Cheam School Pre-Prep, Newbury, Berkshire

A Case Study

ForKS1 and

MusicTeachers

When I began my teaching careeras a piano teacher, I found it achallenge to understand whyseveral of my young pupils failedto grasp what I believed to besimple musical concepts such assteady beat and rhythm. I seemedto spend a great deal of eachlesson trying to get them to playin time, yet often they wouldreturn for their lesson a week latershowing little or no improvement.They often found aural tests (suchas finding the pulse of a piece oridentifying changes in pitch)difficult, too.

DDiissccoovveerriinngg KKooddáállyy

In 2004, I took part in theCertificate in Teaching course (runfor music teachers by theAssociated Board of the RoyalSchools of Music), and it was herethat I first encountered thephilosophy of Zoltán Kodály. Theteacher who led the session wasCyrilla Rowsell, one of the authorsof the Jolly Music programme. This session had an immediate

impact on me as I realised thathere was the solution to theproblems that I was experiencingwith my pupils. In order to playwell, my pupils needed first tolearn basic musical skillsincluding beat, rhythm and pitch,and these skills had to be taughteffectively and thoroughly. TheKodály approach shows teachershow to impart these skills in apractical way. From that timeonwards, I have dedicated mytime to developing myself as aKodály practitioner. After spending one year training

at the Kodály Institute in Hungary,I took up a teaching post atCheam School where I have beendeveloping musicianship skills inthe children of the Pre-Prep. Ibegan my work in September2007 and started using the newlypublished Jolly Music Handbook

(Beginners) with the Reception,Year 1 and Year 2 children.

SSiinnggiinngg aass aa mmuussiiccaall ffoouunnddaattiioonn

In my music lessons we usemainly the unaccompanied voice.This helps my pupils to developnot only singing ability, but alsothe skill of listening – the mostvital skill of all, because music isa 100 per cent aural experience.Although we spend most of ourtime singing, we occasionally usesome instruments, such as drumsor chime bars, as well.Many very young children

cannot sing in tune. It is widelyassumed that this means that they

cannot sing. This is quite wrong; itmeans only that the child’smusical hearing and listening skillsare not yet developed. The JollyMusic approach gives me thetools to help every child developthose skills – not just those towhom singing comes easily.The constant use of the

unaccompanied singing voicemeans that the children’s listeningis fully engaged. As a result, their

intonation (singing ‘in tune’) andpitch-matching skills improvesteadily.

CCrreeaattiinngg yyoouunngg mmuussiicciiaannss

Right from the start of theBeginners’ book, Jolly Music usesa mixture of traditional children’ssongs and games that not onlyprovide a firm basis for groupdevelopment, but also give thechildren a chance to perform soloin every lesson. Children love todemonstrate their skills and fromthe earliest stages, Jolly Musicfeeds their natural desire toperform in front of their peers. Iget solo children to sit on the‘singing chair’ – just an ordinaryclassroom chair that we havedecorated – and tell them that itwill help them to sing really well.This solo work developsconfidence and self-assurance,which are important for anymusician, but also in many otherareas of life. It also allows me toassess the children individually.Of all the musicianship skills

that Kodály taught us to developin our pupils, perhaps the mostimportant is inner hearing: theability to hear musical sounds‘inside your head’, comparablewith reading silently or doingmental arithmetic. It’s referred to

Jolly Music feeds thechildren’s natural desire to perform

Year 1 children learning about timing by doing frog jumps.

“Jolly Music helps me to unlock mypupilsʼ musical skills”Martin Lijinsky, Music Teacher, Cheam School

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in Jolly Music as the ‘thinkingvoice’ and I work with thechildren to develop this skill fromthe start. I have seen greatimprovements in both individualsand the class as a whole as theylearn to use their thinking voices.One of the greatest feelings ofsatisfaction that I’ve experiencedis this continual improvement ofaccurate singing by children soyoung.

AA wweellll tthhoouugghhtt--oouutt sseeqquueennccee

Structure is vitally important togood music teaching, and it mustbe present not only in theindividual lesson but across thewhole series of lessons. JollyMusic provides this structure in ahighly concentrated and well-thought-out way. The lessonsprogress logically andsequentially throughout theseries and everything previouslylearned is used both to reinforceprior learning and to create newlearning opportunities: well-known leading to unknown,familiar leading to the unfamiliar.The structure allows me to spendtime patiently on the variouselements and concepts beingtaught. There should be no rush! Games are an important

element in the lessons, and are aperfect example of how thechildren move from experiencingmusical concepts to consciouslyunderstanding them. Unconsciouslearning lays the groundwork forconcepts such as rhythm,pulse/beat and pitch, so by thetime the children are introduced toa concept made conscious, theycan easily understand it. It can take only 30 seconds to

make a concept or musicalelement conscious, but manyweeks and months to prepare asecure foundation for thatconcept. For example, with thenursery children I use manymusical games where theyperform the beat in different ways,but we may spend two yearsplaying these games and singingsongs before I explain theconcept of the steady beat. My

pupils have no difficulty withterms such as pulse, rhythm andpitch because they havethoroughly understood theconcepts through experience first.

