LMU München – Institut für Musikpädagogik Hauptseminar: Kinder- und Jugendmusikkulturen – WS 2011/12 Dozentin: Prof. Dr. Alexandra Kertz-Welzel
Beginners’ guitar methods for Children: A short Analysis Analy sis and Critic
Julio Marinelarena Matr.Nr.: 9011924 Kontakt:
[email protected] Abgabe der Arbeit: 31.März. 2012
Contents
1. Introduction........................ n..................................... .......................... .......................... ......................... ..................... ..................... ....................1 ........1 2. History of the Guitar ........................ .................................... ........................ ........................ ......................... ......................... ............ 2
2.1 The origins………………………………………………………………………………………….2 2.2 The Vihuela…………………………………………………………………………………….... Vihuela……………………………………………………………………………………...... 3 2.3 The Baroque Guitar……………………………………………………………………………. 3 2.4 The 19 th century’s Guitar…………………………………………………………………….. 4 3. Guitar’s Methods of the 19 th & early 20th centuries....................... ................................ ......... 4
3.1 Methode 3.1 Methode complete. Divisee en trois parties Op.59…………………………………..5 3.2 Mèthode 3.2 Mèthode complète de guitare ou lyre…………………………………………………… lyre………………………… ………………………… .8 3.3 Nuevo Metodo de Guitarra ………………………………………………………………….10 3.4 Escuela 3.4 Escuela Razonada de la guitarra. Basada en los principios de Tarrega…..12 Tarrega …..12 4. Three Guitar’s Methodos for Chilndren and Teenenger…………………. 14
4.1 Fridolin, 4.1 Fridolin, Eine Schule für junge Gitarristen – Band 1………………………………14 1 ………………………………14 4.2 Meine 4.2 Meine Gitarrenfibel Ein fröhliches Lehr- und Spielbuch für Kinder…………14 Kinder………… 14 4.3 Play 4.3 Play Guitar, Gitarrenschule - Teil 1 –………………………………………………… –……………………………… ……………………15 …15 5. Critical Analyses…………………….……………………………………………………......... 16
5.1 The methods structure……………………………………………………………………..... 16 5.2 Procedures and Goals………………………………………………………………………… 17 5.3 The musical material………………………………………………………………………….. 19 6. Bibliography ........................ .................................... ........................ ........................ ........................ ......................... ......................... ................ .... 22
1 Introduction
In this paper it will be discussed the differences between the guitar methods the 19 th & early 20th centuries and three beginners’ guitar methods for children from our days, in order to see their improvements and deficiencies. It was decided to make a historic selection of the guitar methods since his appearance by the 19th century until the end of the 2oth century first part, where appeared the first guitar methods for children. The selected 19 th centuries works are: Methode complete. Divisee en trois parties Op.59 by Mateo Carcassi, Mèthode complète de guitare ou lyre byFerdinando Carulli and Nuevo Metododo de Guitarra by Dionisio Aguado. The selected early 20th century work is: Escuela Razonada de la guitarra. Basada en los principios de Tarrega by Emilio Pujol Due to my guitar teacher experiences in different Musikschulen in Germany, as well as to the experiences interchange with some guitar teachers, I decided to selected the next children’s guitar methods: Fridolin, Eine Schule für junge Gitarristen – Band 1 by Hans Joachim Teschner, Meine Gitarrenfibel Ein fröhliches Lehr- und Spielbuch für Kinder. Band 1 by Heinz Teuchtert and Play Guitar, Gitarrenschule. Teil 1 by Michael Langer & Ferdinand Neges. These methods are very popular in the Musikschulen. On the chapter History of the Guitar it will be shortly resumed the history of the instrument since his origins until the 19 th century, when the instrument acquired his final design. On the chapter Guitar’s Methods of the 19th & early 20th centuries will be analysed the structure of Carcassi’s, Carulli’s and Pujol’s guitar methods. Their differences and similitudes will be discussed. Subsequently the beginners’ guitar methods for children will be introduced on the chapter n°3. On the last chapter the methods Fridolin, Meine Gitarrenfibel and Play Guitar Gitarrenschule will be analysed. Differences and similitudes between the historic guitar methods and the children’s guitar methods will be discussed
2 History of the Guitar 2.1 The origins
