The three major music teaching systems in the world are: Dalcroze Music Education System, Kodaly Music Education System, and Orff Music Education System.

Dalcroze music education system:

Brief introduction of Dalcroze:

Original name: Neil Jacques Dalcroze.

Swiss musician and educator, born in Vienna, Austria. Born on July 6, 1865, died on July 1, 1950.

Dalcroze’s lifeline:

Dalcroze’s music learning stage (1865-1889)

Born in 1865, his father was a watch salesman. His mother was a music teacher. In 1871, when he was 6 years old, he began to learn piano. In 1872, when he was 7 years old, he began to compose marches. In 1875, when he was 10 years old, his family moved back to Geneva. In 1881, at the age of 16, he entered a secondary school with a two-year college preparatory course. During this period, he studied piano and composition at the Geneva Conservatoire.

In 1883, at the age of 18, he entered the University of Geneva. In 1884, at the age of 19, he came to Paris determined to study drama. He participated in the work of the Comédie Fran?aise and studied music at the same time. In 1886, at the age of 21, he was invited to Albany in North Africa. Gir, had the opportunity to be exposed to Arabic music. In 1887, at the age of 22, he went to Vienna with his father and passed a rigorous examination to enter Anton Bruckner's composition class. In 1889, at the age of 24, he was admitted to the Paris Conservatoire and entered Fauré's composition class. At the same time, he studied under the famous composer Home in Delhi.

Dalcroze’s music education work period:

In 1892, he was 27 years old. After completing his studies, he returned to work at the Geneva Conservatoire, teaching music history, harmony, and advanced sight-singing and ear training. and other courses, and also engaged in a large number of music creation activities.

In 1893, at the age of 28, he published his first collection of songs, many of which were immediately widely sung.

In 1894, at the age of 29, he published the sight-singing and ear-training textbook "Practice Using Pitch."

In 1900, at the age of 35, he proposed a new theory, which later evolved into the "Body Rhythm Teaching Method."

In 1902, at the age of 37, he was forced to resign from the Geneva Conservatoire.

In 1905, at the age of 40, she presented the results of her teaching reform for the first time at the meeting of the Swiss Musicians Association.

In 1906, at the age of 41, he published the five-part "Dalcroze Postural Rhythm Teaching Method".

In 1910, at the age of 45, his career reached its peak and he established the Dalcroze Institute of Systems in Hellerau, Germany.

From 1910 to 1914, body rhythm schools were successively established in Germany, London, Paris, Vienna, New York and other places.

In August 1914, at the age of 49, his work was interrupted due to the outbreak of the world war. Returning to Geneva, the Académie Dalcroze was founded in Geneva the following year.

From 1919 to 1930, he published many works on the teaching of body rhythm music, such as "Rhythm, Music and Education" and "Body Rhythm Art and Education".

Died in Geneva in 1950 at the age of 85.

In 1965, when he was 100 years old, Switzerland held an event to commemorate the 100th anniversary of Dalcroze's birth and established the Dalcroze Memorial Hall.

Dalcroze’s education system:

It started with the teaching reform of sight-singing and ear-training, and after a long period of methodological exploration and construction of the theoretical basis of "body rhythm", finally ended with improvisation The introduction of teaching marked the establishment of a complete new music education system. (Sight-singing and ear training, body rhythm, improvisational teaching)

Body rhythm is different from rhythmic gymnastics and dance. He fundamentally obeys the guidance of music. He uses the body as an instrument and experiences through body movements. The changes in the speed, intensity and duration of music rhythm will "melt" the elements necessary to express music into our body and mind, develop synaesthesia for sound rhythm and body rhythm, and be able to directly reflect emotions with our senses to cultivate students The purpose is to use hearing to obtain a relaxed and coordinated sense of rhythm.

Since body rhythm is a body movement to feel and reproduce the music heard, then the body naturally becomes a musical instrument:

Pitch - gesture (or body) in space The direction and position of the sound

Sound intensity - the strength of the action (muscles)

Tone - the expression of different parts of the body

Duration - the continuation of the action

Rest - pause

Melody - the continuity of each action

Counterpoint - the position of different actions and different directions

Chords - the combination and superposition of various movements

Music phrases - paragraphs of movements

Musical form - the distribution of movement in space and time

Physics The process of teaching rhythm begins with listening to music or rhythmic sounds. First let students listen to music, and elicit kinesthetic responses through listening and body movement. Guide students to get in touch with various elements of music through body movements. Due to the participation of body movements, music elements become visible physical activities, so that the functions of these elements are revealed one by one.

