MUSICAL BIOGRAPHIES AND METHODOLOGIES

The different methodologies and biographies that we are in music education and is now summarized as follows:

Orff: Carl Orff (Munich 1895 - id 1982) a school founded in 1924 and created a method of teaching music that would be widely adopted, the Orff - Schulwerk. In 1930 he wrote Schulwerk (1930), a work which includes his teachings in the school gym, music and dance that was founded in 1924 together with Dorothee Günther. Enter the percussion instruments in school, and language associated with the musical rhythm and rhythmic prosody or recited. Pentatonic scale works and sounds studied in sequence SOL, MI, LA DO, RE. Places great emphasis on improvisation, creativity and do not yet pay no attention to the song (big mistake). Jos Wuytack collected his tales and teaches courses on methodology.

 
- Kodàly: (Kecskemét, 1882-Budapest, 1967) Zoltan Kodàly studied Hungarian folk heritage with Bela Bartok and developed an innovative method of teaching music. Fononímia makes use of the works the singing and the relative height of the sounds. Call the notes C, D, E, F, SO, THE TI, DO, and puts them Roman numerals (it notes as degrees). Get the child to internalize the intervallic distances, and so can sing in all keys. Singing is natural. For example, if the piano is given an MI, and is the first note of the scale (I) for children will be a DO, and not tuned to the LA = 440 Hz (He calls this "method tonic DO" .) Kodàly also due to address without writing, rhythmic language (TA, TI), and "live piano." Szekely Hungarian composer Katalyna teaches courses in Spain on the Kodaly method (in Hungarian is pronounced "Koday)

- Dalcroze, Emile Jacques Dalcroze (Vienna, 1865-Geneva, 1950) was a Swiss musician and educator. Creator of the rhythm method to acquire the musical sense of rhythm through body, their research was one of the leading innovators who had a decisive influence on modern dance. In analyzing the motion in terms of their sense of rhythm, found the principles of "tension-easing", "contraction - decontraction" basis of modern dance. His work and its principles were published in 1920, "The rhythm, music and education." Had the merit of finding a teaching gesture on the genesis of the movement: the music stirs in the brain an image which, in turn, gives impetus to the movement, which, if the music has been well perceived, becomes expressive .

