Solfege according to the Kodály-concept II. (töredék)

Fülszöveg

» The present volume is an organic conp ¦ tinuation of the earlier book of the same title (containing Chapters 1 to V). Both * were written for aduit musicians and < teachers to enlarge their musical and pedagogical experiences by means of gradually developed knowledge through the study of masterpieces and their sty listic characteristics. The musical material, along with the frag ments of the Kodály exercises, contains j excerpts from the Renaissance, Baroque and Viennese Classical periods and is closely tied to studies of harmony and form. The musical quotations for sightr singing purposes include alsó melodies in modal keys and pentatonic modes to be found in the Romantic and Contempor ary periods. The study of functional harmony has a very important role in this volume. It is approached through singing practice and ear training exercises as weil as through more intensive harmonic analysis of musical quotations. Since this volume is intended... Tovább

Fülszöveg

» The present volume is an organic conp ¦ tinuation of the earlier book of the same title (containing Chapters 1 to V). Both * were written for aduit musicians and < teachers to enlarge their musical and pedagogical experiences by means of gradually developed knowledge through the study of masterpieces and their sty listic characteristics. The musical material, along with the frag ments of the Kodály exercises, contains j excerpts from the Renaissance, Baroque and Viennese Classical periods and is closely tied to studies of harmony and form. The musical quotations for sightr singing purposes include alsó melodies in modal keys and pentatonic modes to be found in the Romantic and Contempor ary periods. The study of functional harmony has a very important role in this volume. It is approached through singing practice and ear training exercises as weil as through more intensive harmonic analysis of musical quotations. Since this volume is intended for more advanced students, materials of an ap- propriateiy more difficult nature have been drawn from the volumes of the Kodály Choral Method.
The author, Erzsébet Hegyi was trained at the Liszt Academy of Music, Budapest as a pupil of Zoltán Kodály, Lajos Bárdos and Jenő Ádám. Since 1951 she has been teaching solfege, harmony, form and stylistic analysis at the same Academy of Music. Since 1970 she has been taking part in the International Kodály-Movement teaching at many summer courses, both in Hungary (Kodály Pedagogical Institute of Music, Kecskemét) and in the United States. She is well-known for her Collection of Bach Examples, Quotations from J. S. Bach's Cantatas in two volumes, a sight-reading collection for solfege and harmony studies. Vissza