Questions and Answers
What is Conversational Solfege?
What philosophy influenced Conversational Solfege?
What is the Whole Language Approach?
What type of music does Conversational Solfege use?
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What was Kodaly's opinion of inferior 'school music'?
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What was Kodaly's opinion of composed children's music?
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What was Kodaly's opinion of bad taste in art?
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Which type of music should be included in a literature driven curriculum?
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What should be the starting point of a sequence of instruction in a literature driven curriculum?
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What is the 12-stage process of Conversational Solfege?
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What can early experience with careful, analytic listening improve in children?
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How many years of developing language skills by ear should be done before introducing reading and writing music?
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What is the process of developing music literacy skills similar to?
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What did Kodály advocate for in terms of music education?
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What is the purpose of notation in music?
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What is Conversational Solfege?
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What is the Whole Language Approach?
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What did Zoltan Kodaly criticize about Hungarian schools?
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What did Kodaly consider to be a good source of quality music?
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What was Kodaly's view on second-rate music masquerading as folk music?
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What was Kodaly's view on the quality of composed music used in music education classrooms?
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What did Kodaly believe about writing new music for children?
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Study Notes
Conversational Solfege: A Literature-Based Curriculum
- Conversational Solfege is a curriculum that integrates music literacy skills with the use of quality literature.
- The curriculum is influenced by Kodaly philosophy and the Whole Language Approach and is literature-driven.
- The Whole Language Approach advocates the development of reading skills through immersion in quality literature.
- Conversational Solfege uses natural folk music of people and artists, rather than contrived "school music."
- Zoltan Kodaly criticized the use of inferior "school music" in Hungarian schools.
- Kodaly considered folk music to be a good source of quality music, but cautioned against second-rate music masquerading as folk music.
- Kodaly was concerned that children have the opportunity to experience exemplary composed music, both historical and contemporary examples.
- Kodaly cautioned against composed children's music that was childish rather than child-like.
- Kodaly believed that only the best art is good enough for children, and that bad taste in art is a veritable sickness of the soul.
- Kodaly was greatly concerned about the inferior quality of composed music that was frequently used in music education classrooms.
- Kodaly believed that if something new is needed, it should be written by talented and qualified composers.
- Kodaly believed that nobody is too great to write for little ones, and that they must do their best to be great enough for them.
Developing Music Literacy Skills: A Literature Driven Curriculum and the Process
- A literature driven curriculum requires excellent musical materials, including authentic music of a society and artists, organized from simple to complex.
- The sequence of instruction should reflect the natural musical characteristics of a society, starting with the most natural patterns, meters, and tonalities.
- Conversational Solfege follows a 12-stage process, starting with simple rhythm patterns and "do re mi" to develop conversational skills with rhythm and solfege syllables before introducing reading and writing music.
- Early experience with careful, analytic listening can improve auditory processing, listening comprehension, and reading ability, even in children with an inherited weakness.
- Developing music literacy should follow a natural process of developing speaking, reading, and writing skills, with five or six years of developing language skills by ear before introducing reading and writing.
- Conversational foreign languages are developed aurally before introducing reading and writing, similar to the development of music literacy skills through Conversational Solfege.
- Kodály advocated for the musical ear to be developed before the eye, and Conversational Solfege borrows from language models to develop music literacy skills.
- The 12 stages of Conversational Solfege gradually introduce expanded rhythm and tonal content, building upon previous understandings to develop the ability to write original music thoughts.
- Learning to understand music by ear before reading and writing ensures that the ear and musical mind play an active role in processing musical ideas.
- Music is not the symbols found on the printed page but the sounds that reach the ear; notation is the skeleton of music, and we must breathe life into the skeleton to make music.
- The process of developing music literacy skills should focus on aural understanding before bonding to notation, allowing for the "music" to be learned first.
- Other cultures should investigate their indigenous music to create a sequence of instruction that reflects their common patterns, meters, and tonalities, and a literature driven curriculum should reflect the natural musical characteristics and emotions of a given society.
Conversational Solfege: A Literature-Based Curriculum
- Conversational Solfege is a curriculum that integrates music literacy skills with the use of quality literature.
- The curriculum is influenced by Kodaly philosophy and the Whole Language Approach and is literature-driven.
- The Whole Language Approach advocates the development of reading skills through immersion in quality literature.
- Conversational Solfege uses natural folk music of people and artists, rather than contrived "school music."
- Zoltan Kodaly criticized the use of inferior "school music" in Hungarian schools.
- Kodaly considered folk music to be a good source of quality music, but cautioned against second-rate music masquerading as folk music.
- Kodaly was concerned that children have the opportunity to experience exemplary composed music, both historical and contemporary examples.
- Kodaly cautioned against composed children's music that was childish rather than child-like.
- Kodaly believed that only the best art is good enough for children, and that bad taste in art is a veritable sickness of the soul.
- Kodaly was greatly concerned about the inferior quality of composed music that was frequently used in music education classrooms.
- Kodaly believed that if something new is needed, it should be written by talented and qualified composers.
- Kodaly believed that nobody is too great to write for little ones, and that they must do their best to be great enough for them.
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Description
Test your knowledge on Conversational Solfege, a literature-based curriculum that integrates music literacy skills with quality literature. Influenced by Kodaly philosophy and the Whole Language Approach, this curriculum uses natural folk music and cautions against inferior "school music." Learn about Kodaly's beliefs on the importance of exemplary composed music and his caution against childish music. See how much you know about this innovative approach to music education with our Conversational Solfege quiz.
