Sejarah Zoltan Kodaly (1882 – 1967)Di sebut KO – DAILahir 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 suaraMula peringkat awal kanak2Mengunakan bahasa ibundaMuzik berkualiti

Strategi KodalyStrategi KodalyPenggunaan Muzik bermutuMuzik utk semuaPengalaman mz dr peringkat awal knk2Berasaskan budaya tempatanMuzik dgn asas vocal acapellaNyanyian solfaPengalaman muzikal sebelum mpelajri notasiUrutan p&p berpusatkn murid

Objektif Kaedah KodalyMenyanyi,bermain alat muzik, gerakan

berasaskn mz ibundaPersembahan, pendengaran, analisa, seni

muzikMencapai kemahiran muzikal spt

membaca,menulis,mneyanyi, part of singing

Contoh Aktiviti kaedah Kodaly

Menyebut perkataan dlm bentuk iramaMenepuk detik asasMelangkah mengikut detikMenepuk irama mengikut teksMenepuk irama sambil berfikir menyebut ttp

tidak disebut perkataan

Alat-alat teknik

Nyanyian Isyarat tangan-curven hand ‘Doh bergerak’ solfa pentatonic nyanyian lapis vocal

Rentak Suku kata berirama: ta, ti-ti Stick notation Ritma diajar bersama vocal

Mbaca dan menulis muzik Nyanyian semerta dan catatan pendengaran

Latihan pendegaran Djlnkn semasa mnulis,mbaca mz, nyanyian dan rentak

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”

Sequential 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.

Sequential Approach (child-developmental base) 1.Melody--- 3-note songs and chants (la-so-mi), tetra-tonic (so- mi-re-do), and pentatonic (la-so-mi-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 to the next level. 6.It if important to introduce only one new concept at a time

The 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 • Compose in small forms within known musical vocabulary • Harmonize known melodies with I, IV, and V chords/ also inversions • Identify and sing intervals

GALERI GAMBAR KODALY