Body rhythm teaching turns a person into an instrument that can understand the requirements of music and can understand and express music. Through this human instrument, the core elements of music are demonstrated, and the artistic nature is strengthened through the inner hearing and emotions of the learner.

Classification of posture rhythm and body movements:

In-situ movements and spatial movements (or non-mobile activities and mobile activities)

1. In-situ movements : Clap, sway, sway, direct, bend, turn, step, talk, sing.

2. Space movements: walking, running, jumping, jumping, leaping, galloping and gliding.

Pay attention to the integrity of the movements and practice according to the four steps of preparation, onset, continuation and recovery.

Physical rhythm teachers must have the talent for improvisation.

The music he or she improvises must be able to train, dominate, direct and promote the children's movements. Improvisation on the piano requires six conditions; (1) accurate hearing; (2) the ability to invent and sing and play melody; (3) when accompaniment of the melody in different methods and different keys (changes of key). coordination.

(4) Accurate sight reading; (5) Memorize many nursery rhymes, folk songs and other tunes that serve as illustrations or have dramatic effects; (6) Use musical sounds to reproduce the rhythm and movement of children The ability to improvise movements and music for children.

The relationship between movement and psychology:

1. All rhythms are movements.

2. All movement is the movement of matter.

3. All movements require time and space.

4. In movement, space and time are reorganized by matter that transforms them into an external rhythm.

5. Children’s movements are pure body movements and unconscious movements.

6. Physical experience forms consciousness.

7. The improvement of physical means produces clear and orderly intelligent perception.

8. Controlling movement is to cultivate a rhythmic mentality.

Kodály music education system:

Overview of the rise of Kodály teaching method:

Original name: Kodály Zoltan, born in 1882, died in 1967 years (85 years). He is a famous Hungarian composer, philosopher and music educator.

Kodály’s education system:

1. Teaching sequence.

2. Teaching methods (1. First-note solfa method 2. Rhythm reading method 3. Letter spectrum 4. Use of gestures 5. Fixed-note singing method).

3. Sources of teaching materials.

4. Educational philosophy.

The foundation of the Kodály teaching method: singing.

Kodaly teaching goals:

1. Cultivate children with balanced development of social skills and artistic talents.

2. When children grow up, they can have such musical talent that they can think of sounds when they see music scores, and read and write music just like speaking and writing.

1. Teaching sequence

The arrangement of teaching sequence should respect the law of children's ability development, rather than be based on the subject system. Teaching based on the subject system does not The order of the course is combined with the children's musical development ability characteristics, and the teaching content is only organized in a seemingly reasonable order, which is not conducive to children's learning and development of music.

Kodaly believes that there are several characteristics of the development of children's musical ability:

1. The songs sung by children must meet the following requirements: no more than six notes, and the interval is a major second or more big. It is difficult for young children to sing semitones accurately.

2. For children, descending intervals are easier to learn than ascending intervals, which means that at the beginning stage, teachers should choose songs with descending tunes.

3. For young children, minor third intervals are easier to master than minor second intervals, while large intervals such as sixths and octaves are more difficult to learn.

4. A study on the vocal range shows that it is easiest for young children to accurately sing the minor third above F sharp, which is the A sound.

2. Teaching methods

1. First tune solfa method.

2. Rhythmic reading.

3. Alphabet spectrum.

4. Use of gestures.

5. Fixed note singing method.

Application of gestures

1. Creation of gestures.

2. Basic forms of gestures.

3. The principle of gestures.

4. The application of gestures in practical teaching.

3. Sources of teaching materials

1. Games, nursery rhymes, and hymns in children’s lives.

2. Folk music.

3. Classic creative music, that is, music created by famous composers.

4. Educational philosophy

1. Advocated teaching philosophy: the core position of music courses.

2. The voice is the best instrument and plays an important role in singing teaching.

3. The important role of textbook selection.

4. Strict requirements for teachers.

Summary of Kodály’s teaching ideas:

Teaching methods used: solfa of first tune, rhythm reading, application of letter spectrum, and application of gestures.

Choose folk songs and music by famous composers as teaching materials.

Emphasize the importance of early music education.

Advocates using the voice as an instrument for teaching.

Believing that music should be placed at the core of the curriculum and the importance of music education to all-round development.

