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THEME: NON-FORMAL MUSCI LEARNING OPPORTUNITIES AFTER SCHOOL


Opportunities of singing and music making in our everyday life, without borders of musical genres – how can music become an organic part of any generation’s life? • Learning to sing as a lifelong learning process.
• What is the function of families in music education?

• How can families motivate children to sing?
• How can conductors use the Kodály concept in adult choirs?

• Challenges and benefi ts of multi-generational
   singing communities.

• The living folk music as community building power.

 

back to Symposium on Music Education - Hungary

2. Keynote speech Helena Maffl i (CH/FIN): Formal and non-formal music education in Europe : current challenges and future perspectives

Although the concepts of formal and non-formal learning have appeared in international discourseon education policy since the early 1970s, their systematic use in relation to music education isfairly recent and can be seen as related to the concept of continuous and life-long-learning. Domusic educators, musicians and practitioners recognise and identify diff erent learning types ?Is there a shared understanding about the pedagogical implications in and between diff erenteducational settings? What are the conditions for successful co-operations and partnerships ? Arethere good practices in a given context at regional and national levels in Europe? This keynotespeech will deepen the understanding, open up paths of development, remind of relevant researchresults as well as international recommendations and fi nally, highlight convincing practices.

 

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2.1 Lecture Stéphane Grosclaude (FR) + Géraldine Toutain (FR): How to become an amateur or professional singer in Europe?

We wish to present the results of the fi rst session of Leo Sings! project.The program has been elaborated within continuous exploration ofthe reality of vocal practices in schools, music schools, at Universityand at the professional level in diff erent European countries.More informations about Leo Sings!

 

http://www.pfi -culture.org/index.php?id=128

 

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2.2 Lecture Kutnyánszky Csaba (HU): Choir or vocal ensemble? The structural changing of choir-life in the beginning of the 21th century

From choir to vocal ensembles: the process and the founds of thechange. The political and social changes aft er the change of regime(1989), also changed the attitudes of individual mentality in the fi eld of choir-music too. The choirsgave up singing semi-political pieces, and could turn to sacred music. The claim to sing in ensemblebecame stronger, the way of thinking changed the aesthetic and the social function of commonsinging step by step.

 

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2.3 Lecture Zaťko Ervin (HU) + Celeng Csilla (HU): In the village of Csáb - Hungarian music restauration project on the Slovakian countryside

Is it possible today to revive the long-forgotten song tradition of a small community and bring it tolife again among the youth? How can modern technological achievements of the 21st century beput to use for the revival of century-old traditions?These were the questions that were raised by some young people in a small Hungarian villagein Slovakia and who then decided that they would revive the old traditional folk songs of theircommunity and bring them back to the community today.

2.4 Lecture Körmendy Zsolt (HU): Music Education Activities at the Palace of Arts Budapest

Concert-pedagogy is an activity-based, experience-centrededucational activity, which off ers complex musical experience bylive music in an authentic environment. Körmendy Zsolt will speak about the ELP (education,learning and participation) programs of the Palace of Arts and about the further perspectivesof concert-pedagogy, the opportunities of cooperation between the actors of educational andcultural scene, the experiences of other countries and the initiatives in Hungary on this fi eld.

2.5 Lecture Regina Carlow (USA): Folk Tales and Cultural Property - The Story of An Original Children’s Opera

What happens when cultures collide in the spirit of retelling a belovedfolktale through song; specifi cally, a collaboration between aprofessional opera company, a non- auditioned children’s chorus and a renowned Americancomposer? Kodály’s many compositions show a strong aff inity with the folk traditions of hiscountry and music for children. His legacy is inspiring – and was the impetus for the project ofthe UNM Children’s Chorus including 5-14 year old inexperienced young singers, a composerand a highly regarded second-tier opera company in the Southwestern United States.

 

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2.6 Lecture Szálka Zsuzsanna (HU): The Night of Choirs, Budapest - Let’s turn streets, squares and courtyards into concert halls with the power of human voice

Could singing become an important part of 21st century city life? Could amateur choir singersacquire the know-how to decide to organise a festival voluntarily by themselves? In presenting theNight of Choirs, we would like to show just how exciting, trendy and inspiring choir music can be inunexpected city locations, and how it is possible to organise a festival for an audience of over 1000people through the volunteering of enthusiastic young people. What’s more, we would like to pointto the power of community spirit in non-professional choir

singing.

 

korusokejszakaja.hu

2.7 Lecture Leon Shiu-wai Tong (Hong Kong, China): Running a Successful Children’s Choral Institute

Prof. Leon Shiu-wai TONG shares his personal experience in runningnon-profi t children’s choral institutes successfully for over 20 years –Hong Kong Children’s Choir, Hong Kong Treble Choir and Guangzhou Children’s Palace Choir areself-funded organizations.Running non-profi t children’s choral institutes encounter challenges. Smooth communication,eff ective administrative coordination, opportunities for young conductors. TONG explains keys ofcoordination between parties.

 

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2.8 Lecture Erdélyi Ágnes (HU): From Music School to the Community Choir

Erdélyi Ágnes will present the living cultural and musical traditions and institutions of the city ofVeszprém of 60,000 inhabitants. She will present what is the peculiarity of their practice and howto train the new generations to learn, to appreciate, to safeguard our values free-will on a happyand voluntary base through the programs like “Baby and Mom together”, “Festive moments” andexplaining a 12-year long experiment.

