Newsgroup: it.arti.musica.classica
Titolo: metodo Goitre

Ho saputo che il metodo Cantar Leggendo di Goitre è ottimo per la lettura a
prima vista di qualsiasi spartito . Vorrei il conforto di amici musicisti a
riguardo .vi ringrazio tanto Giuseppe

 amici musicisti a riguardo .
Secondo me, l'unico modo per imparare a leggere *veramente* bene a prima
vista è quello di... leggere a prima vista. Tutto. Ogni pentagramma che ti
passa sotto il naso.
Ciao,
Fabio
--
http://stage.vitaminic.it/fabio_rizza

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ma non si chiama solfeggio?
lo si usa da mille anni, ormai...
alecs

 riguardo .vi ringrazio tanto Giuseppe
non è particolarmente elaborato.
io ti consiglierei i cantati del Pozzoli

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 troppo disturbo ?
Parli inglese?
Se sě ti posto qualcosa sul Kodaly (son troppo pigra per farne un sunto io.
Anche troppo pigra per cercartelo adesso, prima di aver saputo se parli
l'albionico)
:-)
'ao
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Ok, con l'inglese non ci sono problemi.
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ehi, anche a me anche a me!!!
alecs.

Su Kodaly insegante:
Kodály first took an interest in the education of the young in 1925,
recognizing its importance for the presentation of his nation's artistic
traditions in the face of urbanization and technological advancement. He
began by writing choruses, lectures and essays, with singing, especially of
folksongs - for their simplicity and beauty, their embodiment of heritage
and their perfect relationship of music and language - at the heart of his
work. His essay 'Gyermekkarok' ('Children's Choruses') (Zenei szemle,
xiii/2, pp.1-9, 1929, Eng. trans. in F. Bonis, ed.: The Selected Writings of
Zoltán Kodaly, 1974) addressed the importance of early training in music:
If the child is not filled at least once by the life giving stream of good
music during the most susceptible period - between his sixth and 16th
years - it will hardly be of any use to him later on. Often a single
experience will open the young soul to music for a whole lifetime. This
experience cannot be left to chance; it is the duty of the school to provide
it.
Starting with the Bicinia hungarica (1937-42), Kodály extended his work to
include the publication of singing and reading exercises. His example
inspired many others to the re-evaluation of folksongs in detailed terms of
melodic interval, rhythm, metre and form to create a sound method of musical
instruction. Differing from previous approaches, Kodály believed that the
acquisition of musical skills should proceed logically and sequentially from
the known to the unknown. He understood that students learn best through
direct experience of song and movement presented in familiar frameworks,
utilizing the natural faculties of voice and body. The voice is the most
intimate and universal of instruments, and the ear is more easily developed
through this personal medium. As Kodály's ideas and philosophy of music
education developed, Hungarian teachers began to use techniques now
associated with his educational concept, including relative solmization,
hand signs, rhythmic syllables, and a form of musical shorthand known as
stick notation. Although some of these techniques were adopted and adapted
from other successful methods, it is their use in combination with a
carefully ordered presentation of folksong and art music examples that makes
the 'Kodály concept of music education' (also known as the 'Kodály method'
or 'Hungarian Method of Music Education') uniquely valuable in the teaching
of music at all levels. Usually associated solely with elementary levels of
music instruction, his approach has been adapted more recently for the
training of professional musicians. Kodály devoted considerable attention to
the composition of a series of two- and three-part singing and reading
exercises, incorporating stylistic elements of folk music and art music,
collectively published by Boosey & Hawkes as The Kodály Choral Method
(1937-66). In 1943-4, he also edited, together with György Kerényi, the
Iskolai énekgyüjtemény ('Collected Songs for Schools'), a collection of 630
Hungarian and European folksongs and canons arranged in pedagogical
sequence; a selection of materials from this volume was published in 1945
and edited with Jeno Ádám, and together they also edited Énekeskönyv az
általános iskolák számára ('Songbook for Primary Schools') (1947-8), a
comprehensive series written to develop musical literacy.
In order to ensure that music should become an organic part of the school
curriculum and that adults should not be lost to great music, Kodály gave
more and more attention, from the 1930s onwards, to the choral movement. He
travelled up and down the country, giving encouragement, convinced that
group singing, and not instrumental skill, was the only basis for a broad
musical culture. Educational work assumed even greater importance for him
after 1945, when effective state help made it possible for his efforts to
bear fruit during his lifetime. In 'Folksong in Pedagogy', Music Educators
Journal (1966-7), Kodály stated, 'The final purpose of all this must be to
instill in the pupils the understanding and love of the great classics .
These are much nearer to the folksong than is generally recognized, for
direct expression and clear form are common in [all] folksongs'.
Kodály is one of the few artists in the 20th century to have achieved work
of lasting value in a variety of fields. As a composer and ethnomusicologist
he produced a legacy of international worth. In the field of music education
his philosophy and innovations led to vast improvements in musical
instruction throughout the world, while at home he transformed the cultural
awareness of his nation during his lifetime. Since his death the values for
which he strove have continued to prosper: training programmes for the
Kodály concept have been established in numerous universities and
conservatories; Kodály institutes have been established in Tokyo, Boston,
Ottawa, Sydney, Jyväskylä (Finland) and Kecskemét; international Kodály
symposia have been held bienially from 1973, each one in a different
country; and an International Kodály Society, based in Budapest, was founded
in 1975. His former flat has been converted into the 'Zoltán Kodály Memorial
Museum and Archives', serving as a centre for Kodály research.
Sul metodo, in breve:
The Kodaly philosophy was not invented by Zoltan Kodaly, but is a system of
music education which has evolved from the Hungarian schools under his
inspiration and guidance. In 1950 the first "music primary" school was set
up in Kesckemet, Hungary. Kodaly was born in Kesckemet in 1882. Here, school
children received for the first time, singing lessons every day of the
school year. The next years saw a rapid rise in the perfection and dissemi-
nation of this teaching concept of music education and instruction.
The musical objectives of Kodaly musical training may be listed as to
develop the ability of all children to:
1. Sing, play instruments and dance from memory, a large number of
traditional singing games, chants, and folk songs, drawn first from the
child's own heritage of folk song material and later expanded to include
music of other cultures and countries.
2. Perform, listen to, and analyze the great art music of the world.
3. Achieve mastery of musicial skills, such as musical reading and writing,
singing and part-singing.
4. Improvise and compose, using their known musical vocabulary at each
developmental level.
What is the Kodaly concept?
1. Rhythm symbols and syllables are utilized.
2. Hand signals (solfege) are used to show tonal relationships.
3. The moveable "do" is practiced.
4. The musical material emphasized is the mother-tongue/folksong.
5. The concept is child developmental in its learning sequence.
Singing is the Major Instrument
The concept begins with the total experience, then moves to the
symbolization of that experience. The pedagogical principle of going from
the known to the unknown is utilized.
In linea, con un buon motore di ricerca, puoi trovare molto.
'ao
A.

