Sound Beginnings / Sound Progressions
Down the Road... On a New Beginning
by Kevin Bolton (from BKA Spring 2003 Newsletter)
The impact of the Sound Beginnings Course upon my professional working life has been immense. My 'former life' as an instrumental teacher, was conducted without any knowledge at all of the Kodály Approach to Music Education. I taught the guitar in a wide range of settings from maintained sector, private sector, F.E., H.E., H.M. Prisons, as well as privately. In 1991 I was appointed to work in Curriculum Support for Barnsley LEA.
In the capacity of Advisory Music Teacher, I was increasingly called upon to help teachers implement the orders of the National Curriculum for Music. At the same time, I became increasingly concerned that the requirements of the Orders were beyond the experience and ability of most classroom non-specialist teachers, after all, that is why the LEA deemed it necessary to appoint people to assist the class teachers. Whilst strategies were developed to help e.g. Inset, Classroom Support and so on, there seemed to be something missing from the whole programme.
It was by chance that I saw an advert in some magazine,
or by way of a flier, and I made a phone call to the BKA. The result of this
phone call was a course, made up of s series of weekends over three terms
and led by Cyrilla Rowsell. The course was so expertly presented and so well
received that I decided to seek a course for myself. My thoughts were to
find something that
introduced the Kodály Approach from the start. Sound Beginnings was to be
offered for the first time in 2001 so I decided to apply, a decision, I will
hold, that was the best I could have made.
The practical music sessions of
the Sound Beginnings Course were led by Helga Dietrich. From the first
moments of the first session it was clear to me that my whole professional
approach to teaching music was in for a 'good shake-up'. To be honest, I
felt as though I was beginning all over again, and I think other course
members who were also new to the concepts, had the
same feelings. I felt that I was beginning anew, to learn, experience and
reflect upon the processes involved in teaching and learning music. Although
the course dealt with music in the Pre-school, the logical principles
contained within the Kodály Approach, apply to anyone no matter what age.
Namely that learning has to take place progressively, in measured steps and
with (age) appropriate material.
Helga Dietrich was a source of great inspiration. She led the sessions with great skill, warmth and humour. Her capacity to work 'full steam ahead', throughout the whole period of the residential side of the course, was testimony to a great teacher. It has been my privilege to be instrumental in bringing Helga to Barnsley in the autumn term 2002, where she gave a weekend course in Pre-school music. The net results of my studies on the Sound Beginnings Course have made me committed to advancing the Kodály Approach to Music Education, and I have received both interest and support from some of our Head teachers in Barnsley. In the Summer Term this year, I have been asked to re-run two training sessions for the Sure Start Team, the sessions were given originally as part of the Sound Beginnings Course requirements.
I returned to the Summer School in 2002, and I eagerly await the Summer School in Leicester this year.
Sound Beginnings News
(from BKA Winter Newsletter 2003)
Celia Waterhouse was among the first wave of Sound Beginnings trainees in August 2001. Celia had been working as an independent Early Years Music teacher in her own area (Cambridgeshire) for some years, and a few months before the course, she was approached by Linda Baston-Pitt, Principal of The Old School House Day Nursery (OSH), a large independent Day Nursery in a neighbouring village. Linda was keen to make a bid for Youth Music funding for a comprehensive music programme for OSH, and Celia agreed to act as consultant, helping to write the funding application, which proved to be successful.
During Autumn 2001 Celia visited the Nursery weekly as one of her teaching practice settings for Sound Beginnings, which also served as a Pilot project for the OSH music programme. The full OSH music programme began in April 2002, with Celia visiting each week, working with every age-group and including all the staff in the training programme. The OSH music coordinator, Rachel Allen, attended BKA Summer School in 2002, and herself began to take on more responsibility for establishing the music programme throughout the whole Nursery, supported by Celia's regular visits.
OSH is a well-established teaching Nursery, a model of excellence, often
used by students as a teaching practice setting. The next Early Childhood
weekend course with Helga Dietrich will be taking place there on November
8/9. Those attending will be able to talk to Linda and Celia as well as
having the wonderful opportunity of working with Helga, one of the most
widely-known and foremost experts in this field.