The guitar nowadays has changed his Form several times trough the centuries, today we can find basically to families: electric guitar and acoustic guitar. The acoustic guitar belongs to the plucked string instrument and consists in a body, headstock and neck. The body is composed primary of top, deck, two sides and the soundhole. In the headstock we find the tuning machines, while in the neck the frets, the fret-board and the strings. Wood is the main material for the construction, however today many guitar luthiers include another materials like a polycarbon or nomex. There are two theses principal about the origin of the guitar. The first one establishes a Greco-Roma origin the guitar due to the etymological reasons. The word guitar comes from the Latin word cithara, which is derived from the Greek word kithara, an instrument from classical times used in Ancient Greece and later throughout the Roman Empire 1. The second these maintains, the guitar proceeded from the Al-Andalus instrument qithara2, which could derive from the Arabic instrument oud , which was introduced into the Iberian Peninsula trough the Muslim occupation between 711 and 14953. By the centuries 11th and 12th two different instruments were called guitar: the guitarra moresca and the guitarra latina. The first one had an oval back, wide fingerboard, four courses of strings (each course consisting of two separate strings), and many soundholes, this guitar support the theory about the Arabic origin of the Instrument due to his similitude with the Arabic oud . The guitarra latina had a flat back, a narrower neck, only one soundhole, three or four courses of strings and a headstock similar to a violin4. The qualifiers moresca and latina had been dropped by
1
“Guitar by Turnbull, Harvey and Sparks, P,” accessed 21.03.2012
http://www.oxfordmusiconline.com/subscriber/. 2
Henry George Farmer, Historical facts for the Arabian musical influence (New York: Arno Press
1978), 137-144. 3
Eloy Benito Ruano, Tópicos y realidades de la Edad Media (Madrid: Real Academia de la Historia
2000), 79. 4
Francisco Javier Ruz Mata, “Recorrido pedagógico a través de la guitarra renacentista,”
Temas para la Educacion. N° 6 (2010): 5-7.
the 14th century and these two instruments were simply referred to as guitars 5. 2.2 The Vihuela
By the 15th and 16th centuries the Vihuela became the most important plucked string instrument in Spain both classical music and popular music, hence many of the knowledge about the secular music6. The Vihuela was a guitar-like body instrument with six courses (each course consisting of two separate strings) made of catgu t and was tuned in fourths, almost like a modern guitar, with the exception of the third string, which was tuned a semitone lower: e, a, d, f#, b, e. Some of the Spanish composers for the instrument are Luis de Milán, Luis de Narváez, Alonso de Mudarra, Enrique de Valderrábano, Miguel de Fuenllana, Diego Ortiz and Antonio de Cabezón. The Vihuela was popular in Spain and Italy just for a short period; in 1576 appeared the last surviving published music for Vihuela. Meanwhile the five-course baroque guitar, which was documented in Spain from the middle of the 16th century, enjoyed popularity, especially in Spain, Italy and France from the late 16th century to the mid 18th century 7. 2.3 The Baroque Guitar
The Baroque Guitar was smaller than a modern guitar, had gut strings, the frets were also usually made of gut, and tied around the neck. At the beginning the instrument had four-courses and another one was added later. Each course consisting of two separate strings although the first (highest sounding) course was often a single string. The invention oft he five-course had been attributed to the music and poet Vicente Espinel. This Attribution was made by Lope de Vega, which was refuted by Nicolao Doici de Velasco (1640) and Gaspar Sanz (1684) 8. 5
Tom Evans and Mary Anne Evans, Guitars: From the Renaissance to Rock ( New York: Paddington
Press Ltd 1977), 16. 6
Francisco Javier Ruz Mata, “Recorrido pedagógico a través de la guitarra renacentista,”
Temas para la Educacion. N° 6 (2010): 9. 7
Tom Evans and Mary Anne Evans, Guitars: From the Renaissance to Rock ( New York: Paddington
Press Ltd 1977), 16-24. 8
Francisco Javier Ruz Mata, “Recorrido pedagógico a través de la guitarra renacentista,”
Temas para la Educacion. N° 6 (2010): 16.
