Stylistic Knowledge on the Basis of the Kodály-concept I [antikvár]

FORWARD The compositions of Zoltán Kodály's Choral Method — from the 333 Reading Exercises to the volume of Epigrams — are the creations of a composer, scientist, and pedagogue of wide intellectual horizons, a man whose genius comprehended the culture of centuries, unifying it into a deep synthesis. This series could not have come to light before the 20th century, when, nourished by the great experience of his acquaintance with folk music, the powerful characteristics of Kodály's style emerged, moulding together the Hungarian with the universal. In becoming familiar with the individual pieces contained in these volumes, step-by-step the musician meets whh musical elements which deepen his stylistic knowledge — whether having already existed or about to be formed — and enrich it with new motifs, thereby creating an obvious and living connection between the great musical periods of the past and the present. A wealth of intellectual and artistic experiences awaits the man who approaches these works with musicality and a readiness to perceive these stylistic relations. September 1979 Erzsébet Hegyi INTRODUCTION The object of this four-volume series is to connect the musical skill development of future musicians with an awakening consciousness of the most characteristic style elements of the periods of music history. The knowledge it contains is rooted in the material of the two-volume publication entitled Solfege According to the Kodály-Concept, of which it is an organic continuation. However, whereas that book provided knowledge and practice in only the most essential elements of music, the present series ensures a wide-ranging continued development of musical knowledge. In the course of this process the newer musical elements are discussed and made conscious in connection with each given style period in order to develop, along with the practical training, a sensitivity to historical evolution and the ability for stylistic orientation. The first volume is connected with the elements and characteristics of folk music and Renaissance style, the second volume with those of the Baroque and Viennesse Classicism, the third with those of the Romantic style, and the fourth volume whh those of the turn of the century and of the 20th century. In the first chapter of each volume those Kodály exercises which contain certain elements of the given style period and exhibit a suitable degree of difficulty are selected for study and practice. In every case the analysis is based on the staff-notation of the original Kodály manuscript and thus preserves the occasional C-clef notation. The second chapter summarizes the theoretical material relating to style as well as the solfege oriented practice methods suggested for its mastery. In the third chapter harmonic quotations from the works of the great composers of the period of music history under discussion are to be found. Through intensive study of these examples the students may become thoroughly familiar with the harmonic world and inner logic of the given style. The fourth chapter contains sight-singing material likewise selected from the works of the very same composers. The fifth and final chapter of each volume concerns itself with the possibility of development of musical memory and hearing within the style period under discussion, as well as the methodological suggestions relating to them. Also the collections containing the musical material for ear training occur in these chapters. In these collections, as in the chapters on harmonic analysis and sight-singing, musical quotations selected from the style period in question are to be found.