- Wards: An old method, but makes much of the singing and intonation. Makes a fononímia related body parts.
- Chevais: Dactilorítmia (work of musical figures with their fingers, they achieve considerable independence and power). It also uses song and fononímia.
Edgar Willems invented the musical method that bears his name. It focuses on reading music, the method of absolute height and diatonic. Work hard auditory discrimination (with bells, chimes intratonal). "DO mobile" and read on.
5 .- Dalcroze Method:
Emile Jacques Dalcroze (1865-1950), composer and teacher born in Vienna, but of Swiss origin. As a professor at the Geneva Conservatory, he found many of the deficiencies of traditional musical education, which prompted him to realize his "method of education about the pace and rhythm, known as Rhythm. Although in 1910 he had published two articles that summarized the essence of his thought, was in 1920 when there was the appearance of Le Rythme, la Musique et l'Education, which originally was designed for the senior pupils conservatory.
At present there are numerous music education centers in which the method is practiced, among which we cite the Dalcroze Institute in Geneva, Belgium, France, Germany, Spain, Japan, USA, Austria, etc ...
In Spain it was untroducido by Joan Llongueres (1880-1953), poet, musician and educator. After studying a year in Dresden Institulo Dalcroze (1911-1912), founded in Barcelona, ​​the Institut Catalá de Rhythm and Art, the first of its kind in Spain and second in the world. Among his contributions include the Dalcroze method gestures songs (more than one hundred).
Its foundations are:
• The body or body action is the source, the instrument and the first action of any further knowledge.
• Impressions of the wake rhythms drive images in the mind of the listener and body instinctive motor reactions.
• The existence of networks of associations between brain areas (recently tested) corroborate his belief that musical talent does not reside only in the hearing, but in multimodal representations. For this reason many exercises would design stimulation of all sensory modalities, exercises requiring muscles to execute the orders accurately (start of movement or inhibition) with those who sought to develop the speed of the motor reactions of the brain, reinforcing exercises motor images, designed to automate a series of movements, exercises that seek to eliminate unnecessary innervations in motor action, or exercises to identify the muscular sensations.
Its objectives are:
• Remedying the shortcomings of traditional musical education.
• Harmonize all the powers of being.
• Explore the possibilities of movement.
• Mastering the reactions and body movements.
• Consolidate the meaning metric measuring the space and time of movement.
• Develop attention, concentration, memory and personal expression.
Much of these objectives were designed to solve the problems of arrhythmia was detected in their students. We can define the arrhythmia as a lack of harmony and coordination between the conception of movement and its execution, caused by a deficiency of nerve and muscle function.
Some signs of arrhythmia could be:
• Being unable to continue a movement throughout the time.
• Accelerating or delaying a move that has to be uniform, or otherwise (not being able to speed up or slow movement).
D • Start or end of season.
• Not knowing how to chain movements.
• Not being able to simultaneously execute two or more opposite movements.
Its contents are:
• The body as pivotal.
• Music education through rhythm, body awareness, spatial, temporal and motor coordination.
• The musical elements and their graphic representation through listening and body language.
• Development rate: pulse, accent, rhythm.
• Development melodic height, direction, design melodic.
• The tempo and intensity.
The musical education through the song with gestures and movements.
- Method Willems:
Edgar Willems (1890-1978). After consrvatorio musical training in Paris, in 1925 travel to Geneva where he studied the Dalcroze method, which would be a follower. In 1949 he founded the Pro Musica editorial in Fribourg (Switzerland), where all his work published in French.
The main approaches to the method outlined in the psychological basis of music education. Willems intended to awaken and harmonize the powers of every human being: his life physiological (motor and sensory), intuitive mind.
The dissemination of his method is due to his disciple Facques Chapuis, President of the International Society for Music Education Edgar Willems, pricipales whose headquarters are in Lyon and Paris.

 
Spain began to spread in 1983 in Santander, in a course organized by ESME SPAIN.
His method, connected with developmental psychology, part of Dalcroze, who dedicates his book The musical ear, calling him "a pioneer of the hearing culture."
Attaches great importance to the initiation of the youngest musical. Defend musical awareness from the cradle (lullabies) and sensory education at home (to be rocked or jumping on the lap of an adult).
Part of the relationship between music and human being, its vital principles, such as voice or movement.
That the sound and rhythm preceded the music itself. Relates to the three basic musical elements (rhythm, melody and harmony) with three vital aspects: the physiological, the emotional and mental, respectively. Thus, the pace will help the child and the adult to find their vital energies, instinctive and inborn, the melody and the song as its most natural, will provide the power to express their moods, and finally, the choral practice , polyphony and harmony developed intelligence.
Its objectives are:
• To provide musical education rooted deeply human.
• Contribute to the general and artistic openness and the individual.
• Raise the masters of music.
• Develop sensitive hearing and sense of rhythm.
• Develop memory, imagination and expression.
• Developing the singing, music theory, instrumental practice or harmony.
Its contents are:
• Development of auditory sensitivity. To Willems cultivation precedes the auditory acuity of musicality and study music theory. Education includes the sensorial auditory (response to the sound), emotional sensitivity and emotional (melody), the mental consciousness (harmony). Be based on sound object (sets of hearing, discovery of sounds). Heights were studied sound, space intratonal, ups and downs of the melody, sensitivity to the intervals, scales and chords.
• A sense of rhythm. Although the melody is the rule, the pace is essential for its relationship to physiological life. Willems believes that rhythm is innate and studied through body movement (impact sound, walking, running, jumping, balancing, galloping, etc ...).
• Musical notation (using from the beginning the name of the notes and diagrams).
• Songs, works with the melody, rhythm, harmony, scales (major and minor), intervals, chords.
• rhythmic and melodic improvisations.
• The interior hearing.
7 .- Method Martenot:
The method developed by Maurice Martenot tries to combine all the elements to make teaching music education at the service of general education.
Martenot believes that music education is an essential part of the overall formation of the person, attributing the idea to raise the music faculties of the child in school education. Believes that his method is rather a way to ...
The method itself is based on the author's research on acoustical materials in psychology and direct observation of the child.
To work on music theory, is the first part of everything lived through a musical introduction to the music designed to awaken people. This stage is carried out through various recreational games and music projects, in which are presented separately rhythm, melody and harmony. Once this stage is passed to the study of music theory, so that writing and reading music involving the memory of a musical experience which integrates knowledge to express, improvise, interpret and compose.
Overall, the musical education consists of:
• Rhythmic Sense
• Relaxation
• Auditory attention
• Intonation
• tonal balance
• Introduction to music theory
• Harmony and transport