The role in early music performances of the Baroque Guitar was often as rhythm instrument in ensemble as solo instrument as the Often was baroque guitar used as rhythm instrument, this could be appreciated in the music collection for baroque guitar from Gaspar Sanz Instruccion de Musica sobre la Guitarra Española 9. 2.4 The 19th century’s Guitar
By the 19th century the Guitar suffered his last considerable modification; the addition of a sixth string (a bass E) and the conversion of all courses to single strings. The invention of the 6th string is often attributed to the Italian luthier Maestro Fabbricatorello in Naples. “Giuliani demonstrated the invention of the 6th string, due to Maestro Fabbricatorello in Naples..." 10. By the end of the 19th century Antonio Torres Jurado (1817-1892), a Spanish guitarist and luthier, considered „The most important Spanish guitar maker of the 19th century“ 11, perfected the symmetrical design oft he guitar. He made considerable change on the internal design oft the guitar’s top in order to prove that the top was the relevant par tot the guitar for his sound. The guitar, which he built with back and sides of papier-mâché to demonstrate his theory, resides in the Museo de la Musica in Barcelona, Spain 12. The guitars nowadays are derivatives of the Torres’s one. 3 Guitar’s Methods of the 19 th & early 20th centuries
As follows it will be introduced some of the guitar methods from the 19 th until the early 20th century. It is interesting to observe that after some centuries many aspects of the guitar method did not change at all nowadays. Pedagogical works of some relevant guitar composers will not be considered, because there are more a collection of etudes than a properly method.
9
Gaspar Saenz, Instruccion de musica sobre la guitarra española, reproducción en facsimil de los
libros primero y segundo de la tercera edición (1674) y del libro tercero de la edición octava, (1697) (Zaragoza: Institucion Fernando el Catolico 1979). 10
T. Heck, Mauro Giuliani: Virtuoso Guitarist (Columbus OH: Editions Orphee 1995), 7.
11
R.E. Bruné, 1883 “Antonio de Torres No. 52,” Vintage Guitar September (2011): 84–88.
12
Stefano Grondona, La Chitarra di Liuteria, Masterpieces of Guitar Making (Sondrio: L'officina del
libro 2001), 58-61.
With the establishment of the modern guitar design by the 19 th century appear the first methods for the instrument. It is interesting to observe that after many years a lot of aspects of the guitar’s methods did not change at all nowadays. The Spanish guitarists Fernando Sor (1778 - 1839) Dionisio Aguado (1784 - 1849), the Italian guitarists Mauro Guiliani (1781-1840), Mateo Carcassi (ca.1792-1853) Ferdinando Carulli (1770-1841), Luigi Legnani (1790 – 1877) and the French guitarist Napoleón Coste (1806 - 1883) composed several works with a pedagogical character. But only Carulli, Carcassi and Aguado made a properly guitar methods in addition to many etudes. By early 20th century appears the work of Emilio Pujol (1886–1980) Escuela razonada de la guitarra. Emilio Pujol studied under the guidance of Francisco Tárrega y Eixea (1852 -1909). Francisco Tárrega was the most important guitarist by the lately 19th Spanish; he was teacher of many important guitarists from the early 20th century like Miguel Llobet, Daniel Fortea y Emilio Pujol 13 . 3.1 Methode complete. Divisee en trois parties Op.59 Mateo Carcassi (ca.1792-1853)
The guitar method of Mateo Carcassi is divided mainly in tow parts. The first one called “Elementary Principle of Music” explained the basic music theory subject: notation, harmony, dynamic etc. The second part is divided in three sections. On the first one issues related to the guitar’s operation are explained: tuning, parts of the guitar, fingerboard positions, nails and how to hold the guitar, the right hand and left hand mechanisms are explained. In this section the all the notes of the first position of the fingerboard are showed and appears some exercises in order to memorize and all the notes. Upon this the way to play chords and arpeggios on the guitar are introduced, the explanation is followed with a few exercises and examples.
13
José Antonio Clemente Buhlal, “El contenido melódico en la enseñanza de la guitarra” (PhD. diss.,
Universidad de Murcia, 2002), 288-290.
The second section of the second part called “Scales, Cadences Exercises and Pieces” introduces a specific scale, a cadence in the respective tonality and an arpeggio’s exercises and a small piece. This procedure will be repeated on the whole second section.
The last section of the second part is composed of 50 progressive Etudes from easy to hard level. As follows the first Etude (next page).
3.2 Mèthode complète de guitare ou lyre Ferdinando Carulli (1770-1841)
Ferdinando Carulli published his Mèthode complète de guitare ou lyre op. 27 in Paris circa 1810. The structure is very similar to Carcassi’s method. It begins with a section about music theory, where he only talks about notation and tuning oft he guitar. On the second part he explains how to hold the guitar and the operation oft he right and left hand. Immediately the first notes on the first position on the fingerboard are introduced followed by six exercises. Upon this the way to play chords and arpeggios on the guitar are introduced, the explanation is followed by a few exercises and examples.
