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Presentation of various experiences on how can children become a music loving, concert visiting audience.

• Implementation possibilities of the Kodály concept in the 21st century.• The role of improvisation.

• Complex arts education: involvement of other arts in singing-based music education.

• Demonstration of eff icient, easily applicable methods to support music pedagogues teaching in a limited number of lessons. Instrumental studies built upon the basis of singing education.

• The art of choral singing in schools.

• Application of modern technologies in music education.


back to Symopsium on Music Education - Hungary

1. Keynote speech: Nemes László Norbert (HU): “Singing, singing, singing”

What is the most important prerequisite for achieving success in the study of music? - I can answer that question with a single word: singing. But I can say it over and over again three times if you like: singing, singing, singing again.” (Zoltán Kodály)While this keynote speech will aim at highlighting the benefi ts of singing-based music education as inspired by Zoltán Kodály’s educational philosophy and implemented into practice in the Hungarian school system by a few of his most outstanding students, it will also examine the validity of Kodály’s thoughts in our postmodern and pluralistic cultural environment.


1.1 Lecture Szabó Soma (HU): Kodály is right

Kodály is right. All the guiding principals are unquestionably true
and timeless. How does it work in practice in Nyíregyháza for 40
years now, that’s what I will talk about from the point of view or the
second generation of teachers.

1.2 Lecture Paul Smith (GB): The VOCES8 Method

A practical teaching device for anyone. The VOCES8 Method hasbeen developed by Paul Smith and is based on research from theInstitute of Education in London. The book and online resourcesprovide a simple set of learning instructions for teachers to lead sessions with students. TheMethod is designed to take place in schools for a few minutes each day, or a few times eachweek. Paul Smith, the author, will lead a practical session which shares his ideas for how thisteaching aid can have a positive impact on students and school life, anywhere in the world.

1.3 Lecture Carolina Wagner (AR): Musical Mother Tongue, singing voice as the learning tool in elementary school in Argentina

As a “life story” the author retells the experience of musical education, applying the KodályConcept in the environment of a Waldorf School, with 6 year-old kids (fi rst grade of Argentina’sprimary school system).This work provides precedents, a songbook, and planning details from a perspective that aims toobjectively identify the positive characteristics, as well as the negative ones of the experience andto present the obstacles that had to be overcome in its applications.


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1.4+1.7 Lecture Koenraad De Meulder (BE) + Abigail D’Amore + Lubos Zatko (SK): A voice for vocal training

New pan-European research reveals the true value of singingin primary schools. Singing at school can be a valuable and funexperience for both primary school children and their teachers,but not enough is being done to ensure that all children are able toenjoy the wider benefi ts of singing as part of their daily education.The project ‘A voice for vocal training!’ wants to discover and shareEuropean inspiring examples of singing at primary schools andteacher training colleges. It also intends to show that there are manyways in which singing can be eff ectively rolled into the school day.In this session, two of those international stimulating examples arepresented.


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1.5 Lecture Ingrid Korvits (EST) + Mall Ney (EST): What Does Kodaly Method Offer for Music Schools Today?

Ingrid Korvits will present the history of the use of Kodaly conceptin Estonia and especially the role of Heino Kaljuste in introducingand implementing it in Estonia since 1964. She will then expose theway Kodaly concept fi gures in the curriculum of elementary schools,music schools and hobby schools today and the role it occupiesin the Estonian Song Festival tradition. The presentation will becompleted by illustrative video clips from rehearsals of Girl’s Choirof Ellerhein, a solfeggio lesson of Estonian Opera’s Boys’Choir anda concert from the Song Festival, as well as photocopies of schoolbooks and other teaching material used in Estonia. Ingrid Korvitshas compiled her presentation together with her colleague Mall Ney,lecturer of the Kodaly Method at the Estonian Academy for Musicand Theatre.