AA cchhiilldd--cceennttrreedd aapppprrooaacchh

Kodály placed a strong emphasison starting music education early,and he was one of the first musiceducators to develop a trulychild-centred approach to musiceducation, fitting the musicalmaterial and the activities to thedevelopmental stage of the child.In the early years, I spend a lot oftime on singing games. Thechildren love to play these games

repeatedly, so it’s easy toincorporate repetition andreinforcement into the lessons.I use every opportunity to

introduce resources to help thechildren’s learning and make thelessons fun. The children canmake and use their own puppetsto show the pulse of a song. I usehand puppets to demonstrate thedifference between high and lowpitches, and a ball to helpchildren experience the conceptof a strong beat. The Jolly Musicbooks provide ideas andtemplates, but there is plenty ofscope for teachers to come upwith their own resources, too.

Every element of the Kodályapproach is designed to makethe children’s learning moreeffective. For example, the songsthat I teach the children use onlya small number of pitches. Manyso-called ‘children’s songs’ havea wide range of pitches, makingthem physically impossible forchildren to sing; they often growlor use their speaking voicesinstead. Young children have alimited vocal range, and in theearliest stages, just two pitchesare enough. I have found all ofthe songs in the Jolly Musicprogramme to be easily singablefor the children.To teachers who are unfamiliar

with the approach, it may seemthat the rhymes and songs aretoo short and simple, that theylack melodic variety, or that thereis too much repetition.Experience has shown me thatthis is not an issue. Provided thatthe children enjoy the songs andgames, and that what they doleads to success, it does notmatter if adults think that thematerial is boring or limited.Adults need to enter the world of the child rather than expectingthe child to enter the world of the adult.In fact, it is quite possible for

adults to have great fun becomingchildren again with these games.This can offer security to youngchildren, who, in my experience,love the games even more whenan adult plays with them.

'e children love to play these

games repeatedly

Year 3 children show the pitches of a song with hand movements.

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AAnnyy tteeaacchheerr ccaann uussee iitt

The lesson plans in Jolly Musicare very clear and detailed, and Ican see it being very accessiblefor teachers who considerthemselves unmusical and mightthink they are unable to teach thesubject. The ‘Resources’ sectionin each book makes it possiblefor Kodály-trained teachers to bemore flexible and versatile withthe programme, adding to orselecting from the materialaccording to time constraints.

TThhee cchhiillddrreenn’’ss aacchhiieevveemmeenntt

Because Jolly Music is skills-based, it allows my pupils toacquire a fine repertoire ofmusicianship skills that can belife-lasting; as they move upthrough the school, they candevelop these skills furtherthrough continued Kodály trainingand other musical activities suchas learning an instrument or

participating in a choir orinstrumental ensemble. When I began teaching music at

Cheam School, many of thechildren had little idea of beat andrhythm. Although they weremostly happy to sing, theirintonation and pitch-matchingskills were not particularly welldeveloped.My new Year 3 group, to whom I

have been teaching music forthree years since they were inReception, are now highly skilledmusicians, considering that theyare only seven years old. Theirskills repertoire includes thefollowing:

• Well-developed musicalmemories

• Excellent musical literacy skills

• Highly accurate intonation andpitch-matching skills

• Competence in solo singing andperformance with a high degreeof confidence

• A firm understanding of pulseand rhythm

• Excellent sight-reading skills ofrhythm patterns

• An ability to work with pulse(beat) and rhythmpolyphonically (that is, toperform both at once)

There is no doubt that the JollyMusic programme has greatlyaided their development and it isnow very easy for me to identifywhy my piano pupils of severalyears ago were struggling withbasic musical concepts.I had to look at myself and my

teaching methods in finding thisanswer; the Jolly Musicprogramme and, central to that,the philosophy of Zoltán Kodálywere the keys that unlocked thedoor for me as a music teacher. Iwould recommend Jolly Music toanybody wishing to teach music.Martin can be contacted atmartin.lijinsky@ntlworld.com

The quality of music here hasalways been good but I can now genuinely say that it isoutstanding. Parents and visitorsare astonished at the quality ofthe singing and tell us soregularly and enthusiastically. What is also noticeable is the

effect of their music lessons onthe children’s other skills. One ofthe major skills that children learnin the Pre-Prep is communication.If children are to be successful inschool they need to be able tolisten to as well as hear what isbeing said and to respond towhat they hear. Listening is a vitalskill in collaborative learning andchildren listen to each other andproblem-solve together.The explicit expectation in the

music lesson that the childrenwill do all these things – listen,respond and work together on

improving their performance –encourages the development ofthe good learning skills that weare trying to embed across thecurriculum.

