Colourstrings Music Kindergarten Level 1 Certification Course

Dates:  4, 5 and 6 as well as 12 and 13^th January.

Tutor: Karen Mackenzie, an internationally acclaimed Colourstrings lecturer and

practitioner based in the UK.

Participants will be consolidating the knowledge gained in the Foundation course as well as acquiring additional theoretical and practical training that will prepare them for assessment and certification as Colourstrings Associate Music Kindergarten teachers

The assessment will take place on the Sunday (13^th January) and successful candidates will receive the Associate Music Kindergarten teacher’s Certificate issued by the Szilvay foundation.

You will be emailed all requirements for the course and assessment once your deposit has been paid.

Participants must have completed the Colourstrings foundation course.

Cost R2000.00 per person. Deposit of R1000.00 secures your booking, balance 1 week prior to registration. Venue: Pretoria University.

To apply for this course contact:

Zelda Martin at 083 695 4721 or zelmartin AT gmail DOT com

5-day course in Pretoria for teachers and musicians 7 -11 January 2013

Colourstrings is a child-centred approach to musicianship, conceived and developed in

Finland by Géza Szilvay. It is based on the principles of Kodály who saw music as a

birthright and recognised the voice as the fundamental tool for experiencing and expressing music. Through singing, children from birth to 5 years enjoy music, develop aural skills and become musically literate. Their training in the Music Kindergarten, means young beginners are musicians before they start an instrument.

A course covering the Colourstrings Singing Rascals song books, child psychology, lesson

planning, repertoire for babies through to 5 years, dance and movement ideas, principles of Kodály and the philosophy of Colourstrings. The course also includes daily Kodály tuition.

Tutor: Karen Mackenzie, an internationally acclaimed Colourstrings lecturer and

practitioner based in the UK.

Only 30 spaces available.  Cost R2400.00 per person. Deposit of R1000.00 secures your booking, balance 1 week prior to registration. Venue: Pretoria University.

To apply for this course contact:

Zelda Martin at 083 695 4721 zelmartin AT gmail DOT com

More on the Colourstrings' Philosophy

Colourstrings is a music education programme that starts from pregnancy and is a continuous developmental process. Although Szilvay divides his methodology into separate teaching phases, he did not want the process to be felt by children as separate but rather as one continuous process. If children felt it to be split into phases, the new phase would be difficult to start and would have to be related back to the previous phase, but if continuous, the child would just grow into the new phase seamlessly. He envisaged a programme where instrumental tuition would be a follow-on from the kindergarten programme. The kindergarten programme directly connects to instrumental teaching.


After the kindergarten programme, once the child starts school, s/he would go to a Colourstrings instrumental teacher and start an instrument from the beginning but have an enhanced level of understanding of the basics and elements of music. Also, the children should know 50 to 70 children’s songs by the time they start instrumental tuition and some of them they would learn to play on their instruments. This he called subconscious education. He believed that instrumental music would be made easier, and the teacher would go through the process so much more quickly, if the kindergarten teachers did their job well.  Szilvay went as far as to say that kindergarten teachers could change the life of instrumental teachers if they did their job well. This is because the same ideas and material should be followed throughout: that is that the material initially introduced to the child is also used as the introduction to each successive phase and because of its familiarity, it can be easily assimilated by the child.

Secondly, Szilvay wanted to develop a philosophy that was for the average child and not only the talented child. He felt that most instrumental teaching philosophies were written for the talented and musical child. The average child fell by the musical wayside. ‘The Colourstrings approach acknowledges that there are born talents or natural abilities but also takes into consideration the extreme importance of the environment or surroundings for the development of the child. Colourstrings creates an environment for the child where toys, fairy tales, singing and instruments live side by side serving the happiness of the child. Such a music land which is an integral part of the child’s play world should be available to everyone’ (Vainio 196:50).

By Zelda Martin (extract from a Master's thesis - University of Pretoria)

Certified Organic Music

While all around us we see a drive to the natural and the organic, in the area of musical culture we see a trend to the artificial. Lullabyes and nursery rhymes are a fundmental part of our muscical culture, however what we see today is that electronic toys and their synthesised sounds are literally driving out the parent’s voice.

Ironically these toys are being promoted as educational. The value of training the young ear with good quality sounds can never be overestimated. A baby’s ear is at its most sensitive stage while it is developing speech and learning to recognise different sounds. This is the time that they should be exposed to good quality, well played, in tune music. In fact, this exposure should take place during pregnancy.  Sadly this is the time that babies are most exposed to artifically produced sounds. The synthetic sounds from a toy, synthetic nursery rhyme tunes and sometimes even synthetically produced human voices.

