Zoltán Kodály (1882-1967)

Was ist "echte" ungarische Volksmusik?

Die Musikforschung ◽

10.52412/mf.2008.h1.478 ◽

2021 ◽

Vol 61 (1) ◽

pp. 16-25

Author(s):

Bálint Sárosi

Keyword(s):

Bela Bartok ◽

Zoltan Kodaly

Schon Béla Bartók und Zoltán Kodály haben versucht, das ungarische Volk musikalisch zu "erziehen", indem sie dem Volk nur besonders ausgewählte Lieder darboten. Doch dieser Versuch blieb, wie auch spätere, erfolglos, da das Volk die Volkslieder nur zur Entspannung und Unterhaltung gebraucht. Dies findet es insbesondere in der Zigeunermusik, die auch echte ungarische Volksmusik ist. Ungarische Volksmusik kennt man seit langer Zeit überall auf der Welt durch die Zigeunermusik, die ihre Ursprünge in Ungarn im 15. Jahrhundert hat. bms online (Mano Eßwein)

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Hooked on Sol-Fa: the do-re-mi heuristic for Yorùbá speech tones

Africa ◽

10.1017/s0001972017000912 ◽

2018 ◽

Vol 88 (2) ◽

pp. 267-290 ◽

Cited By ~ 1

Author(s):

Aaron Carter-Ényì

Keyword(s):

Music Education ◽

Pitch Height ◽

Zoltan Kodaly ◽

Colonial Era ◽

The Public ◽

Field Recordings ◽

Missionary Work ◽

Positive Side ◽

English Speaking ◽

English Speaking World

AbstractSarah Ann Glover (1785–1867) believed that singing was for the public good and Samuel Àjàyí Crowther (1809–91) thought that speech tones should be preserved in writing. Their stories illustrate that diversity in thought may encounter obstacles, but can ultimately shape human consciousness. While this shows a positive side of missionary work, bringing people and ideas together, the transmission of Glover's and Crowther's ideas was mediated by the overlapping political, social and cultural hegemonies of the colonial era. Crowther was celebrated in the English-speaking world as evidence that the civilizing agenda – and colonialism – was good for all involved, but his orthographic approach was credited to the missionary linguist Johann Gottlieb Christaller. Glover's innovations in music education have been misattributed to John Curwen and Zoltán Kodály. Drawing evidence from ethnographic work, field recordings, language surveys and literature from a variety of disciplines, this article asks the question: why is do-re-mi the preferred heuristic for Yorùbá speech tone? Glover's and Crowther's physical paths never crossed, but their ideas did, converging in a remarkable inter-continental and trans-disciplinary synthesis. The do-re-mi heuristic resists the pitch-height paradigm used in formal linguistics (low-mid-high). In a culture where drums can speak, it is unsurprising that a musical model filled a void in the (European) concept of what a language could be.

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Technology Integration with the Kodály Approach

Using Technology with Elementary Music Approaches ◽

10.1093/oso/9780190055646.003.0006 ◽

2020 ◽

pp. 85-138

Author(s):

Amy M. Burns

Keyword(s):

Higher Order Thinking ◽

Thinking Skills ◽

Music Educators ◽

Elementary Music ◽

Zoltan Kodaly ◽

Higher Order Thinking Skills ◽

Music Classroom ◽

Elementary Music Educators ◽

Educational Paradigm ◽

Paradigm Shifting

Amy M. Burns integrates technology into the approach developed by Zoltán Kodály. With the current educational paradigm shifting to include more distance learning, these lessons demonstrate how to create online manipulatives that can be used in a classroom setting as well as an online platform. With the addition of a supplemental website that includes downloadable manipulatives, elementary music educators can successfully teach the approach in a variety of settings and scenarios with novice to advanced technological skills. In addition, the lessons can also be used for assessments, cross-curricular connections, higher order thinking skills, and sharing music making outside of the music classroom.

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Bartók as Man of Letters

Tempo ◽

10.1017/s0040298200056904 ◽

1972 ◽

pp. 10-16

Author(s):

Benjamin Suchoff

Keyword(s):

Folk Music ◽

Art Music ◽

Musical Instruments ◽

Bela Bartok ◽

Educational Institutions ◽

Zoltan Kodaly

Bartok's literary efforts range from books and monographs to shorter essays. According to recent findings, there were no less than 119 extant works. Some of them were written in collaboration with Zoltán Kodály or Sandor Reschofsky; others were originally drafted as lectures which were for the most part given on the radio or at educational institutions.Bartók's first essay apparently appeared in print in Budapest in 1904. It is interesting to note that except in 1907 and 1915, at least one of his writings was published each year of his life, in a considerable number of languages, and frequently in widely-known journals. His essays may be divided, according to their topics, into eight basic categories (although there is some overlapping): I. The Investigation of Musical Folklore; II, National Folk Music; III, Comparative Musical Folklore; IV, Book Reviews and Polemics; V, Musical Instruments; VI, The Relation Between Folk Music and Art Music; VII, The Life and Music of Béla Bartók; and VIII, Bartok On Music and Musicians.

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Béla Balázs: The Face of Cinema

October ◽

10.1162/octo_a_00174 ◽

2014 ◽

Vol 148 ◽

pp. 53-62 ◽

Cited By ~ 1

Author(s):

Noël Carroll

Keyword(s):

Walter Benjamin ◽

Max Weber ◽

Bela Bartok ◽

Georg Simmel ◽

Zoltan Kodaly ◽

Karl Mannheim ◽

Sergei Eisenstein ◽

Michael Curtiz ◽

The Face ◽

Gyorgy Lukacs

Herbert Bauer, known to the world as Béla Balázs (1894–1949), led the sort of life about which contemporary intellectuals might fantasize. He knew everyone and he did everything. Born in Hungary, he included György Lukács, Karl Mannheim, Arnold Hauser, Béla Bartók, and Zoltán Kodály in his circle, among others. He knew the filmmakers Alexander Korda and Michael Curtiz before their names were Anglicized. He studied with Georg Simmel and met Max Weber. As time went on, he came, so it seems, to know virtually every major European intellectual—Stefan Zweig, Robert Musil, Walter Benjamin, Sergei Eisenstein, Erwin Piscator, and on and on. He lived in the midst of a universe of conversation that dazzles us as we look back enviously upon it.

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