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• „Here's the Basket, What's in It?” – The System and Components of Folk Games

  175-186

  Borbála Tamásiné Dsupin

  Views:

  143

  An important feature of folk culture is that it is not passive and receptive, but active, creative, and dynamic. The folk games we know today have been shaped over generations into what we know them as today, as children have actively used and shaped them. In order for folk games to be used for educational and traditional purposes, researchers had to find a systemization principle that would allow all types of folk games to be included in a unified system. The systematization principles that emerged examined several aspects of the studied material: classification according to text, melody, spatial form, age, and geography. 1. György Kerényi found a unified system for all types of folk games in the game plot, and in Volume I of the Hungarian Folk Music Collection, he also published a classification based on the game plot, following Pál Járdányi's musical order.  2. The classification according to Klára Gazda can be found in the ethnographic monograph entitled Gyermekvilág Esztelneken (The World of Children in Esztelnek). 3. However, from the 1980s onwards, due to the more than fifteenfold increase in the amount of game material, it became necessary to review the principles applied and the order of games. Instead of the sometimes rambling plot, it was more practical to consider the essence of the game, the "melody core," as the basis. Katalin Lázár, a researcher at the Hungarian Academy of Sciences' Institute of Musicology, has compiled a new classification system for folk games that is still in use today. 1. Games with props; 2. Movement games; 3. Mental games; 4. Matching games; 5. Nursery rhymes; 6. Reading games. Singing games can be found among movement games, intellectual games, matchmaking games, and nursery rhymes. Our folk games differ in structure and sound from the verse structure of adult melodies, "because children's songs end where adult songs begin."

• PERSONALITY DEVELOPMENT IN EARLY CHILDHOOD THROUGH MUSIC EDUCATION

  189-196

  Borbála Dsupin

  Views:

  601

  The study focuses on a small but important segment of Hungarian culture, the musical education of children aged 3-7. Its central theme is to examine how the adaptation of folk games and related movements can be one of the most complex developmental forces in the personality development of this age group. This is because this period is fundamental in terms of cultural transmission and plays an integrative role in aesthetic education. As the pre-school child develops musically, his or her memory, imagination, associative abilities, creativity, attention and interest are constantly being developed through joyful activity, since his or her movements in connection with folk play are not yet guided and determined by the meaning and content of the text, but by the melody and its rhythm and the spontaneous feeling of joy associated with them. The role of musical education, and within it of folk games, is also evident in the process of emotional education, socialisation, intellectual development and language development. The links examined and presented demonstrate that folk games help children to develop skills that will enable them to become school-ready and to continue to develop in adult life.

• I Move, Therefore I Am: An Arts Programme for Equality of Opportunity

  151-161

  Andrea Mária Csányi

  Views:

  102

  The study presents the adaptation and investigation of an art program tailored to the developmental focus of children/students with intellectual disabilities. Klára Kokas's music reception method is well-known to music teachers. The structure of the ritual-like sessions is constant, while the content varies, and it includes several creative elements—creative singing, improvisational dance, and visual creation. With modifications, this technique may be suitable for the language development of students with intellectual disabilities. From the art program, the improvisational movement and dance—among the creative components of the Kokas method—were retained, following motivating and engaging preliminary singing that differed from the original Kokas instructions. Instead of creative singing, the emphasis was placed on incorporating ritual elements adopted from folk tradition, which are tailored to the structure of the specific abilities of the participants. The musicality and cathartic effect of folk rhymes and children's games do not contradict Kokas pedagogy; rather, they harmonize with it. Their repetition provides security for the participants, and the recurring elements act with the joy of recognition. Visual creation was omitted due to time constraints imposed by the 45-minute school class structure. The study is based on modern theoretical frameworks, e.g., the principle of transfer, the theory of Embodied Cognition, and the OPERA theory.