Flat batteries and the inevitable wet and wild use that babies subject these toys to result in even the best quality toys quickly being reduced to out of tune horrors.

Other sources of poor ear training are synthetic instrumental sounds and badly recorded or played music.  The prevalent idea appears to be that if music is recorded for children, quality is not an issue. Recorded music for childen should be of the highest quality, as this is the music that is forming their ear. Just as poor quality food affects the development of the child more than the adult, poor quality music affects the intellectual and aesthetic development of the child more than it affects the adult. If you can’t stand a noisy toy it is a good sign that your child shouldn’t be listening to it. It is a fallacy that children enjoy noise.

One of the greatest gifts you can give your baby is to sing to him/her regularly, play good quality music on real instruments, or well recorded, well played classical music, whether live or on compact discs, as opposed to out of tune synthetic sounds. This will assist the child in developing a good musical ear. 

Naxos have recently released a series of “My First” albums. These include "My First Lullaby Album", "My First Classical Music Album" and "My First Mozart Album". 


"My First Piano Album" and "My First Violin Album" may be of interest for children learning these instruments.


These are all available for download from Classics On-line.  Tracks can be purchased individually to allow you to make your own compilation.


By Colourstrings South Africa

A short overview of Colourstrings Music Methodology

1. Introduction

Colourstrings was established in Finland over thirty years ago, and spread to the rest of the world in the early 1990s. Colourstrings is a child-friendly system that was created by Hungarian Géza Szilvay, and aims to teach a child not only to eventually play an instrument, but also to improve his or her musical audio-perception and mental capacity.

Colourstrings introduces children to music in an enjoyable way through inner ear training, developing musical sense, social skills and co-ordination. Szilvay uses the rhythm, melody, movement and improvisational experiences of Kodály for his methodology.  Although Colourstrings is not the first Kodály-inspired music education methodology, it is unique in that it is intended for very young beginners with no prior formal music training required. Kodaly was an Hungarian music education philosopher who created a child friendly methodology that utilized all the children’s senses in order to teach musical concepts.

2. The Colourstrings philosophy

Colourstrings is a music education programme that ideally starts with children of eighteen months and is a continuous developmental process. Although Szilvay divides his methodology into separate teaching phases, he did not want the process to be felt by children as separate but rather as one continuous process. He envisaged a programme where instrumental tuition would be a follow on from the kindergarten programme. After the kindergarten programme, once the child starts school, s/he would go to a Colourstrings instrumental teacher and start an instrument from the beginning but have an enhanced level of understanding of the basics and elements of music. Also, the children should know 50 to 70 children’s songs by the time they start instrumental tuition and some of the songs they would learn to play on their chosen instruments. This he called subconscious education. He believed that instrumental music would be made easier, and the teacher would go through the process so much more quickly, if the kindergarten teachers did their job well.  Szilvay went as far as to say that kindergarten teachers could change the life of instrumental teachers if they did their job well.

Secondly, Szilvay wanted to develop a philosophy that was for the average child and not only the talented child. He felt that most instrumental teaching philosophies were written for the talented and musical child. The average child fell by the musical wayside.

Finally, Szilvay’s approach is one that develops not only the fingers, but the ear, the intellect and the emotions. He does not see the methodology as a quick fix method with fast results, but rather a slow step-by-step approach where a deep foundation is built in a child-friendly, stimulating way.

By Zelda Martin

New research highlights value of Kodaly-based fraction programme

A brand new study by researchers at the San Francisco State University has confirmed previous research that children who learn fractions using rhythm outperform students taught in a traditional method, and this programme has a basis in the Kodaly method.

Assistant Professor Sue Courey developed the programme in conjunction with a music teacher. "They borrowed aspects from the Kodaly method, a Hungarian approach to music education that includes movement, songs and nicknames for musical notes, such as "ta-ah" for a half note.
The curriculum helps children connect the value of musical notes, such as half notes and eighth notes, to their equivalent fraction size. By clapping and drumming rhythms and chanting each note's Kodaly names, students learn the time value of musical notes. Students learn to add and subtract fractions by completing work sheets, in which they draw musical notes on sheet music, ensuring the notes add up to four beats in each bar or measure."

Of specific interest in South Africa is that the music-based method is especially valuable in a situation where those who are not first language English speakers are being instructed in English, as music provides a way to learn fractions that is not intensively language-based.

Fractionally in Rhythm

coloring one half, a photo by jimmiehomeschoolmom on Flickr.