Sound Progressions 2003
by Helen Carr (from BKA Winter Newsletter 2003
What would my impressions be of the Sound Progressions course? I pondered this, driving to Leicester with two of my work colleagues- both of whom were attending their first course, and asking me about previous courses. I had done Sound Beginnings, and I could tell them about that experience. Their opinion was that I was possibly not the wisest person to be driving a car on the public highway- to consider getting up at 5.45 and working through to midnight, with almost no time off for good behaviour- and all in the holidays!!!!!!
Yes, I knew it would be hard work, but I also knew the calibre of the tutors, and that whoever was on the course would leave feeling refreshed (intellectually!), and inspired.
As it tuned out, five of us had elected to take this course. I had met Judith Brindle before - on the Sound Beginnings, when we hardly had time to speak to one another. Terry, Jo and Liz were all new (and unsuspecting!) Mary had placed us all in the same corridor- a wise move, as communication –possibly over a glass of wine- was easy. We found real fellowship and support, which made the workload easier to bear, and there is no doubt that the expectation is that students on both Sound Beginnings and Sound Progressions are going to work hard.
This is not unbearable, as the course tutors, David Vinden, Eva Vendrai, Cyrilla Roswell, Liz Alexander and Judith Brindle are all excellent. Their knowledge and experience is astounding, as is their willingness to pass on all of this valuable information on to the students.
One person who must not be left out of any thanks is Magda Graf-Forrai. Her patience and humour in coping with the brain-fried students that turned up to her solfege class at the very end of the day must be legendary. Yes, there was the evening when we all, Magda included, dissolved into helpless laughter for almost no reason at all, instead of doing our very serious modulations!
I have been teased at work for apparently churning out industrial quantities of lesson plans. Yes, I have to as it is a part of my job, but it is also made so much easier by the way we have been shown to use the materials. A large part of the final mark for the course is a database of songs, analysed by content, and filed by varying content. It is a large task, and one that will not end when the course does. At least not for me!
It makes the choice of repertoire easier because you can find something to introduce, make conscious, and reinforce a musical concept, as the database develops. It also helps to refresh the repertoire- no chance of becoming bored with the material you are using, because you are always on the look out for new material, rather than constantly regurgitating the same old stuff. It also makes you consider more carefully the material used- improving thought processes, and giving greater clarity to the written plans. It also gives great opportunities for 'joined-up' or stranded thinking.
Collecting songs for the year five and six age range has so far been the most difficult- not because of the musical content, but not all the subjects are suitable for children of that age, being more in line with singing round the campfire after more than a few beers!
As I travel round the various schools on my current rota, I am constantly surprised by the reception the Kodály approach receives. I know I shouldn't be by now! The majority of class teachers are pleased by the logic behind what we are trying to achieve, and the outcomes of each lesson.
Recently I was Ofsted inspected at an ordinary East London school, where there has not been a lot of music. This was the children's third lesson, all Kodály based. The Inspector (who had been at the Royal Academy as a student) said afterwards that it was so nice to see children doing this type of musical learning, (which included movement- in this location I have the luxury of the hall!). She would be recommending more of the same to the school - I am due to finish there at Christmas. She also said that there should be more of this style of teaching as it affects not only musical, but other aspects of behaviour and learning as well. I eagerly await the report, so that I can use it as a positive tool in other schools.
I know that I can say with confidence that what Sound Beginnings started, Sound Progressions is developing. The way I plan has changed, I have far greater confidence in going into school on my terms, rather than having to deliver lessons that someone else thinks will be a good idea (Yes, it has happened before!) I can also see and hear how the varying classes are developing, as can the class teachers. School teachers do not always like 'schemes' as they are not always easy to understand or deliver, so they do like something that they can understand as a method, which has a logical progression.
I hope this does not sound like me blowing my own trumpet! I hope that it shows how anybody can improve and develop, as I have been able to do through attending these courses. I feel confident in the principles I am teaching, and in the responses I will get from the children and staff.
Finally, as I went over
to the bar on the Monday evening of the course- and not even to get a drink-
one of the 'normal' students asked if I'd only just arrived, as she had not
seen me before. I replied no, but that I was doing the Sound Progressions
course. "Ah" she replied, "now I understand".
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