After this sections it must be understood, the student is able to learn scales, chords and arpeggios in different tonalities and to apply this information in small pieces and Etudes. The last part introduces a scale, arpeggios on the main chords of the introduced tonality and small piece or etude also in the same tonality. The method is 39 lengths and at the end of it, it is expected the student be able resolve the technical difficulties of the last etude (next page).
3.3 Nuevo Metododo de Guitarra Madrid 1843 Dionisio Aguado (1784-1849)
The composer and guitarist Dionisio Aguado was born in Madrid. In 1820 he published his first collection of studies for guitar Colección de Estudios para Guitarra which was the basis fort his last pedagogical work Nuevo Metodo de Guitarra published in Madrid 1843. The Nuevo Metododo de Guitarra consists in two big parts. In order to explain the
way to work on his method, he dedicates the first section of the method to theoretical issues. Aguado puts a lot of emphasis in the process to learn and not only in what to learn. The second part has a more practical character and contains 46 studies organized in a not easy-hard sequence. Many difficult level studies appear very soon in the sequence, since the author is the opinion, the student must confront high technical difficulties in order to improve his technic 14 . The first part of the method is divided in three sections. On the first section the different parts of the guitar, the correct position of the guitar and the use of nails (with or without) are explained. On the second part Aguado also talks about the importance of the selection of the instrument, the selection of the concert hall and he even talks about the position of the guitarist on the concert hall. On the last section of this part he explains basic music theory concepts applied to the guitar. He remarks the chromatic character of the guitar and exposes the basic harmony concepts on the instrument trough the hole fingerboard: intervals, chords and scales. As result of it, he presents the guitar as an instrument, which could be divided in positions trough the fingerboard. Aguado sets 13 rules to learn and apply some patterns of fingering in order to be able to play any scale, any chord and any interval in any place of the fingerboard 15. On the first part he tries also to established a exactly glossary about the terms related to the instrument, maybe in order to be sure, all his ideas can be completely understood. The second part of the Nuevo Metodo de Guitarra is divided in five sections. On the first he talks about technical and aesthetic elements. Aguado confers special importance to the sequence of the activities; he emphasises the studied of the technical issues before to proceed with the musical issues. In the first section it is explained how to execute the different technics of he guitar: Slurs, Thrills, Arpeggios, Flageolet, etc. The technical aspects are followed for small 14
José Antonio Clemente Buhlal, “El contenido melódico en la enseñanza de la guitarra” (PhD. diss.,
Universidad de Murcia, 2002), 255. 15
Ibid., 256.
exercises. On the second section appears more exercises in order developed or the technical issues oft he section anterior. The third section contains only Studies. It is interesting to observe that Aguado wrote the hole fingering oft he left hand but not oft he right hand. The complete fingering oft he right hand was added in an Appendix. The forth section is called De la Expresion. This part consists to explain the execution of different musical signs related to the interpretation: dynamics, tempo, articulation etc. The last part developed the introduced idea on the first part about the possibility to play any chord, scale and interval trough the whole fingerboard using some fingering patterns. 3.4 Escuela Razonada de la guitarra. Basada en los principios de Tarrega Emilio Pujol (1886–1980)
Emilio Pujol studied under the guidance of Francisco Tárrega y Eixea (1852 -1909) and tried to transmit the principles of the Francisco Tarrega’s guitar technic and conceived his guitar method in 1923 16. The method of Pujol is divided in three big sections. The first section is called Primer Curso, again here, the author dedicate this part to theoretical issues. In this case, Pujol talks only about the guitar and omit musical theory subjects. He deals intensely with the different aspects of the guitar: parts and construction of the guitar, choice of a guitar, how to hold the guitar, the sound quality, special notation for the guitar, fingering, position of the hands and how to practice. Also Pujol talks in his work about the psychology of the guitarist, the structure and goals of his method. On the second part of the method are included the Segundo Curso, Tecer Curso y Cuarto Curso. The whole second part introduces all the different technics of the instrument and a lot of exercises are included. In contraposition with the methods of the 19th century, the number of purely technical exercise is increased substantially. 16
Emilio Pujol, preface to Escuela Razonada de la guitarra. Basada en los principios de Tarrega I ,
(Buenos Aires: Ricordi Americana 1956), I-VI.