Second & third grade students who were taught fractions through musical rhythms scored 100% higher on fractions tests than those who learned in the conventional manner.—“Rhythm Students Learn Fractions More Easily,” Neurological Research, March 15, 1999.

Source

Bounce

Are high performing music students talented, or do they just practice more than other students?

An answer to this question comes from a surprising source, one-time table tennis champion turned sports journalist Matthew Syed’s book “Bounce”.

Bounce is based on the latest research into performance by cognitive neuro-scientists.

This research, from fields as diverse as tennis, fire fighting and music, points out that practice (or experience) is much more important than any amount of “natural aptitude”.

As music is the field that many believe is dominated by the naturally talented, music was one of the first fields for studies into performance.

The idea that natural talent existed was tested in a key study of violinists at the renowned Music Academy of West Berlin. Researchers divided the students into three groups. One group was of “soloists” i.e. students who were considered to be likely to go on to perform as leading soloists. Group two consisted of “orchestra players” i.e. students likely to go on and play in leading orchestras, and finally, a group designated as likely to be music teachers. All of theses students had been considered “very talented”

This grouping was based on the assessment of their professors, and the student’s performance in open competitions.

A detailed biographical history was taken of each student, and they all showed remarkable symmetry, in all factors but one – time spent practicing.

The top students had without exception practiced for at least 10 000 hours, which was 2000 hours more than the students likely to go into orchestras, and 6000 hours more than students likely to become teachers.

Not a single top performer had practiced less than the 10 000 hours. This lead to the formulation of the ten thousand hour rule, i.e. any one wishing to be world class in any field, would have to practice for 10 000 hours. Research also showed that, as more than about 3 hours practice a day was not productive, this has become the ten-year rule, i.e. roughly a thousand hours practice a year over ten years.

What is more, there was no evidence that in the long run, any of the top performers learned any quicker than anyone else. So top performers were not quicker learners, they just practiced harder.

What this suggests is that the more time teachers spend encouraging, monitoring and rewarding practice, the more successful their students will be.

Musically trained or talented

When my children play at a concert I usually have two comments, the first is something like “so you have five children”. The second is “you are so lucky they are all musically talented.”

Now nothing would please me more to believe that some great genetic deposit of musical genius flows through my veins. But the truth is much more prosaic.

About three years ago a friend who asked us to join her family to make up a small musical theory class introduced me to Zelda Martin.

I was expecting textbooks and reading music but very soon we were learning a very different kind of musical theory as Zelda would flash a little coloured card and children would then suddenly start marching around the room. Then another two cards and they would be stamping out a beat with their feet and then clapping a different rhythm.

Then even more impressively they would have to clap out the rhythm beat from a card they had just been shown while another card was already being displayed.

Shortly after that they would be singing while they made strange hand gestures. Hares, swallows, dollies and witches were all involved.

Zelda made it quite clear that musical theory was not just theoretical but was practical and hands on , perhaps I should say hands, feet and body on or a full bodied development of musicality. Zelda was less impressed by a child who could grasp theoretical rules in a book than by one who could keep a rhythm

What was immediately apparent to me was that the children were learning to see a note, make the sound of a note and make a physical movement that they could identify with the note. What they were getting was multiple sensory inputs for each and every musical concept they were introduced to.

But most importantly they were having to listen to each other. What impressed me is that they were doing this right from the beginning of there musical education. They didn’t have to master an instrument before they could be involved in ensemble work.

These songs moved quickly from being sung to be played on glokenspeillen and then instruments. Four of them went on to study piano using the colourkeys programme and my daughter doing guitar.

Even though my daughter was no longer following a colourstrings approach for her instrumental work she was benefitting from her colourstrings foundation. Within a few short months my daughter was performing at pretty much the same level as students who had been doing guitar for many years more than she had.

While she does practice consistently her ability to play musically and with attention to the rhythm of a piece can be attributed to even the limited formation she got from colourstrings.

What makes this story quite remarkable is that they all started music relatively late. My daughter at 15, her older brother at 13 and even my youngest daughter at 5.

While in general that would be quite old for colourstrings they have all benefitted from the initial colourstrings teaching they have had.

Although some, let us say, innovative lyrics have been developed for songs that are aimed at younger children. Especially by boys, the basic musicality they were learning has given them a good foundation.

Also once they were playing an instrument they were able very quickly to move on to playing more difficult pieces and that kept there interest in music going until they could actually play pieces that they enjoyed.

Now even though one or two say that they would like to be musicians one day I am pleased by the fact that they can make and enjoy music.