 

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2.9 Lecture Kadri Hunt (EST): How to fi nd ways to enrichen FORMAL SINGING-BASED MUSIC EDUCATION

How to energize pupils at a music/choir lesson aft er a long and
tiring schoolday? Could we fi nd ways to make the singers use their
phantasy to combine using of the voice with physical movements? How to encourage children and
also their parents to go to the concert? How to teach them to listen to a concert? How can choir
conductors, who have to work alone, use internet as an assistant?
Just some of the questions, I am going to try to fi nd answers to during my presentation. For the
audience I would ask to work along not only with brains, but slightly also with body and voice.

2.10 Lecture Joy Hill (GB): The artistic impact of newly composed music on youth choirs

The Royal College of Music Junior Department Chamber Choir ispart of the ground-breaking collaborative composition project LivingSong with the English Folk Dance and Song Society. Young student composers create newcompositions based on British folk songs originally collected by Vaughan Williams and Holst, whichare then performed by the Chamber Choir. These composition/performance projects are creatingdialogue between theory and practice in relation to artistic research and choral performance.

2.11 Lecture Cseri Zsófi a (HU): Teaching/Rehearsal Possibilities in an Amateur Mixed Choir

Why is it worth to sing on the basis of solfa names? Does it aid learning?Whom can it help? What can it help with? Is it not only a waste of time?Besides treating the above questions Zsófi a Cseri will talk about practicing a changing metresignature and more diff icult rhythms and the signifi cance and practice of the basics of chambermusic in a large mixed choir.

2.12 Workshop Ava Numminen (FIN): Singing and voice training workshop: Helping singers and non-singers to sing by KeyToSong pedagogy

To help every people to sing, and especially people with frail or nosinging background, or people who have diff iculties to sing in tune, wehave developed KeyToSong pedagogy. Today we have the KeyToSong Singing School in Helsinki,Finland with weekly circa 140 adult students, and six teachers working there. The main elementsof the method are: Versatile training - all exercises can be carried out by everyone regardless ofcurrent singing skills; An art of feedback - building confi dence; An enabling atmosphere - safe,relaxed, focus on students’ needs; Group teaching - togetherness. The method is continuouslydeveloped by our teachers, feedback from our clients and following international singing research.In the workshop I will present the main theoretical basis, and demonstrate the core elements ofKeyToSong pedagogy.

 

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2.13 Panel discussion Helena Maffl i (CH/FIN) + Kaie Tanner (EST) + Tomas Kolafa (CZ) + Agnes Dalarun (FR) + Spiegel Marianna (HU): Vocal and Choral Training in Music Schools: Challenges, Opportunities, Partnerships

Across Europe, children and young people sing, but there is almost no information about theformal and non formal structures where this singing takes place. Most European music schools off ervocal and choral training with diff erent approaches and aims, according to the national systemsand curricula. How does this training relate to instrumental and theoretical instruction inside thesame schools? How is the balance found between required quality criteria and the social value ofsinging? What kind of competencies and training are needed for vocal teachers and conductors whowork in music schools? Are there connections at local, regional or national levels between musicschools, public schools and choral associations? And fi nally: how could diff erent formal and nonformal structures join forces and be partners for the global benefi t of children and youngsters intheir region, country and at European level?These questions will be raised in a panel between high-level specialists and practitioners fromthe European Musicschoolunion (EMU) and the European Choral Association - Europa Cantat.Each panelist will present a good practice in a given context and answer specifi c questions. Thesubsequent discussion round will fi nally be opened to the public.

2.14 Presentation Ki Adams (CA): The power of singing and song: Building community for the rest of our lives

The Phenomenon of Singing International Symposium (1997-2013),an integral component of Festival 500 Sharing the Voices, wasconceived as a gathering for the ‘sharing’ of research, knowledge, experience, and practice relatedto singing and song. The purpose of the Symposium is to bring together international expertise andprovide a forum for interdisciplinary discourse and performance, the dissemination of research,and the generation of further knowledge relating to the phenomenon of singing. The Symposiumengages scholars, performers, pedagogues, historians, scientists, linguists, sociologists, andpsychologists....in exciting dialogue, debate, and artistry.This presentation will highlight research presented at nine symposia related to singing andcommunity, in particular adults singing together in exceptional social groups, singing together forunique purposes, and singing together in unusual venues.

2.15 Workshop Tóth Árpád (HU): Choral Improvisation - creativity should belong to everyone!

Improvisation with a choir is something very new and a specialactivity for the singing groups. Based on the idea, that everyone cantake part and can infl uence the musical process.Improvisation is a special musical skill. To the process to develop this skill I am using manyspecial music activities, music games and easy improvisation excercises. In the fi rst part of theworkshop the participants will learn some music games and then they will take part in some simpleimprovisation activities. With the technic of choir improvisation such music pieces can be used asa part of a concert or as a challenging part of a rehearsal. At the end of the learning process it isalso possible for the choir to create a whole improvisation concert. Anyone interested in feeling thefreedom of singing can attend the workshop.

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