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PERSONALITY DEVELOPMENT IN EARLY CHILDHOOD THROUGH MUSIC EDUCATION
189-196Views:620The 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.
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Theory of the Diversity of Alternative Music Pedagogy Methods
67-75Views:488Our music education is based on the concept of Zoltán Kodály and the methodological guidance of Katalin Forrai in early childhood, which is an indispensable foundation and support for Hungarian music education. The method uses fundamental values to develop children's musical skills and abilities. At about the same time, music teachers throughout Europe were engaged in reforming the structure and methodological tools of music teaching. Among these music teachers, I would like to highlight the pedagogy of Dalcrose, Orff, Willems and Freinet, who successfully applied early childhood music education and the development of children with special educational needs in their programmes. Based on their pedagogy and methods, they agreed on the following principles: musical education should start as early as possible, continuous musical activity (singing, rhythm, listening, movement, improvisation, instrument, listening) should be given priority, and in addition to age-specific characteristics, adequate emphasis should be given to individual talents, since the uneven development of psychic abilities can lead to differences in levels within a single age group over several years. Music can develop empathy and social skills. Through rhythms and harmonies, the development of large and fine movements can be achieved. It is beneficial for thinking, creativity, self-expression and the development of the sense of self. Music improves well-being, concentration and actively helps to develop attention. It leads to openness and flexibility. It also has a powerful effect on speech, imagination and improvisation skills. That is why we can use music for healing and developmental purposes. There is a long line of research that proves that the earlier in life you start to develop, develop or correct your personality through music, the earlier you should start.
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NEW "CONTACTS": MUSIC TEACHERS, THEOLOGY TEACHERS, AND 'SEN' STUDENTS
39-53Views:348This study focuses on the integrated-inclusive education of the students with special educational needs from the side of two 'new' groups of teachers. After outlining the specific situation religious and music teachers perform in education a detailed analysis follows, which focuses on the facts of how these people see their own knowledge, difficulties, and needs in inclusive and integrated education. To assess their situation their results are compared to a so-called ’control group’. The study group is formed by the ’classic’ actors of public education, the teachers who teach general subjects.
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„Here's the Basket, What's in It?” – The System and Components of Folk Games
175-186Views:168An 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."