NYCoS Education Conference 2011

Royal Scottish Academy of Music and Drama, Glasgow

SATURDAY 20 AUGUST AND SUNDAY 21 AUGUST 2011

We are delighted to be able to welcome Dr László Nemes (pictured below), Director of the Kodály Institute in Kecskemét, and

internationally recognised teacher and choral conductor to our 2011 conference. Having seen him in action, we are sure that his

enthusiastic way of speaking about Kodály’s ideas, and singing and conducting in general, will be inspirational and insightful. His

opening address is guaranteed to have some “lightbulb moments” and his high level sessions will offer some real insight for all

levels of participants into the tough areas of part singing and how solfa fits with contemporary music? The Institute is the “home”

of Kodály teaching and study, and we have its top man for the weekend. We hope you enjoy his sessions.

Alongside him, we have a fantastic group of presenters, keen to share their experiences of working in music education across the

country. These inspirational leaders are in constant demand and we are very glad that they can join us this weekend.

For biographical information, please visit www.nycos.co.uk.

Comments from last conference

“This was my first experience of Kodály and I have to say that I am definitely converted! The weekend was an

excellent introduction to the method and I am looking forward to exploring more” RSNO musician

“I found the conference inspiring as always and I am lucky enough to have had the chance to put some new ideas

into practice already.” YMI tutor

“This is a very worthwhile weekend which I am very grateful to NYCoS for organising. It is always good being with

like-minded people who are there because they want to be and not because they have to be!” Primary class teacher

Saturday Registration 08.45 – 09.45

Welcome: 09.45

10.00 “from simple to complex”Dr László Nemes, Director of the Kodály Institute inKecskemét, Hungary, will open the conference. He

will take us all on a journey of understanding – expect some“lightbulb” moments. The session aims at showing participantshow tonic solfa can be used as an efficient tool for developingmusicianship from basic to advanced level. He will also showus how to make some of the most challenging repertoireaccessible for young students and choristers in the classroomand choir rehearsal.

Refreshment break: 11.15 – 11.45

See Workshop Descriptors – choose from:

11.45 – 13.00• Kodály Musicianship for YOU • Dalcroze for Early Years • Playground Games: upper primary • How to teach a song • Kodály Musicianship for THEM

Lunch break: 13.00 – 14.25

14.30 – 15.45 Singing from Scratch Dalcroze for Middle YearsKodály and Curriculum for Excellence – Early Level Kodály Musicianship for YOU – moving onFrom Unison to Part Singing

Refreshment break: 15.45 – 16.15

16.15 “3/4/5 note songs” Christopher BellToday we are launching a new song book withinteresting and enjoyable songs designed to give

singers with only the basic building blocks of solfa the chanceto immediately use what they have learnt. So is it possible towrite an interesting song using only 3, 4 or 5 notes? This wasthe challenge that Christopher set a number of composers lastyear. The results are astonishing and many have beenworkshopped and trialled with some of our own choirs. Thecollection is a mixture of new compositions and arrangementsof existing melodies. Should you have just learned so, mi andla today, you will be able to participate! Enjoy singing the newsongs together and take them away to try with your owngroups.

Reception: 17.30 – 18.30

Sunday

Warm up for all 10.05 – 10.30 Wilma MacDougall

See Workshop Descriptors – choose from:

10.30 – 11.45• Music for 0-3 years• Kodály Musicianship for YOU – moving on

(same level but new repertoire)

• Playground Games: early years • Songs and Games in Mother Tongue • Kodály in the 21st Century

Refreshment break: 11.45 – 12.15

12.15 – 13.30• Music for 3-5 years • Kodály and Curriculum for Excellence – First Level • Contemporary music • Kodály and the Instrumental Teacher• Finding the Child’s Voice

Lunch break: 13.30 – 14.45

14.45 – 16.00• The Mini Music Makers Class • Playground Games: upper primary • Kodály and the Instrumental Teacher• Choral Repertoire • Kodály in the 21st Century

final Sing: 16.00 – 16.30

László Nemes will lead a final session of singing for all.

exciting Opportunity!The National Youth Choir of Scotland is taking part in theEdinburgh Festival on Sunday 21 August singing the DurufléRequiem, conducted by Robin Ticciati with the ScottishChamber Orchestra. We have a few top price ticketsavailable to buy and, if there is sufficient demand, will lay ona coach to take people to and from Edinburgh. Please tickthe box on the application form if you are interested.

See http://www.eif.co.uk/sco for full details of the concert.

