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Sejarah Zoltan Kodaly (1882 –

1967)
Di sebut KO – DAI
Lahir 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 suara
Mula peringkat awal kanak2
Mengunakan bahasa ibunda
Muzik berkualiti
Strategi Kodaly
Strategi Kodaly
Penggunaan Muzik bermutu
Muzik utk semua
Pengalaman mz dr peringkat awal knk2
Berasaskan budaya tempatan
Muzik dgn asas vocal acapella
Nyanyian solfa
Pengalaman muzikal sebelum mpelajri notasi
Urutan p&p berpusatkn murid
Objektif Kaedah Kodaly
Menyanyi,bermain alat muzik, gerakan berasaskn mz
ibunda
Persembahan, pendengaran, analisa, seni muzik
Mencapai kemahiran muzikal spt
membaca,menulis,mneyanyi, part of singing
Contoh Aktiviti kaedah Kodaly

Menyebut perkataan dlm bentuk irama


Menepuk detik asas
Melangkah mengikut detik
Menepuk irama mengikut teks
Menepuk 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