The fifth tenet of the Kodaly philosophy is that music educators should be the best musicians they can possibly be. They should push themselves to the highest levels of knowledge and ability. “It is much more important who the singing master at Kisvarda (small village) is than who the director of the Opera House is, because a poor director will fail. (Often even a good one.) But a bad teacher may kill of the love of music for thirty years from thirty classes of pupils” (Zoltan Kodaly). For this reason, continuing education is very important. There are always people who know more than you. Learn from them. Go to conferences and summer training courses.
If you go to a Kodaly education summer training course, you will take part in several different segments. Trainees learn methodology, conducting, and musicianship. Methodology is the part where they tell you how to teach using the Kodaly approach. The conducting part is meant to help you wave your hands around more capably. Musicianship is, essentially, your old sight-reading and ear-training skills class from your undergrad years.
However, I enjoyed my musicianship classes in Kodaly better, and I use those techniques with my singers. Why did I enjoy my musicianship classes better than my aural skills classes? For several reasons:
- The purpose was spelled out to me.
- It was far less intimidating.
- It drastically improved my musicianship.
The purpose was spelled out to me.
The purpose of sight-reading and ear-training classes is not to take a grade. The purpose of those classes is to teach the student how to be able to perform and aurally identify music. The end goal is mastery. Grades help with assessment, but they are not the point.
I try to teach my singers this. Self-improvement is more important than getting high marks. I often tell them, “I don’t expect you to be perfect; I expect you to do your best.” I am interested in them becoming better music readers and thinkers.
It was far less intimidating.
As a music major, I dreaded sight-reading and dictation. Each session was a new form of agony. There was so much musical information for which I was responsible to read and transcribe. It was like trying to drink from a fire hose.
I teach musicianship differently. I try to make it as stress-free as possible, and I try to break down the elements into manageable chunks. For instance, sight-reading is taught thusly. When I put a sight-reading exercise on the board, I tell the students to read through the rhythms in their mind. Reading rhythms–I have found–is more easily and quickly learned than reading pitches. Anyway, they can usually read the rhythms after short while.
Students then sing the notes inside their head using solfege. We call the process of reading music in the mind “Audiation.” This technique is very important for musicianship. Only after they have done both steps do we sing it out loud as a solo or in small groups.
It drastically improved my musicianship.
The musicianship courses I took actually accomplished what they were trying to do. I became better at reading and thinking. I could more efficiently sight-read and identify musical elements.
I have also used the techniques I learned in these musicianship classes to great effect. If you spend around 10-15 minutes a rehearsal teaching sight-reading and ear-training, you will be surprised at how drastically they will improve.