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WORKSHOP SeSSION DeSCRIPtORS

Kodály Musicianship for YOU: eleanor HowatIf you’d like to understand the elements of Kodály Musicianship and how they will practically work for you, join Eleanor Howat as she introduces

the tools and then encourages you to put them into practice. This is no academic lecture however – through singing simple songs and rounds

you will begin to understand why Kodály based ideas are so popular and so successful. Choose all three sessions for a stimulating journey

through an introduction to the basics and reading songs from the stave OR pick and mix to get some practice. For non-musicians who don’t

believe they could ever read music or teach a music course (you can!) and experienced musicians wanting to know what Kodály’s ideas are.

Introduction – meet Kodály’s tools: solfa, handsigns, stick notation, rhythm names and simple reading from the stave.

Some of the greatest folk songs have only five notes in them (pentatonic songs). Become confident in your own skills as you read

and sing these songs, rounds and canons.

Continue the reading – material will develop as the skills of the group progress.

Dalcroze: Margareta BurrellDalcroze* and Kodály have many complementary ideas and the methodologies work very well together. In Dalcroze Eurhythmics, virtually

every musical concept is taught and experienced through movement of all parts of the body. This is a very effective way to enhance

musicianship as well as improving co-ordination, concentration and other skills needed to be a good performer. This, in turn, increases

confidence and the ability to feel music with the whole body, allowing development of auditory memory, communication, expression and

creativity. While the focus is on music, the benefits can be felt by all of the arts where movement plays a role – dance, acting, musical theatre,

the circus – as well as enlivening our understanding of the plastic and static arts such as painting and sculpture. In these workshops, we will

be the children, playing and experimenting in a fun and interactive way. Choose one session, or both to see a progression of ideas and

development.

Dalcroze for Early Years (3-5) Dalcroze for Middle Years (6-9)

*Dalcroze Eurhythmics is based upon the ideas and principles of Émile Jacques-Dalcroze. Émile Jaques-Dalcroze (1865-1950) was a composer, improviserand revolutionary educationalist whose ideas influenced the development of music, dance and drama.

Playground games: Susan MeiklejohnNever underestimate the importance of playing games! Kodály said “Our children consider themselves too old to play as soon as they leavethe kindergarten. Let us encourage even the older ones: they should not be ashamed of enjoying it. The longer the childhood, the moreharmonious and joyful the adult’s life will be”.

Susan will introduce songs and games which can be used in the playground and which can also be effective as a curricular resource. This

will be a fun interactive session.

Songs and games for ages 7 - 11 Songs and games for ages 3 - 6 Repeat of session 2

How to teach a song: anne MurphyAre you a non specialist who has been asked to take the school choir and are not sure where to start? Or just wanting to include

some singing in the classroom? Even if you are musical yourself, it isn’t always easy to know what’s the best method of getting the

message across. There are several ways to teach new songs to children and one method may work better than another. Anne

Murphy will cover a variety of approaches and give you some tips to take away and try out.

Kodály Musicianship for tHeM: Lucinda geogheganKodaly said "...all reasonable pedagogy has to start from the first spontaneous utterances of the child: rhythmic-melodic plays,games with many repeated simple phrases...." NYCoS is launching a new structured course starting this autumn (details will be

available at the conference) which will offer progression and assessment. Our new course covers the first steps in how to teach

musical skills to beginners in a structured, sequential way. In this session, Lucinda Geoghegan offers a very practical introduction

to this course and its (largely pentatonic) material which is drawn from a wide variety of sources. Suitable for specialists and non

specialists.

Singing from Scratch: Wilma MacDougallThis is an opportunity to discover your singing voice by learning some basic techniques of singing in a supportive environment.

Suitable for absolute beginners, those who sing for personal enjoyment, as well as members of choirs wishing to gain some basic

technical knowledge. Wilma is extremely skilled at helping everyone find his or her voice.

Kodály = Curriculum for excellence = Development of the Whole Child:

Lucinda geoghegan, Margaret Rae, Hazel NelsonMany of the Expressive Arts Outcomes in the new Curriculum resonate entirely with Kodály’s ideas, and NYCoS has developed a highly

successful programme called Active Learning through Music which is delivered by the class teacher with training and support from the

specialist. West Lothian and Highland Councils are two authorities that have adopted the programme and two specialists based in those

areas will lead the early level sessions, relating their experiences in a variety of schools, including special needs. Lucinda Geoghegan who

devised the programme will show the progression to older children.

Hazel Nelson and Margaret Rae lead a session for Early Level (Nursary and P1 stages) introducing material that lays a strong

foundation at early level, sending the children off to a flying start.

