Zoltan Kodaly - Research Paper Example

Zoltan Kodaly Introduction Zoltan Kodaly (1882-1967) was a Hungarian composer and passionate proletarian musician. He was the son of a railway officer and started to compose during his early days. In 1900, in pursuit of furthering his live for music, he went to Budapest to study contemporary languages at the university and to the Academy of Music with Hans Kessler to study composition. In 1906, he attained a PHD with a thesis on Hungarian folk music, and from then, he started to work together with his friend Bartok. They both collaborated in collecting folksong and in advocating for a new vitality in Hungarian musical sector. Like Bartok, the administration at Budapest Academy nominated him to a professorship in 1907, and he stayed in the city for the rest of his life (Griffiths, 1). In his adolescence, Kodaly toured various parts of Hungary due to being the son of a stationmaster. This made him to gain a lot of knowledge of the variety of the nation’s folk music. In addition, he inherited his parents’ passion for classical music. His early work including sonata for cello and piano demonstrate his familiarization to folk aspects into a principally melodic style (Wintle, 279). Contribution to Music education As a well-known Hungarian composer and musician, Kodaly utilized a considerable part of his inventive efforts to the musical education of the Hungarian country. He developed this concern over several years beginning with the folk song collection in 1905. In the 1920s, he started composing for childrens choruses and required his composition learners to practice the same. This was after being conscious of the great concern to advance the quality of singing and music training of children and teachers equally. Folk music offered motivation, in addition to the musical foundation, for many of the compositions. By 1929, he resolved to change the teaching of music and make it an essential part of the education of every child (Singers.com, 1). Kodaly’s initial works, such as the sonatas for cello and piano (1909-1910) and for solitary cello (1915), is similar to Bartoks work of the same era in their successful endeavors to generate a style based on Hungarian folk music. However, Kodaly was the extra conventional musician; he did not share Bartoks thoroughness, and he was satisfied to develop at a slower pace (Griffiths, 2). Zoltan drew much more motivation from Hungarian folk music than any other composition. His otherwise personal method was a consequence modern French pressures and the religious music of the Italian rebirth in 1926. Moreover, the range of most of the world’s main symphony orchestras has ever since absorbed his comic opera: “Hary Janos Suite.” In addition, Kodaly was a worldwide authority on both methodology and ethno-musicology of the music education (Simon, 80). In 1929, in a lecture on childrens choirs he suggested that teaching of singing and music at school should be in a manner that it is not a torment, but a joy for the child. Instructors should also inspire a desire for finer music in the child, a thirst that would last for along period. He also asserted that the instructors should fill the child no less than once by the life-giving stream of music in the most vulnerable era: between his sixth and sixteenth years. This is because it would barely be of any significance to the child afterward. Frequently, the first experience will open the young soul to music for his entire life. He concluded by saying that this experience cannot be ignored and that it is the role of the school to offer it (Singers.com, 2). The exposure of setting up the Psalmus hungaricus, which comprises a boys choir, made Kodaly to develop a positive concern with musical education. He was influential in generating a school music program, which guaranteed that every child learnt to sing at sight. In addition, he wrote a massive quantity of vocal music and exercises for children and amateurs. However, he became a lot less productive in other fields (Griffiths, 3). Kodaly believed that the core role of music is to expand ones whole emotion, intelligence and character. He said that music is a spiritual food for everyone and that is the reason he studied how to make more people available to perfect music. Kodaly recognized that this was part of everybodys fundamental custom and was essential for human development and instructors should initiate this at an early age. An early and well-known coworker of Kodaly, Jeno Adam asserted that the most significant aspect is to actualize the natural love of the child for singing and playing. He asserted that the instructor could achieve this through monitoring the changing of his tempers through the songs, his emotions and his experiences (Singers.com, 3). The Kodaly system of music education began under circumstances that were favorable to the aim of teaching all children to read and write music. Such teaching started in the state-controlled schools of Hungary. These schools benefited from a long legacy of possible structured music programs on a countrywide scale and severe academic training. The values and processes advocated by Kodaly extended speedily all through the world (Keene, 381). The Kodaly Musical Training Institute was opened in September 1969 with bacon as director. The courses offered comprised a certificate, diploma and summer courses all in Hungary. Kodaly alleged that each country has a wealth of folk music that it can use to teach the fundamental elements of musical composition. He also believed that the music education Curriculum at a very early age was very crucial. He noted that the growth of a musical ear and selective taste would be improved if the children received the best possible training between the ages of three and seven (Keene, 382). Kodaly remained in Hungary in the Second World War after which he became a prominent figure in the new communist nation. He was then able to put strategize many proposals for changing music education by accentuating the practice of singing at sight. In addition, he generated a massive quantity of Choral music for children and amateurs. The Symphony of 1961 is one of his few specialized works from this era (Wintle, 279). Writing and reading musical notes are the main objectives in the Kodaly system. Kodaly inspected all the existing methods and implemented that of John Curwen in order to establish the best method of teaching music reading. Moreover, the fundamental form of instruction in Kodaly technique is singing. He alleged that the voice was the most instant and individual manner of articulating oneself in music (Keene, 383). Generally, Zoltan Kodaly is famous for his research of folk music and his involvement to the field of music education. A huge portion of his productivity is concentrated in the area of choral music. The four major works of this recording were from the early third of the twentieth century (Singers.com, 4). Currently, music education according to Kodaly system begins at the kindergarten level. There are numerous highly focused secondary schools dedicated completely to the art of music and singing, employing the Hungarian technique developed by Kodaly (Simon, 98). He generated all of his significant chamber works, including two quartets before 1920 and he wrote only some orchestral pieces after Hary Janos (Griffiths, 3). Conclusion Zoltan Kodaly was a famous composer and musician who has made enormous contribution to the field of music education. His passion for music started at a very early age. This is the reason he advocates for teaching of music to children from a very early age. He asserts that this would help the child develop and nurture his love for music. Kodaly was one of the prominent people who believed that music is the single most aspect that helps every human being to express his ideas and emotions. He is also credited for the development various schools that train people on the basics of music. According to his great achievements, he can be termed as the father of music education. Works Cited Griffiths, Paul. Zoltan Kodaly biography. 2011. Web. Keene, James. A History of Music Education in the United States. Centennial, Colorado: Glenbridge Publishing Ltd, 2009. Print Simon, Andrew. Made in Hungary: Hungarian contributions to universal culture. Safety Harbor: Simon Publications LLC, 1998. Print. Singers.com. Zoltan Kodaly. 2011. Web. Wintle, Justin. Makers of modern culture. New York: Routledge, 2002. Print. 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