Orff music education system:

Biography:

Karl Orff (1895-1982), a contemporary world-famous German composer, music educator. Born on July 10, 1895 in Munich to a military family with artistic literacy, Karl Orff was influenced by his family environment and developed a strong interest in music and drama from an early age, which laid the foundation for him to become a great musical master. .

Orff’s musical experience:

1. Art education received in early childhood.

2. Musical theater activities in teenagers.

3. Studying period at the Munich Conservatoire.

4. Jingte School period.

5. Return to the period of musical comedy creation.

6. The development and internationalization of Orff music education.

The concept of "original music":

Orff once said in his "School Children's Music Textbook-Review and Prospect":

"Original music is by no means pure music, it is closely integrated with movement, dance, and language; it is a kind of music that people must participate in themselves, that is, people participate not as listeners, but as performers In the meantime".

The differences between traditional music and Orff music education concepts:

1. Traditional music: an educational guide that tends to be professional, skill-based, and craft-oriented, focusing on music theory Knowledge, musical skills and the old model of pure learning of music. Ignore students' emotions and experience of music, and ignore students' initiative, subjectivity, personality and creativity in the learning process.

2. Orff music: It has humanistic ideas and pays attention to the huge role of music education in human development. It wants to tap people’s inner potential through music learning, cultivate a sound personality, and develop rich Creating ability is the ultimate goal, which is the starting point and ultimate goal of music education.

Orff’s music education thoughts:

“Original music” education: integrating music, movement, dance, language, games, creation and others into one music teaching, Guide students to actively participate in music activities, and experience personal feelings and experiences, so that children can naturally integrate music into their hearts in a relaxed and happy atmosphere, and achieve communication between music and their hearts.

In the process, students' character is cultivated, their imagination and creativity are developed, and their self-confidence is established. Then the stimulation and experience of emotions and the acquisition of various abilities are not obtained through external knowledge infusion and technical training, but through personal participation, spontaneously, naturally and intangibly.

Orff’s music education thoughts:

1. Advocate comprehensiveness.

2. Pay attention to improvisation and creativity.

3. Emphasis on practicality.

4. Emphasis on localization.

5. Face all.

1. Advocating for comprehensiveness

The comprehensiveness here once again reflects his "original" music concept. The so-called comprehensiveness means that the form of music education should be an overall art that integrates music, dance, and language.

Orff believes that expressing thoughts and emotions is the instinctive desire of human beings, and is naturally revealed through language, singing (including musical instrument playing), dance and other forms. The situation is also the closest to the human heart. Only by allowing students to find the most direct and vivid way of expressing human emotions through the original comprehensive art of singing, walking, moving and speaking can we touch the depths of people's hearts.

In Orff music teaching, children should not only sing and play, but also combine activities such as reciting, dancing, movements, games, etc., so that students can never tire of immersing themselves in music learning. At the same time, this comprehensive teaching process not only cultivates students' musical abilities (recognition of timbre, memory of melody, performance of musical instruments, recognition of musical forms, etc.) but also their own qualities (response ability, communication ability, cooperation ability, coordination ability) It also enhances students’ emotional experience with music.

2. Pay attention to improvisation and creativity

Children’s life experience is not shaped by too many social influences. Improvisation is a natural instinct and an instinctive reaction of the soul. Therefore, Orff emphasized the need to actively guide children to develop their natural creativity in music. After seeing a picture, they can express it with music according to their own understanding, and improvise and perform improvisationally through simple musical instruments. When there are no musical instruments, they can use their hands, feet, chopsticks, newspapers, etc. to perform music instead of music. Fully reflect the creativity of musical instruments.

So the Orff teaching method here is not a fixed and closed "framework". His overall content and methods encourage and inspire people to create and arrange themselves. It is not recommended to give children existing things and indoctrinate them. Instead, we allow children to use their imagination and creativity through guidance and inspiration.

3. Emphasis on practicality

Orff believes that original music education is "music that people must participate in themselves, not as listeners, but as performers." "So he emphasized that in the process of music learning, students should be able to achieve aesthetic, emotional and psychological experiences such as association, imagination, and emotional feelings through hands-on musical activities. Truly achieve correspondence and communication between music and the heart.

4. Emphasis on localization

In Orff’s music education, he advocates starting from the local environment such as language, culture, and art that students are familiar with, and starting from the life that students are most familiar with. Use materials from outside to carry out music education, which increases learning interest, is conducive to students' learning and growth, and enables music education to achieve a good effect. At the same time, the national culture has been well inherited and developed.