Lucinda Geoghegan shows the progression from P2 through to P4 in the First Level

from Unison to Part Singing: László NemesHow do you get children to sing in parts and hold their own line successfully? This session is aimed at both teachers leading singing

in the classroom and anyone interested in or already working with children’s choirs. The development of polyphonic skills and part

singing in a progressive and supported way will be shown with appropriately chosen and carefully sequenced repertoire.

Music for 0-3 Years: Margaret Rae“Music education begins nine months before the birth of the mother”. Kodály realised that the most successful development of

musical hearing would take place if started as early as possible in a child’s life. While we might not all have the opportunity to

influence the music making of the child from the early stage that Kodály recommends, we are convinced of the importance and

benefit of music making at the earliest stages of development, not least because numerous studies have proved the links between

exposure to music and the educational and emotional development of the child. Margaret Rae has worked with this age group over

many years and will share her experiences and ideas with tried and tested songs and rhymes for finger play, tickling, rocking,

bouncing, playing and lullabying – making the early music experience as natural and enjoyable as possible.

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NYCoS is a registered CPD provider with Learning and Teaching Scotland. Certificates of attendance will be provided to all participants

Songs and games in Mother tongue: Lucinda geoghegan"The musical mother tongue of a nation is a combination of the treasures of musical expressions and forms ..." Zoltán Kodály

What is mother tongue in Scottish Culture? Gaelic? English? Scots? Doric? Lucinda has been engaged in finding good examples

of each of these to use with children. This session will explore repertoire from all over Scotland which can be used to support music

education according to Kodály principles.

Music for 3 – 5 years: Margaret RaeReady, steady, off we go! Whilst some children have developed a strong sense of beat as a baby and toddler through bouncing

games and constant repetition, others will start this process in nursery. Through active involvement in structured and progressive

music sessions, children can build on their understanding of steady beat, and start to assimilate concepts such as pitch awareness,

dynamics and tempo. In addition, regular exposure to singing games and rhymes will foster development of language skills, social

skills, listening skills, self esteem, memory, and co-ordination. In this practical session, Margaret will share ideas and give tips on

choosing suitable material for working with this age group.

Kodály in the 21st Century: alan MurdockThese sessions will look at using IT as a means of supporting work implemented in the classroom. Alan has created engaging,

game style computer activities to encourage students to practice rhythm and pitch. He also has some very inventive ideas for using

the internet as a means to encourage students to do follow up work at home. Boys in particular are so hooked these days on

technology that it makes sense to tap in to this obsession and bring teaching techniques up to date.

Contemporary music in the pedagogical repertoire: László NemesHow can classroom teachers draw students nearer to the world of contemporary classical music through singing and other means

of active participation in music making? It takes imagination, care and perseverance to bring them into the world of musical modernity

and therefore the selection of material and an organised preparation process are vital. “I was amazed at how László made 20thCentury repertoire accessible to young people through the use of solfa, proving that solfa has no limits!” Lucinda geoghegan

Kodály and the Instrumental teacher: Jennifer Nicholson"To teach a child an instrument without first giving him preparatory training and without developing singing, reading and dictating tothe highest level along with the playing is to build upon sand.” Thus spake Kodály! Jennifer Nicholson was one of the first musicians

to be invited to join the Big Noise team working with children in Raploch in Stirling. She knows the benefit of using singing games

as a springboard for musical learning, and therefore encourages everybody to sing as much as possible. How can you think you

are playing the right note if you can’t first hear it in your head? Jen shows how she helps make the transition from ear to fingers.

finding the Child’s voice: Wilma MacDougallEvery child has a voice and should be given the chance to discover the fun of using it. Wilma shares a few tricks of the trade, some

fun exercises and singing games, which should enable children to feel more positive about themselves and enjoy using the instrument

they were born with – and use it well. Material aimed at primary and secondary pupils.

the Mini Music Makers Class – see it in action!Many practitioners are interested in seeing how our pre-school classes engage children and parents in singing activities at the very

earliest stage. The network of groups was set up in 2002 as an outreach project of NYCoS, and there are currently 20 groups

running in different parts of the country, delivered by leaders who have been fully trained by NYCoS. Language, motor skills, memory

and concentration are all improved through involvement in simple musical games and activities, but the emphasis is always on fun!

This will be a “see it in action” class involving parents and carers to let potential trainees and other interested parties have a chance

to see what it’s all about.

Choral Repertoire: anne MurphyBuilding on yesterday’s sessions of How to teach a song, and Christopher Bell’s 3/4/5 note songs, Anne will provide ideas of

appropriate material to use with children aged 7 upwards. There’s no point in picking things outwith the range or ability of whichever

group you are working with. Anne has tons of experience in selecting and rehearsing programmes that will work and will make this

a fun session with participants singing through the repertoire.

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