How can aspects of the Kodály philosophy and methodology be integrated into instrumental education?

Mieke van Dael

Name: Mieke van Dael Main Subject: Music Education According to the Kodály Concept Research Supervisor: Renee Jonker Title of Research: Integrating aspects of the Kodály philosophy and methodology into instrumental education. Research Question: How can aspects of the Kodály philosophy and methodology be integrated into instrumental education? Summary of Results: I started this Master's study and Research while searching for tools which would allow me to develop my students' inner hearing, and while also being aware that instrumental education has remained the same for a long time even though the world around us is changing. In addition, I realised that during my career as a performing bassoonist I have seen changes which I did not understand. My study has opened the door to a wide range of possibilities and follow-up steps for me to take. I now understand why I found a number of things difficult in classical music performance. As far as I am concerned that is closely related to the fact that I was trained to reproduce music from notation, whereas I think that making music is much more than merely reproducing something. Splendid masterworks have been composed throughout musical history and I can thoroughly enjoy them if I am given the chance to play them. However, for me, that is not the only way to make my musical voice heard. I also need to speak a living musical language with my pupils and colleague musicians. If self-expression is an important part of the new learning, then I think that it is essential I develop musical expression with my pupils in order to speak a living musical language. It would be extremely interesting in a follow-up study to investigate how the language develops and then to see what is necessary to develop a living musical language-one in which you learn to listen, speak, read, write and interpret. By doing this research I have come to understand how aspects from the Kodály philosophy and methodology can be integrated into instrumental education and I can see that this is enriching. It has given me many insights and a broad palette of tools which I can use to work in the profession in a more creative and innovative manner. Biography: I studied bassoon, contrabassoon and chamber music at the conservatories of Maastricht and Amsterdam at the end of the 1980s. I began my career in the Dutch musical landscape at the start of the 1990s. I have been a bassoonist and contrabassoonist for more than 20 years and have given concerts in the Netherlands and abroad, including a number of years intensive involvement with the Royal Concertgebouw Orchestra. My career as a bassoon teacher has also covered more than 20 years, and is nowadays at Scholen in de Kunst in Amersfoort and at the Royal Conservatoire The Hague.

Thanks

First of all I want to say thank you to my husband and children, who supported me in doing this Master's Study and Research.

I am also indebted to:

My Research Coach Renee Jonker, who always reflected on my thoughts and encouraged me to find my own way.

Annemarth Idenburg for reading and reflecting on my texts, and Christine Davies for translating.

All the teachers of the Master Music Education according to the Kodály Concept, Patrick van Deurzen, Ewan Gibson, Suzanne konings, Daniël Salbert, Bastiaan van der Waals and Anne Christine Wemekamp from whom I have learned a lot and all the students of the Master Music Education according to the Kodály Concept.

My colleagues from BASIS: Martine Belderok, Anna Daalmeijer, Klaske de Haan, Karin de Jong, Irma Kort, Anthony Zielhorst.

My bassoon colleague Bram van Sambeek and the bassoon students at the Royal Conservatoire.

My colleagues in Amersfoort and the pupils from the School for Talent, Scholen in de Kunst Amersfoort.

I also want to mention Hanneke Delis, who was head of the Musicschool Amersfoort, Scholen in de Kunst and who died in July 2015. We talked a lot about Instrumental Education and searching for new opportunities.

Workshop leaders from puntComp: Jelte Althuis, Martine Belderok, Jurgen van Harskamp, Renee Jonker, Maite van der Marel, Emma Rekers, Hanne van de Vrie.

All my students with whom I have a lot of fun and learn a lot about my own teaching.

Casper Schipper for the help with the Research Catalogue.

I would also like to thank the Royal Conservatoire The Hague, Société Gavigniès and Scholen in de Kunst Amersfoort for making it possible to do my Research over the last two years.

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