couple Martienßen-Lohmann was located in Central and Northern Europe and is known among experts all over the world. For more details and sources, ask for information from my current doctoral studies, writing to: Sebastian Bielicke Fröbelstr. 6 D-25421 Pinneberg Germany [email protected] www.sebastian-bielicke.net
Friday, 15th November, 15:00 – 16:30
Cultivating the Singing of Kindergarten Children – the German Approach
Due to historical and technological reasons, the spontaneous singing of laymen, especially in Germany,
has been in a crisis during the past decades. This affects the way children are musically socialised in
their families and in the kindergartens, as vocally inexperienced parents and nurses often do not dare or
know how to sing. In the long run, the problem impairs the new generation of students of music as well
as the new blood for choirs – a vicious circle. And yet, singing is of great importance for children. To-
gether with speech and movement, it is an elementary way of human expression. Singing in a group
helps the child to develop his personality and to gain vocal competence. The teacher can use the songs to
structure the day with certain rituals and create silence and concentration.
Therefore, many programmes have been initiated in Germany nowadays to improve the quality of kin-
dergarten singing. My presentation is to explain the content and the organisational structure of one of
these programmes, where specialised voice teachers like me are involved as counselors and dissemi-
nators.
b) DIE CARUSOS (Deutscher Chorverband = German Choral Association)
The first of these two programmes has been initiated by the German Choral Association under the name
of FELIX. Today it has the registered trademark “DIE CARUSOS”. Here, certified consultants like me
work with kindergartens, help to implement certain standards of quality for the singing with the children
and testify for its compliance with the standards in the process of certification by the central association
office. These five criteria of quality are:
1. All the children sing at least 15 minutes every day and at regular occasions. Electronic media
like CD’s can be used, but they must not be the core of the musical work, because they do not
provide a living, interacting model for the children.
2. The songs are pitched with some kind of instrument and sung in an adequate range. With regard
to this, there is a dispute among German experts: Paul Nitsche and Andreas Mohr regard singing
in a heavy register as dangerous for the child voice and recommend a range between f’ and f’’.
Winfried Adelmann on the other hand pleads for including the chest voice without fear and
suggests to begin with a lower tessitura down to a. The Choral Association has decided to follow
the advice that the head voice has to be practiced primarily and therefore no notes below c’ are to
be sung. This preference of head voice could be specific for a “German School” of voice peda-
gogy (vgl. Miller 1997), in contrast to the American way (Adelmann 1999).
3. The repertoire of the kindergarten teachers is adequate in difficulty (tessitura, cantability,
graduality, brevity of text, repetitivity) and varies with regard to the themes of the songs as well
as musical parameters: The repertoire shall consist of 40 titles at least, of which 20 shall be
traditional folk and children songs, 4 in a foreign language, 4 not in a duple metre, 4 not in a
major key.
4. Singing is embedded in a holistic process, including movement games, gestures, easy scenic
play, or percussive accompaniment. All these areas shall be covered with 4 songs in the reper-
toire at least.
5. Singing has a high value in the institutional profile. The teachers have continuous professional
training in this field. The children present themselves singing at occasions like summer fetes and
Christmas.
If a kindergarten fulfills these conditions, it receives a certificate and a badge to be put on the wall, valid
for three years. After this period, a new test has to be taken. In the former FELIX programme, ca. 4.000
kindergartens in Germany were certified, the programme DIE CARUSOS has just started to work. The
counselors have a musical background of some kind (e. g. teachers of music or voice teachers) and were
qualified in weekend courses. For each state of the federal republic, there is a regional coordinator of the
programme activities.
For more details as well as my sources, cf. my congress publication “Cultivating the Singing of Kindergarten Children – the German Approach”, in: Interdisciplinary Approach to Music: Research, Practice and Education. Music Pedagogy in the Context of Present and Future Changes, ed. Sabina Vidulin-Orbanić, Pula 2013, S. 107-125, http://sebastian-bielicke.net/pdf/CultivatingKindergartenSinging.pdf Sebastian Bielicke, Fröbelstr. 6, D-25421 Pinneberg, Germany [email protected], www.sebastian-bielicke.net
Attachment: Songs for teaching demonstration Internationality:
Broli Žakai, broli Žakai, Bruder Jakob! Bruder Jakob!
Dar miegi? Dar miegi? Schläfst du noch? Schläfst du noch?
||: Skamba varpeliukai: :|| ||: Hörst du nicht die Glocken? :||
Din, dan, don. Din, dan don! Ding, dang, dong. Ding, dang, dong.
Connection with gestures, according to the text lines:
Clear and soft head voice, imitation of the recorder (instead of the piano) on “doo”:
Friday, 15th November, 16:45 – 18:00
Learning Types, Strategies and Styles In this presentation, the common concept of “learning types” is examined from the perspective of educational science. The basical difference between typologies of learners and typologies of learning strategies is pointed out: The word “learning type” can mean two different things, either “types of learning” or “types of lear-ners”. In order to avoid misunderstandings, I will use that term in the latter sense in this work. Learning types in this sense are categories of learners based on personal qualities that are fixed genetically or by education. Learning strategies are patterns of action in learning situations, they are approaches to meet the learning goal. They are not ipso facto personal qualities, but they can become habitual and thus a learning style. Learning styles are defined by the fact that a learning strategy is applied in different situations constantly. In my first part, I talk about learning typologies based on sensual channels (e.g. F. Vester), that describe “auditive learners”, “visual learners”, “haptic learners”, “communicative learners” etc.