Another area where we havenoted an improvement is in thepupils’ concentration, both inmusic lessons and in theclassroom. They understand andobserve qualities of sounds suchas higher and lower or louder andsofter. It is a joy to watch ourFoundation Stage childrenunconsciously keeping time withthe music as they walk out ofassembly. They already ‘feel’ thebeat. They are alert to patterns in

sound and this is a key factor indeveloping literacy skills as wellas musical ones. Through the many actions and

game that go with the songs, thechildren’s co-ordination skillshave improved as they havelearned about left and right, toclap patterns and to cross themidline (that is, reach one hand or foot across to the otherside of the body). Regularopportunities to develop theseco-ordination skills have a knock-on effect in gross and finemotor skill development acrossthe curriculum.Above all, the confidence of

the children is amazing. Theyperceive themselves as ‘singers’.They enjoy performing and areconfident that they can do it well.The singing doesn’t just happen,they know how to sing.

“Jolly Music makes our children better learners”Marion Scott-Baker, Head of Pre-Prep, Cheam School

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What is noticeable is the effect on the

children’s other skills

My daughters – Arabella, aged 8,and Sophie, aged 7 – have gainedmuch from the teaching of JollyMusic at Cheam School over thepast four years. From a veryyoung age, they were exposed tonursery rhymes at home and inthe car, but definitely becamemore musically aware when theystarted their music lessons atschool. From the age of five, they

have both been enthusiasticsingers who enjoy learning andperforming new songs andactions. Much of what they havebeen taught has ‘rubbed off’ ontheir younger brother Charlie,who joins in at home in much ofwhat they have learnt at school! Ithas amazed me how quickly theyseem to learn new rhythms andrhymes and how such musical

enthusiasm hasfurther developed their self-confidence and willingness toperform in public. Now in Years 2and 4, they are passionate abouttheir music and keen to progressfurther. As a result, both of themare learning the piano with a view to picking up a secondinstrument in the not-too-distant future.

We have been on the most incredible journey withthe younger children at Cheam. Using the wonderfulresource of Jolly Music, pupils from our Nursery toYear 4 have experienced the most amazing start totheir musical careers.We have been blessed with a dynamic enthusiast

of the Kodály methodology as their teacher and theopportunity to devote the entire music curriculumtime to this project. Martin Lijinsky has worked witheach class either once or twice a week for a 30-minute session depending on their age group. Theresults are staggering and yet the children continueto surprise us with their musical development andconfidence. They have really enjoyed using Jolly Music. The

resource, underpinned by the inspirationaleducational philosophy of Zoltán Kodály, hasenabled them to discover and develop their singingvoices. Through the simple repetitive use ofunaccompanied rhymes, songs, games and folk-song material they have all developed an accuratesense of pitch awareness. Their understanding ofrhythm and their strong sense of pulse have alsoimpressed me. These skills form such a criticalbasis for future musical development and all thechildren who have undertaken the course at CheamSchool have a very secure grounding. They areexcited by enjoying their musical education andhave begun to feel music within their heart and soulthrough the use of inner hearing and improvedmusical memory.The older children are now beginning to start

individual instrumental studies and already we areexperiencing faster initial progress and enjoymentof these instruments because of their advancedskills in pitch, pulse and notation.

There can be no doubt that the carefully plannedprogramme of activities presented in Jolly Musicoffers all children the most outstanding start to theirmusical studies.I would encourage any teacher, music specialist

or non-specialist, to have a go. This is not aprogramme you can dabble with, but if you areprepared to invest time and enthusiasm on thissingle course of study you will be amazed by thereactions from the children, parents and staff!We are certainly thrilled at Cheam and look

forward to watching these children blossom asmusicians as they pass through the school. Martinhas the great pleasure of introducing new groups ofyoung children to Jolly Music with the certainknowledge that he is beginning them on thisincredible musical journey too!