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1.6 Lecture Anne-Christine Wemekamp (NL) + Marjolein Verburg (NL): The development of social skills through musical learning The benefi ts of singing in school using the Kodályapproach; a case study from the Netherlands

In this lecture Ms. Marjolein Verburg MA, speaks about how childrencan develop their social skills through music education usingthe Kodály-approach. Answering questions like: Which methodsare frequently used by psychologists to train social skills withchildren? And how does this link to music education using singingand singing games as applied in the Kodály approach?Thereaft er Ms. Anne-Christine Wemekamp will demonstrate acouple of songs and games that are benefi cial for the social skilldevelopment of children. These songs are part of a multiannualKodály based curriculum for Dutch primary school childrengenerated through the project ‘Wishful Music Education (WishfulME).


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1.8 Lecture Oscar Escalada (AR): Singing is a child’s human right

The school should be the primary and fundamental area where todevelop the potentialities of the children in the use of their voice,but to do this, the idea that a child is not able to sing must be removed from the mind of theteacher. Any child who can speak can sing.This doesn’t mean that everyone has to be a singer, but everybody should have the chance tochoose whether they will use this skill or not.

This lecture is broadcasted by Skype from overseas.


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1.9 Demonstration with pupils (45 min.) Mészáros Péter (HU): Music education in a Hungarian secondary school

An introduction to the basic activities of music education in theHungarian secondary education in a shortened lesson with thestudents of the ELTE Trefort Ágoston Secondary School and Teacher Training Institution. The lessonprovides an insight into a music lesson of a specifi c class of a Hungarian school. Therefore, the goalof the lesson is not to present general methods or teaching practices, but a certain practical way ofteaching.


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1.10 Demonstration with ensemble or group Székesfehérvári Gyerekkar (HU): Living folk songs in Kodály’s singspiel “János Háry”

János Háry folk opera composed by Zoltán Kodály was performedby the artistic group of the Zoltán Kodály Grammar School. The2-hour-long songspiel was implemented in theatrical circumstances, accomplished with dances,costumes and piano accompaniment. The performers were the earlier and present students of thegrammar school. Ferenc Kozáry, an actor in Székesfehérvár, with his amazing motivation couldhelp the children interpret and act out the diff erent situations on the stage, and this way all theparticipants experienced the pleasure of common artistic activity, learned discipline and precision.

1.11 Workshop Sáry László (HU) + Sáry Bánk (HU): Creative Music Activities

The ‘Creative Music Activities’ focuses on some basic problems of new musical thinking. Itprovides insight to certain compositional goals and methods, off er help how to improve memory, improvisational skills and concentration, and assistance to practising chamber music. The pieces ofthis collection contain various verbal instructions that are easy to be translated into the language ofmusic by those inexperienced in music or by musicians at all levels, in accordance with their givenmental faculties.

1.12 Workshop Stephan Nicolay (FR): Developing creativity and musical sense through improvisation

This workshop does not aim at making you a brilliant improviser(perhaps just becoming a little bit crazier !), but wants to give youclues and tips on how improvisation can be used to develop ear, culture and personality insinging-based music education, from very formal frames to beyond any borders. Throughout theworkshop, we will experience simple exercises based on harmonies, ostinatos or melodic scales,games to develop reacting and team spirit, but also more advanced tools with cultural frames,graphical scores and completely free performances with a basic initiation to Walter Thompson’sSoundpainting technique.


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1.13 Demonstration Gabriel Imthurn (CH): Pop Songs as Learning Objects

Most young people listen to pop music and would like to sing thismusic in school. Individualization is a modern slogan. Pupils are notused to have no choice. This and the fact that I personally like to listen and to play pop musicstrengthens my conviction to use pop songs as learning objects in the classroom. My experienceis based on the work with sixth to ninth grade pupils in Switzerland. In my classes pop songs arelearning objects to train performance and vocal skills.

1.14 Panel discussion Simone Dudt (DE) + Sonja Greiner (DE) + Mary Stakelum (GB) + Bodnár Gábor (HU) The UNESCO Seoul Agenda and the Bonn Declaration for Music Education

How would you apply these guidelines in your daily professional life? What could be done together?


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