Educational foundation
There are a number of principles underpinning the method among them should be:
• Understanding music as a liberating energy, which can soften and shed complex and sad feelings. Music is a powerful factor of balance and harmony, allowing the child to express themselves freely.

• Give great importance to the influence of musical environment in which education takes place, particularly in relation to the teacher, both in terms of personality and the method used. Among the qualities of the teacher, Martenot indicates the capacity for affective direction of the class, so a flexible disciplina.El reign teacher must be firm and soft, active, friendly, inspired confidence and respect. The method should foster the knowledge that promote the development of musical abilities.

• Factor Tempo.
In his research, noted that the active involvement of children during the lesson should be developed at a time close to the movement of the metronome placed at 100.
He also found that a time longer than 100 produces agitation and overexcitation, and conversely, less time producing and inattention low activity.

• The relaxation, breathing and balance quiet gestures are necessary for health and musical interpretation. The method contains a series of exercises designed to achieve mastery of the movements and perform these on a regular and harmonious with the right proportion of effort, the muscles needed for each event.

• Silence must be both internal and external. He is so necessary in musical practice, the method is reached through relaxation.

• Switching between activity and relaxation. In class sessions should be scheduled and other moments of relaxation concentration, interspersed in the past. At first active sessions with games, exercises and after auditory attention.

• The importance of the principle of progression, by using different levels of complexity of games and exercises.

Development of rhythmic sense
It is the primary function of music education because it is manifest the living rhythm characteristic of every human being. According to the guidelines Martenot, to promote the state's rhythmic activity is necessary to stand, while the body rests naturally on the ground of the right foot forward, and the bust is kept free, or sitting on the edge of a chair with the torso erect, head high.

The development of the sense of rhythm will be achieved through the work of the following capabilities:
• The ability to externalize rhythmic syllables accurately through a syllable sores.
• The ability to sense the pulse of time with strict precision.
• The ability to express simultaneously with perfect accuracy independence and the rhythms and beats of time.

Relaxation
The relaxation is aimed to give students peace and inner strength. The proposed activity is segmental, ie separate parts of the body.
Martenot attaches great importance to relaxation, and describes the teacher's attitude about who should create an atmosphere of peace and quiet.
The series of relaxation of the members pursue physical and mental rest, the flexibility of all joints and control over the muscle groups that govern them.