The formula; scale + cadence (chords & arpeggios) + etude are not repeated here. Pujol emphasize the technical exercises due to develop the technical skills. He is convinced that is not enough the simple explanation of the execution of a movement17. The last part called Virtuosidad is dedicated to more exercises to developed the different technics of the previously books in order to give the student the tools to control completely the instrumental technic 18. This part contains also some Etudes from the Author and others guitarist composers. As it can be see it, all the introduced guitar methods are very similar in their structure. The structure could be represented in the next way: Section
Issue
First Part
Theoretical Issues
Second Part
Theoretical-Practical Issues
Development
Theoretical Theory –Exercise- Small Piece
This structure responds to the authoress’s idea to develop a method, which can guide the student from the begin level until to the advanced level or even professional level, as Pujol says19. The more significant difference between these methods is the extension of the sections. The explanation of any issue is larger by Pujol and Aguado than by the other authors. The technical exercises and musical exercises are increased by Pujol and Aguado, it could be appreciated a more pedagogical sense to proceed. They include more advices due to make easier the work of the student and to reach the established goals; precise fingering is included, practicing procedures are discussed, execution mechanisms related to a technic or exercise are extensively explained. It is interesting to observe, all the authors include composed the musical exercises and etudes, which are included on the methods. Only Emilio Pujol includes pieces or 17
Emilio Pujol, preface to Escuela Razonada de la guitarra. Basada en los principios de Tarrega IV ,
(Buenos Aires: Ricordi Americana 1956), I-VIII. 18
Emilio Pujol, preface to Escuela Razonada de la guitarra. Basada en los principios de Tarrega I ,
(Buenos Aires: Ricordi Americana 1956), I-VI. 19
Ibid.
etude from another well know guitar composers, but only on the last part of his method. 4 Three Guitar’s Methodos for Chilndren and Teenenger 4.1 Fridolin, Eine Schule für junge Gitarristen – Band 1 Hans Joachim Teschner (1945)
The German guitar teacher Hans Joachim Teschner conceived Fridolin. Teschner studied Economy, Social Science and Music in Hamburg and Bremen, Germany. He works as guitar teacher at the Kreismusikschule Friesland since 1976 and at the University Oldenburg since 1978. During his Studies he plays in diverse Rock bands, in a Jazz Big Band and at the Music Theatre. His first publication is from 1980: Weinachtsliedsammlung (Christmas Carol) Jingle Bells. Die idea to publish it came during the Christmas’s season, when the Author was looking for Christmas Carol version for younger guitarists (from 7 years old) but he could not find any appropriate20. In 1987 the Heinrichshofen’s Verlag published the first edition of Fridolin – eine Schule für junge Gitarristen-. The book contains 115 Pieces-Exercise form easy level to advanced level. Almost all the Pieces-Exercises are recorded are recorded on the CD, which is included in lasted editions. Fridolin was very well received due to his new concept (compared to existing methods) and in short time became a reference for the guitar pedagogy, especially in music21. In the following years appear a wide Fridolin’s publication series: Spielbücher, Liedbegleitung, and Lehrwerk. “…Kinder- und Scherzelieder, Folklore aus Deutschland un der ganzen Welt ersetzen dabei langweilige Übungen” 22. 4.2 Meine Gitarrenfibel Ein fröhliches Lehr- und Spielbuch für Kinder. Band1. Heinz Teuchtert (?)
Meine Gitarrenbfiebel has been developed by Heinz Teuchert. The method is divided 20
“Komponist H. J. Teschner,” accessed 18.03.2012 http://www.fridolin-gitarre.de/23-0-Komponist-
H--J--Teschner.html. 21
Ibid.
22
Hans Joachim Teschner, Fridolin. Eine Schule für junge Gitarristen. Band 1 ( Wilhemshaven:
Heinrichshofen’s Verlag 1990), 4.
in two diferent Books: Meine Gitarrenfibel Teil 1 and Meine Gitarrenfibel Teil 2. The book was designed for individual or group lessons for children from 6 years old to 11 years old. Meinte Gitarrenfibel contains 40 pieces-exercises and the first edition was published in 1994 by G. Ricordi & Co. Together with the student’s book there is a teacher’s book, which “contains the accompaniment parts for some lessons of the student’s book, some advices for the lesson and some guitar’s dances for student and teacher conceived to improve the alternative stroke technic and appropriate for school’s auditions 23.” “Lieber Kinder, Gitarrenspielen macht Spaß! Es ist wirklich toll, was sich mit der Gitarre alles anfangen last, Mann kann darauf die schönsten Melodien spielen oder sich selbst und seine Spielkameraden zum Singen begleiten 24.” 4.3 Play Guitar, Gitarrenschule - Teil 1 – Michael Langer (1959) & Ferdinand Neges (?)