“A wonderful start to the childrenʼsmusical journey”Tim Bennett, Director of Music, Cheam School

My children and Jolly MusicAngela Harris, mother of two pupils at Cheam School

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A Year 1 child working with simplified musical notation.

The Kodály approach to musiceducation was developed byHungarian composer, educatorand ethnomusicologist ZoltánKodály (1882–1967). Kodálybecame interested in musiceducation when he found thatmany of his students at the LisztAcademy, although advancedinstrumentalists, lacked basicmusicianship skills. Heincorporated into his approachsome ideas that were already inuse, such as rhythm names(speaking rhythms using syllablessuch as ta and ti-ti for thedifferent note durations), solfanames (the scale names do, re, mietc.) and handsigns (to show thenotes of the scale), and he drewon the work of Emile Jaques-Dalcroze (1865–1950) in usingrhythmic movement. His approachcan be used from early childhoodup to professional level.

FFrroomm uunnccoonnsscciioouuss ttoo ccoonnsscciioouuss

Kodály’s approach is a child-developmental one; all theactivities are suited to the child’sabilities. He recognised threestages of learning: unconsciousexperience, making consciousand reinforcement (or preparation,presentation and practice). InKodály lessons children learnmany songs and rhymes, initiallyby imitation. Gradually what theyhave assimilated unconsciously ismade conscious and they learn

both the appropriate vocabularyto describe their experience andthe symbol that represents it. Theteaching is structured so thatstudents progress from the simple to the complex in a seriesof logical steps. The steps arevery small so that success isguaranteed. Most of the repertoire consists

of children’s singing games. Manyof these originated in the streetand playground, and children of allages love them. At a later stage,composed songs and art musicare also used.

WWhhyy tthhee vvooiiccee??

The voice is the primary instrumentused. Singing is the most directway of making a musical response;anything learned through singing(and therefore through the body) islearned more thoroughly anddeeply. Singing is also vital for

developing that essential part of amusician, the inner hearing. It isnot possible to sing anything thathas not first been imagined in theinner ear; singing therefore provesthat the music has beenassimilated and understood.The songs used in the early

stages have a small range andsimple rhythms. Many of thegames and activities encouragesolo singing, which is helpful forthe teacher’s assessment as wellas breeding confidence in thechild. Growlers gradually learn topitch accurately by singing ontheir own and imitating theteacher’s voice. Pentatonic music (based on a

simplified five-note scale usingonly do, re, mi, so and la ) is usedinitially, as singing with goodintonation is easier without semi-

tones. (A semitone is the smallestinterval in western music, thedistance between ti and do in thescale.) Two-part work is animportant part of the training; whentwo people sing together withoutaccompaniment, they listen moreclosely and tune with each other. Inthis way they improve theirperception and understanding ofhow the music is constructed.

FFrroomm ssoouunndd ttoo ssyymmbbooll

In Kodály classes, children learnmusical literacy by moving in anatural sequence from sound tosymbol. They first experiencepulse (or beat), then rhythm (thepattern of short and long notes)and are taught to differentiatebetween the two; they are thenintroduced to rhythm names andlearn to read rhythms fromsymbols. An awareness of pitch(moving higher or lower, stayingthe same) is developed beforethe children begin solfa training,and new pitches are introducedgradually. Solfa is learned withaccompanying hand signs, whichprovide a physical link with thesound. Hand signs are powerfultools in that the children can alsoread from them, thus quickly andeasily learning new music orrecognising known material.Children learn to read and write

music initially with simplifiedversions of notation (see photo onpage 5, for example). From usingrhythm symbols with solfa namesunderneath, they then move on toconventional notation, with letternames introduced gradually.We would not attempt to teach

a child to read before it couldspeak. But this is precisely whathappens to many younginstrumentalists. Kodály taught usthat children have to learnmusical skills before they attemptto play an instrument: ‘before werear instrumentalists… we mustfirst rear musicians.’With thanks to Cyrilla Rowsell andGillian Earl

About the Kodály approach

Students progress from the simple to the

complex… 'e steps arevery small so that

success is guaranteed.

Reception children tap the pulse asthey listen to a song.

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Teach music skills in a fun andeffective way with Jolly Music!

What is Jolly Music?Based on the tried-and-tested principles ofHungarian composer andmusic educator ZoltánKodály, Jolly Music is astructured and progressiveprogramme for teachingmusic skills to children. Theapproach is multi-sensory,with all the teaching donethrough singing. This enableschildren to become instantmusic makers without theneed to learn how to play aninstrument.