The listening activities are sometimes preceded by one or two relaxation exercises to promote hearing care.
Hearing
The student should begin with the intangible nature of music, not the height of his placement on the staff. It should be noted that the instrument Martenot waves is indicated for the hearing of tones and different heights.
The basis of the hearing will be on creating auditory attention from silence. To do this we must:
• Listen to the silence of the classroom and then contrast display mode and the sound of an instrument.
• awareness that, to appreciate the true sound, it is necessary that everything is rather quiet around us and in our own person.
Some methodological guidelines that favor the climate necessary for the audition:
• Building on the recognition of previously known melodies and timbres.
• Play different sounds in the game sounds collection week, where students recorded all the listeners.
• in pitch discrimination, sure sounds previously proposed that are perfectly tuned.
• Sing pianissimo sounds, not abruptly.
• Provide an atmosphere of trust, highlighting more correct answers than their errors.
Intonation
The voice is a quality that enables students to express their moods. In the intonation is necessary atmosphere of benevolence, of heartfelt acceptance, confidence, animation created by the teacher. The quality of the teacher has to be good, as students try to imitate.
• The exercises will be conducted in the average size of the voice of the students without ever exaggerating the strength, and with the breath flowing forward, as a generous gift.
• Just intonation depends on fair hearing. Hence, even in singing activities, it must be assumed correct first hearing before the issuance of sound.
The song by imitation is an aspect of elementary education ye heard the voice, and also favors the association of gesture with melodic movement facilitates the correct intonation and musical dictation.
With different formulas rhythmic chant calls or echoes:
• Varying rates and / or sounds
• Varying with open mouth
• Varying the expressive intonation
The preparation of singing solfege Martenot puts it to the Game of the word melody. This game part of the overall impression of sound moving and learn to help students hear better sound and find the correct intonation.
• Reading sung.
To train the children in the association between the movement of the melodies sound and melodic sense of the intervals are formed by chants scores.
• The phrasing and intonation
Like the spoken phrases, the phrase developed in time a stream of thoughts ending in a male or female, corresponding to the grave or acute accent words. Martenot instead uses exercises that start from the grave or acute accent on the words, male or female termination. The purpose of these is to practice the phrasing on the syllable "la", seeking not only the pulse and accents, but also the quality of expression.
Maceration and development of tonal balance
While the method starts with pentaphony soon be working tonal sense. The methodology therefore part melodic improvisation in which little by little, they discover the laws of equilibrium and the attraction of Hue.
Introduction to music theory: rhythm and reading notes
• Reading rhythmic forms

To Martenot, the duration of a note is one element of a whole. Represents one of the members of the body rhythm (formula); And separate becomes meaningless. Consequence of this is the overall design of rhythmic reading, which presents the elements in a rhythmic cell and not separately, as other methods (Kodaly, Willems ...)

Considers that the rhythmic and intonation problems can be solved by working hard herself the rhythmic and tonal. It is essential to disregard at first the names of the notes and musical notation of the figures (white, black, eighth ...)

The verse should be made globally without an analysis of securities, directly related to the drawing. Then, once experienced numerous formulas rhythmic rhythmic sounds are related to their corresponding values, saying "the" for Black, "the .. a" white, "shit" to silence.

• Reading melodic
Reading notes begins on the first phase of musical development, as is presented here, focuses on the development of the sense of rhythm, listening and relaxation.
To solve reading Martenot uses race notes, for speed and regularity and get healthy at the finish. You win a race when you read a line without any hesitation and time indicated by the metronome.

Martenot consonants replaced notes at the beginning and the names and O, E, I, A, OL ... in order that while the information is recorded. However, for the repetition of sounds, consonants are essential to avoid hitting with the glottis.
To differentiate the nature of the altered notes, adopts a nomenclature simpler than other methods such as Kodály. The altered notes are sung adding B or S to the natural sound that is flat or sharp, respectively.

Harmony
The study of harmony is made from knowledge of the scale and major or minor chord.
Various exercises are performed according to an order quite melodic, which have as their purpose the development of intonation and tonal effect to the study of chords. Begins the study of chords and their investments since the beginning of music reading and a strong emphasis on the 3 rd, 5 th, 7 th and 9 th major and minor.

Materials
Repertoire of nursery rhymes
Psychomotor Material
Audiovisual media for the development of creative imagination
Educational games: letters and words melodic
Educational games: Race notes, self
Domino dominoes with rhythmic and metric values
Tuning fork and metronome
Wireless keyboard with the names of the notes that are placed on the piano keys
The purpose of these games, as stated is to acquire knowledge of musical elements, facilitating and script theory.

The wave instrument consists of:
• The instrument, which consists of a 7 / 8 keyboard, a ribbon, placed on the index finger of the right hand can make sounds like humans, glissandos, etc ... , A roller-hand keys, a drawer on the left with the control box that regulates the dynamics, timbres, broadcasters, etc ...
• Broadcasters (principal, cash and another called "Palma").