 ehi, anche a me anche a me!!!
anche tu vuoi un 10% delle mie ceneri?
Unbelievable!!!!!!!!!
A.
--
Those are my principles.
If you don't like them I have others.
Groucho Marx

 --
sei stata in vacanza a Umorismopoli?
alecs.

 sei stata in vacanza a Umorismopoli?
oh yes.
dietro casa tua :-)
ciao, meraviglia
A.

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Umorismopoli E' casa mia...
ciao, tesoooooorrrrrrro...
alecs.

 ciao, tesoooooorrrrrrro...
Gollum?
Perfido!
A.

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generatore di Golem, semmai...
(chi, io? lo nego nel modo piů assoluto...)
alecs.

 generatore di Golem, semmai...
Ti è andata male.
Sono tutti annegati nel disastro di Praga.
Miao
A.

 Ho saputo che il metodo Cantar Leggendo di Goitre è ottimo 
Se hai davvero parecchia determinazione, ti consiglio vivamente
"Teoria musicale e solfeggio" di Paul Hindemith, in Italia edito dalla
Suvini Zerboni. Necessario dotarsi di un diapason, un metronomo e
carta pentagrammata come se piovesse (leggere e scrivere musica e' un
tutt'uno)
Ciao, buona fortuna
Mario :)))


non è vero.
alecs.

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concordo.
A:

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