Make music more of afeature in your classroomJolly Music has beendeveloped so that anyteacher can teach music inschool, even those with littleor no musical experience. Itoffers clear step-by-steplesson plans as well asaccompanying CDs foradditional support, givingteachers the confidence todeliver an enjoyable musiclesson to their class.

How does Jolly Music work?Through a repertoire basedon playground rhymes andsongs, children becomeaware of musical elementsincluding pulse, rhythm,pitch, loudness and speed.Activities and games supportmulti-sensory learning andmake the lesson fun. Eachlesson is carefully structuredto build the key skills oflistening, singing in tune,inner hearing and, ultimately,musical literacy.

CCyyrriillllaaRRoowwsseellll spenteleven yearsas a primaryteacherbeforespecialising inmusic education and is nowone of the most experiencedKodály practitioners in theUK. She is in great demandnot only as a teacher, but alsoas a trainer and adviser toschools, educationauthorities and organisations

such as the Associated Boardof the Royal Schools of Musicin London. Currently Cyrillateaches in a state primaryschool and at the GuildhallSchool of Music and Dramain London.DDaavviidd VViinnddeennis in demandthe world overas a leadingKodályexponent.Educated atthe Royal Academy of Music,

London, and LondonUniversity, David taught forsix years before studying atthe Kodály Institute inHungary. He was director ofThe Purcell School until1995. Subsequently he haslectured at BirminghamConservatoire and currentlylectures at Trinity College ofMusic and the GuildhallSchool of Music and Dramain London. He and his wifeco-founded the KodályCentre of London in 1992.

About the authors

What a difference JollyMusic makes! It’s a

delight to see the childrensinging and tapping out

beats, even those who arenormally shy.

Fun and easy to use,both by specialist

and non-specialistteachers… No schoolshould be without it.

The lesson plans arebeautifully crafted…

Lucky the childrenwho are brought

through this process.

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Packed with text, audio and video, the Jolly Music online training course provides an interactive and flexible way to study. Whether you are a music specialist or a classroom teacher, currently using Jolly Music or planning to introduce the programme to your school, this course will equip you with the knowledge, understanding and skills you need to deliver Jolly Music effectively to your class.

Jolly Music training online – wherever you are!

Jolly Learning Ltd www.jollylearning.co.uk info@jollylearning.co.ukTailours House, High Road, Chigwell, IG7 6DL Tel: 020 8501 0405 Fax: 020 8500 169650 Winter Sport Lane, Williston, VT 05495, USA. Tel: 1-800-488-2665. Fax: 1-802-864-7626.

11/2014

• Work at your own pace, whenever and wherever you want

• 175 audio files so that you can listen to the musical material in context

• A wealth of video, including 60 specially filmed clips showing Jolly Music in the classroom• 21 downloadable documents, including articles, diagrams, tables and sample lessons

Who should take the course?Anyone who is currently using or intends to use Jolly Music, whether music specialist or classroom teacher.Why take a training course?To help you understand the approach behind the Jolly Music programme and deliver the programme confidently in a way that will benefit all of your pupils.Where can I take the course?The course is delivered entirely online, so anywhere that you have access to an internet-enabled device, whether at home, at school or elsewhere.How long is the course?20 hours, spread over 5 modules, each requiring 4 hours of engagement.When can I take the course?Right now! Just enrol online to begin.How much does it cost?£125 per participant. Your free copy of The Music Handbook: Beginners will be sent to you on enrolment.CertificationParticipants who engage with the course for the required total of 20 hours and complete the assignment for each module can download a personal study record and certificate of completion.

To find out more, visit www.jollymusic.cpdcollege.com

What does the course cover?The course comprises 5 modules, each

requiring 4 hours of engagement. The focus is on Beginners’ Level, though some material from Levels 1, 2 and 3 is also included.

Module 1: Contexts for primary music teaching looks at the place of music in

children’s lives and in the curriculum, and identifies successful approaches to early years music.Module 2: Musical skills and how to teach them identifies the musical skills that children need to learn, and looks in detail at the Kodály approach.Module 3: Teaching fundamental skills introduces the resources and gives detailed practical advice on developing children’s musical memory, sense of pulse, rhythm and pitch, inner hearing and listening skills.Module 4: Teaching advanced skills offers practical advice on teaching the more challenging skills of improvisation, sense of structure, ensemble work and musical literacy, and takes a detailed look at planning progression and assessment.Module 5: Beyond the lesson plans discussion of the choice of musical material for young children with a survey of the entire Jolly Music repertoire, followed by a look at activities from Levels 1, 2 and 3.

Includes FREE copy of The

Music Handbook: Beginners