- Orff Method:
Karl orff is a composer and teacher born in the city of Munich in 1895. He studied music in his hometown and was appointed professor of composition in 1950. Composer of many choral works, and can highlight your great composition, "Carmina Burana."

This method is an attempt, the final day, to adopt a primary school rational ideas and material for the musical education of children.

Addressing this company has made a series of reactions and review of concepts and ways that had become necessary to a rethinking of what the school required and needed.

The school that we handle is not a specialist music center, as would a music conservatory, the elementary school is the vast world in which children are educated in a very general, there grows the child all that is necessary for life , develop their senses and learn. This is the principle that the work was born "Orff-Schulwek."

Orff's music education is based on the business, which creates a contact with the music from the first moment we have all the elements of rhythm, melody, harmony and timbre, resulting in a simple music, original, and elemental forms a unit along with language and movement.
This method is based on the rhythms of language, being the cell of the music rhythm and the spoken word. Therefore has its basis in the triple activity, word, sound and movement. This method trains children in the musical aspect of a natural and progressive way, by playing and improvising rhythms and melodies.

Objectives:
• Development of intelligence and motor fitness of body possibilities.
• Ensure active participation of children by purchasing a gradual development of knowledge.
Contents:
• Rhythms of the language itself, chanting rhythms, cries, rhymes, riddles, proverbs, tongue twisters, etc ...
• Rhythms and proper body movements or relative to the text.
• sound percussion rhythms determinate or indeterminate.
• Language and echo songs, obstinate and melodic canons.
• Intonation and melodies through intervals of one third less.
• Songs of the country's own folklore, its traditions and dances.
• Instruments and its adequacy.
• Creation and spontaneous improvisation.
• Listening to other music with motion application.
Activities:
• Games rhythmic prosody.
• Games rhythmic-motor coordination.
• Games starting intonation major third and notes of the pentatonic scale, to later move to the level Deaton.
• echoes games, dialogues, fees, etc ...
• Application of folk songs and traditional dances.
• Implementation of improvisation, prosodic, rhythmic and melodic.
• Application specific instrument sound as xylophone, xylophone, chimes, etc ...
• Application of sound instruments undetermined as Chinese boxes, keys, rattles, etc ...
Music auditions • Performing rhythms, exploration of space and movement.

9 .- Method Chevais:
This method is primarily active. Basa progression sounds perfect major chord, and the values ​​of the durations of one, two, three or four times, and sub-multiples of the time after time.
A finger is a sound one time. Several separate fingers represent various sounds of a time. Several fingers together represent a sound several times. To silence closes the appropriate finger. When the closed hand, silence is a rhythm.
It is a vocal method as the only source of sound.
Its objectives are:
• Music education for all without exception.
• Learn to enjoy the music and then move on to technique.
Its foundations are:
• Application of the test on memory and auditory acuity, sensitivity and musical activity.
• Activity auditory, vocal, physical and fun.
Its development is:
• Introduction to music theory from 6 to 10 years.
• Notation and progression of 10 to 12 years.
• Polyphony of 12 to16 years.
• Voice training and employment of fonomimia.
His use of musical language:
• Canto by imitation from 0 to 6 years.
Reading, singing rhythm and recognizing sounds conventional, by age 10.
10 .- <b> Kodaly method:

INTRODUCTION. ORIGIN AND DISSEMINATION

Kodaly (Keiskemet 1882 - Budapest 1967). Along with Bela Bartok made a renewed language of popular song and a great study of Hungarian folk heritage.

The role of Kodaly in Hungary and its international repercussions were more relevant than Bartok for his work teaching and learning, for example, some of his work were to perform a task of training his method among teachers, creating and promoting new Hungarian classical music, songbooks and publish teaching materials for all levels.

The main element is Kodaly singing voice is the first and most versatile musical instrument that too often we in the background to use small musical instruments. The practice of singing is the basis of all musical activity because it derives all the teaching of music. The real goal is to make children sing perfectly sound and sight of a score. The notation is understood only as reading music sung.