solfège(àla luxembourgeoise.((… · solfège(àla luxembourgeoise.((strength,...
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Solfège à la luxembourgeoise.
Strength, Weakness and Challenges for Music Educa>on
Damien Sagrillo Université du Luxembourg
Kodály Symposium and Home Music Day
Kecskemét College -‐ Faculty of Primary and Pre-‐School EducaAon 30th April, 2014
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Guido of Arezzo (~990 -‐~1050)
• Played a decisive role in the history of music and its educa>on
• Origins of his reputa>on – Inventor of musical nota>on for church chants – Inventor of solmiza>on with clear annotaAon of pitch • Found the philosopher’s stone in music educa>on
2 N. Arezzo, S. 36
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Sound Sample – St. John’s Hymn
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The 7th tone « si » about 1570 in France
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Problem: Nota>on without landmark
– cheironomic*
neumes in campo aperto
Oberitalien 11. Jh.: Graduale und Tropar-‐Sequenziar, vermutlich Bologna hep://www.musicademy.de/index.php?id=2329
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Solu>on: Music nota>on on a two-‐line-‐system
Frankreich 12. Jh
.: Kantatorium aus der Ben
edik>n
erabtei Saint-‐Evrou
lt de
'Ouche
he
p://www.m
usicadem
y.de
/inde
x.ph
p?id=2329
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Evalua>on of the music-‐educa>onal achievement of Guido
• Reason – The imperfec>on of liturgical chant learning
• Guido’s proposal for solu>on – Unambiguity of the musical nota>on with validity up to today
• Liele aeen>on in the world of music • Intellectual and autonomous learning instead of memorizing chants
• A method for music didac>cs
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7 hep://www.sanctamissa.org/en/music/gregorian-‐chant/choir/an>phonale.pdf
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Evalua>on of the music-‐educa>onal achievement of Guido
• Beside reading music (legere), also singing (enun>are)
• Musical crea>vity • Main principles s>ll apply today • Mnemonic hints
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Evalua>on of the music-‐educa>onal achievement of Guido
• Nota>on with mnemonic hints – melodies: as for example the St. John’s Hymn – and intervals
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Further development • Primacy of instrumental music about singing or vice versa? – Guido
• “Musicorum et cantorum magna est distan1a. Is1 dicunt, illi sciunt, quae componit Musica. Nam qui facit, quod non sapit, diffinitur bes1a”
– Johannes de Muris (≈1290 -‐ ≈1350) • “La pra1que du chant: Un chanteur encore mal dégrossi devra s’exercer à jouer des instruments, et les manier souvent, par exemple le monocorde, ou la symphonie , qu’on appelle aussi organistrum; qu’il chante également avec l’orgue. Car avec ces instruments il est difficile de faire une fausse note.”
– Kodaly • “A child should not be given an instrument before it can sing. The inner era will develop only if his first no1ons of tone arise form his own singing and are not associated with any external visual or motor concep1ons”
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Further development -‐ England
• The Tonic sol-‐fa Method – Sarah Ann Glover (1785 – 1867)
• Norwich sol-‐fa-‐Method (≈1830)
– John Curwen (1816 -‐ 1880) • Further development of Glover’s method
– Main conveniences • Hand signs as extra-‐musical mental effect to facilitate sight reading (?) • “Do” as tonicl
hep://www.australian-‐music-‐ed.info/Curwen/Ped&TchngTechs.htm
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Close Encounters – Hand Signs
hep://www.australian-‐music-‐ed.info/Curwen/Ped&TchngTechs.htm
heps://www.youtube.com/watch?v=rWf7sAA-‐Z8s
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• 20. Jahrhundert – Carl Eitz (1848 – 1924): the “Tonwort”-‐method
– Germany: Agnes Hundoegger (1858 – 1927) H/G, S. 150 & hep://de.wikipedia.org/wiki/Tonwort
Further development -‐ Germany
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AudiaAon and theory. The problem in Luxembourg
• Defini>on: Edwin E. Gordon “hearing and understanding music without physical sound”
• Problem of «solfège à la luxembourgeoise» – This occurs too early during childhood and in a wrong way
– Ignores the basic principles of the child’s developmental psychology (of music)
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Céles>n Freinet: Cycling
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Jean-‐Jacques Rousseau • Music educa>on – orienta>on towards prac>ce
• 3 arguments 1. Singing and composing before musical «literacy» § Before learning something about our anatomy, we use it § Ac>vity first § Learning by doing
2. Difference between wrieen language and music § Language: We produce our own ideas § Music: We produce the ideas of others
3. Forma>ve evalua>on
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Obvious aberraAons • Music theory for 8 to 11 year old children???
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Obvious aberraAons
To less focus on «real» songs
Musical experimenta>on, improvisa>on
Developing musicality and fostering talent
Developing musical culture and curiosity, listening to music
What is missing?
Movement & Dance?
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Set of rules
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“FM” / Solfeggio
• Basis 1-‐3 (compulsory) • 2nd level 4-‐5 • Specialized 4-‐5(-‐6)
Obligatory Minors
Ini>a>on to music
Op>onal
Major Instrument /
Vocal / Dance
• Theory of harmony • Sight-‐reading • Chamber music
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The Droping-‐out of „solfège“-‐pupils is a nega>ve assessment of the system
2003/2004 1st year 505 2nd year 418 3rd year 325 2004/2005 1st year 495 2nd year 440 3rd year 389 2005/2006 1st year 549 2nd year 405 3rd year 418 2006/2007 1st year 525 2nd year 472 3rd year 484
Semiofficial sta>s>cs of the music school of the na>onal music federa>on (communicated orally)
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But first
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Thank you for your aeen>on!
Damien Sagrillo