This approach is the subject of fundamental criticism in modern educational science: Most typologies are not systematic, and they are not supported by neurophysiogical findings. Hearing is not the same thing as listening, and learning is an even more complex mental process. There is no direct connection between seeing and understanding, the processing of information and the assignment of meaning is al-most independent of the function of senses. The psychologic danger of such learning typologies lies in the fact that once labelled as “being type A”, a person might have inner resistance against teaching focussed on “sensual channel B”, which could be necessary because of the subject (e. g. everyone has to listen to music). In the second part of my lecture, David A. Kolb’s Experiental Learning Theory with its basic cate-gorisation of learners in assimilators and dissimilators, convergers and divergers is introduced shortly.
David A. Kolb (born 1939)
Kolb’s Cycle of Learning:
This is a more complex and aesthetically satisfying theory, but application is difficult. Studies have not shown an improvement of performance when methods are adapted to a tested learning type – in spite of an increase of motivation. Such an adaptation would even impair the learner’s development: According to Kolb’s own publishings, all learners have to improve their competence for all four stages of the lear-ning cycle, aiming for the ultimate goal of a “balanced learner”. Again, we are left with the advice to include different learning strategies in our teaching – determinging a person’s learning type turns out to be irrelevant and even misleading. Conclusion:
1. We can and should include different media and teaching strategies to make music lessons more rich and attractive, especially for the young generation used to digital learning,
2. Valid theories of educational science support the idea of thus diversifying learning strategies; 3. It is, however, unnecessary and misleading to label students as certain types of learners, as
this might create a limited self-image and inner resistance against different teaching strategies. The same person can develope different learning styles for different areas of life.
For more details and my sources, cf. my congress publication “Selected Typologies of Learners and Learning related to Digital Resources in Singing Lessons”, in: Music Teaching and Educational Technology. Opportunities and Restrictions, ed. Sabina Vidu-lin-Orbani ć, Pula 2011, S. 45-60, http://sebastian-bielicke.net/pdf/LearningTypes&DigitalResources.pdf Sebastian Bielicke, Fröbelstr. 6, D-25421 Pinneberg, Germany [email protected], www.sebastian-bielicke.net
Saturday, 16th November, 11:00 – 13:00
Genderspecific Voice Physiology Introduction: Quote from W.A. Mozart: “Die Zauberflöte”, Duetto Papageno and Pamina: Mann und Weib und Weib und Mann Man and woman and woman and man reichen an die Gottheit an. come up to divinity.
Voice physiology is complex, and for this short presentation, it has to be simplified and broken down to selected examples of differences between the sexes in singing. can be described in three or four functional circuits: Posture and breathing, Phonation as well as sound formation and articulation of words (the latter two often combined, especially in German sources).
Generator – Posture and breathing
The airflow for voice production is generated by the respiratory system, including the body posture. E.g., a healthy deep breathing is impaired by a hollow back. Particularly female issues in this area may result from wearing high heels or very tight clothes. A pregnancy in its late phases can have strong effects on the moving space of the diaphragm as well.
Vibrator – Tone production and voice registers
The voice is produced in the larynx, which changes in the course of life due to hormonal influences (e.g. in puberty vocal change, in the menopause, during pregnancy or in certain phases of the menstrual cycle as well as by taking anabolics and contraceptives), mainly disturbing the voice function at high pitches and the register transitions.
(diagram from Mathelitzsch 1995)
The registers of the female and the male voice have been described with more than a hundred different terms. Some authors claim that there were no difference at all between both sexes, others call them “totally different instruments”. On this simplified overview, I try to show some similarities and obvious differences:
Male Female Whistle register Falsetto register Head register Middle Voice Head voice Modal register Middle voice Chest register Chest voice Vocal fry
(I use the term “register” for ways of voice production with clearly distinguishable mechanisms and “voice” for phenomena of sound in a pedagogical context.) The male voice is most often used in modal register, whereas a female can use the head register for almost all her range. Her major register transition (passaggio) is in the low part of her range, the man has it in the upper part. On the contrary to the use of terms by many, mostly female voice teachers, there is a clear difference between the male head voice (the light version of the modal register, with little tension in the musculus vocalis) and the falsetto register (a different mechanism that produces sounds very similar to female head voice).
Resonator – vowel and consonant articulation Vowels are determined by the ear by identifying (mainly) two areas in the overtone spectrum, selectively amplified by resonance in the oral cavity. These are called formants (F1 and F2). You can hear F2 by smoothly changing the vowel on a long note from “u” to “i” (moving your tongue forward), and F1 by gradually going from “u” to “a” (opening the jaw).
Vowel formants Formant tuning
(Both diagrams from Sundberg 1997)
In singing without amplification, it is recommended to keep your first (lower) vowel formant above the fundamental frequency (i.e. the pitch you actually sing). You do that most easily by opening the jaw wider than in every day speech. This is called “formant tuning”. Here, you see the notes where, ascending from below, formant tuning gradually has to begin:
(Genderspecific F1 frequencies determined by Fant 1975) Women need to practice formant tuning in the predominant part of their range. In the male voice, it has only to be done in the high tessitura. Over-opening in the middle part of the male voice range is unnecessary and can even cause an unbalanced heavy register mix.
Conclusion
In a nutshell: Men and women are not equal. They are just similar. For more details and sources cf. my diploma thesis „Mann und Weib und Weib und Mann...“ – Geschlechtsspezifische physiologische Voraussetzungen der Stimmbildung bei Erwachsenen, Hamburg 2009, elektronic edition Hamburg [Diplomica Verlag] 2011, http://sebastian-bielicke.net/pdf/DplTh-complete.pdf Sebastian Bielicke, Fröbelstr. 6, D-25421 Pinneberg, Germany [email protected], www.sebastian-bielicke.net
My sincere gratitude goes to Giedre Zeicaite, Vaiva Diržinauskytė and most of all Rūta Girdzijauskienė
for their kind help and hospitality.
Any kind of feedback on this material
is much appreciated. Thank you.