One of the important reasons why Orff’s educational philosophy is widely recognized is that Orff emphasizes starting from local culture and respecting the existence of various cultural forms.

5. For all

Orff music teaching is not only for children, it is for everyone. Everyone should receive music education, and Orff teaching methods are suitable for everyone people.

Application of Orff’s music education practice in China:

Application of language in music teaching - starting with recitation

Application of movements in music teaching ——Combining movements

Application of Orff instruments in teaching——Instrumental music teaching

(1) Introducing language into music teaching is one of Orff’s goals for school music teaching Great contribution. Language is the first and essential ability that everyone learns since birth. Using language to learn music fully reflects an important principle of children's education, which is to start with the environment and things that children are familiar with. At the same time, Orff advocated music education based on local culture and integrating the nation and local culture, that is, "mother tongue culture" into music education.

The content and methods of language in music teaching:

1. Rhythm recitation teaching starting from words and names.

Examples: Wang, Jingjing, Wang, Jingjing.

2. Practice teaching rhythmic short sentences using idioms and proverbs.

3. Rhythm recitation practice of children’s songs and nursery rhymes.

Examples of children's songs and nursery rhymes:

The little mouse went up to the lampstand and stole oil to eat. When he couldn't get down, he called grandma. Grandma didn't come, so he rolled down.

The little tadpole has a little tail and swims around looking for its mother, "Mom, Mom, where are you?", "Here it comes, here it comes, I'm here". Here comes a big frog.

One ant came to carry the rice, but it couldn't move it. Two ants came to carry the rice, and their bodies swayed back and forth. Three ants came to carry the rice and gently carried it into the hole.

Hold the flower cup in your hand, take a sip of water, raise your head, close your mouth, and spit out the water.

Application of movements in music teaching - combining movements.

The purpose of movement teaching:

1. Balanced development of body and mind.

2. Develop keen hearing, attention, and reaction abilities.

3. Develop creativity.

4. Rhythm training.

5. Basic education to develop musical sense.

The application of Orff instruments in teaching-instrumental music teaching.

Classification and characteristics of Orff instruments:

Category 1: Percussion instruments without a fixed pitch series, which we usually call percussion instruments.

The second category: musical instruments with pitch, which are generally classified based on the raw materials and timbre characteristics of the musical instruments. This mainly refers to soundbar instruments.

1. Percussion instruments:

(1) Leather type: drum type. Commonly used ones include bongos, tambourines, snare drums, large and small hall drums, large snare drums, drum kits, platoon drums, timpani, etc.

Musical instrument features: Since drums are generally made of leather covered on a drum with a chirping body, the biggest feature is that it has a strong chirping sound and a large volume. , is lower and thicker, and is used as the bass part, giving people a sense of stability on strong beats.

(2) Wooden type: made of bamboo and wood, such as single sound tubes, double sound tubes, frog boxes (castanets), clappers (wooden sticks), wooden fish, etc.

The characteristics of the musical instrument: the sound is crisp, bright, short and unsustained, and highly granular. Therefore, in teaching, it is used to play rhythmic patterns with more complex rhythms and faster speeds. It often serves as the "melody part" and plays the The rhythm is clear and clean.

(3) Metal: Made of copper and other metals. Such as triangles, bells, gongs, cymbals (single-sided, double-sided), etc.

Musical instrument features: long lasting sound, bright sound, and strong penetrating power. Gongs and cymbals are louder and should be used with special caution in ensembles. They are generally used as special instruments. Triangles and bells are widely used in the classroom, but their volumes are generally small and should not be used for downbeats. Due to the residual sound and unclear grains, it is difficult to play rhythm patterns with many notes and fast speeds, so as to avoid confusion in the sound.

(4) Scattered instruments: These instruments are mainly named according to their pronunciation characteristics. Metal ones such as bells, sitters (made by shaking many small iron pieces), tambourines (another kind of To use it, shake the drum to make the small iron pieces on the ring rattle.) Various sand hammers made of bamboo and wood (mostly made of plastic or coconut shell nowadays).

Instrument characteristics: The volume is small, the sound is fine, and it is difficult to control when playing rhythm. Therefore, it is generally not suitable for downbeats and fast and complex rhythm patterns, but its sound length is controlled by shaking. , so it is suitable for playing long tones and is an ideal percussion instrument for the length of the receptive sound.

2. Sound bar instruments

Glockenspiels, metal harps, and xylophones.