Michael Langer is an Austrian guitarist, musician, author, teacher and composer. He teaches at the conservatory in Vienna and has been qualified as a university lecturer at Anton Bruckner University in Linz. He has recorded four solo albums: 'Fingerstyle', 'Crossing Over', 'Homespun Groove' and 'Copy and Merge'. He has published almost 40 issues on guitar playing and he is one of the best-selling authors on this subject25. He studied at the conservatory of Vienna and took part at a lot of international courses and joined ensembles playing all kinds of different styles of guitar music. Ferdinand Neges studied at the music university Graz and Wien. He plays regularly as soloist and in ensembles. He has recorded CD’s with contemporary music. Ferdinand Neges works as Arranger, Editor and Composer by Doblinger Publishing.
23
Heinz Teucher, Meine Gitarrenfibel. Band 1. Ein fröhliches Lehr- und Spielbuch für Kinder
(München: G.Ricordi & Co. 1994), 3. 24
Ibid., 2.
25
“About me," accessed 17.03.2012
http://www.michaellanger.at/en/index.php?option=com_content&view=article&id=9&Itemid=8.
In 2002 Doblinger Verlag published the first edition of Play Guitar 1. The method contains newly arranged and composed music material in different music styles. The 96 new pieces “von Klassik bis Pop” 26 are recorded on the included CD. The whole Book is organized from basic issues to advance issues. Numerous illustrations are included in order to explain some technical subjects. “Play guitar bietet eine große Vielfalt an Kompositionen und Arrangements, welche die stilistische Bandbreite des Gitarrenspiels schon Anfängern zugänglich machen soll”27. “Play Guitar' ist ein musikalisches, didaktisches und visuelles Meisterwerk! (Akustik Gitarre)28. 5 Critical analyses 5.1 The methods structure
If we analysed the structure of these Methods, we will notice that there is any difference at all compare to the methods oft he 19th and early 22th century. All oft hem can be divided in two mainly sections .The first one is short and deal with theoretical subjects: parts oft he guitar, how to hold the guitar, right hand position, strings names, notes on the first position (first fours frets). This section also contains Illustrations to support the given information. In addition the authors wrote some words about how to use the method and the method’s concept. In Meine Gitarrenfibel the author add some words to the children, teacher and parents. At the end of this section all the authors explains the quarter note, half note and the whole note. Methode
Section
Pages
Fridolin
Theorie
4-13
Meine Gitarrenfibel 1
Theorie
2-9
PlayGuitar 1
Theorie
4-13
The second section concerns to practical issues. Here the student learn basically all the notes oft the guitar on the first fingerboard’s position. Some music theory elements and guitar technics are introduced during this section: eight note, different 26
Michael Langer and Ferdinand Neges, Play Guitar. Gitarrenschule 1 (Wien: Doblinger 2003), 4.
27
Ibid.
28
“LANGER, Michael / NEGES, Ferdinand - Play Guitar Vol. 1 ,” accessed 17.03.2012
http://www.doblinger-musikverlag.at/Komp/index.php?sp=2.
quarter-half-whole rest, sharp & flat symbol, fingering basic concepts, apoyando & tirando stroke29, one line melody technic, two lines melodies technic (only by Fridolin and PlayGuitar). Methode
Section
Pages
Fridolin
Practice
14-71
Meine Gitarrenfibel 1
Practice
10-39
PlayGuitar 1
Practice
14-68
All the authors includes self composed and traditional songs from different countr ies: Fridolin 42 songs, Meine Gitarrenfibel 27 songs, 10 exercises, 2 songs to be completed by the student, GuitarPlayer 96 songs. 5.2 Procedures and Goals
If we compare the structure and method’s conception, we find that the goal of the 19 th & early 20th centuries’ methods is to guide the student from a begin level until an advance or professional level. We can also see that the student age is not considered by these methods, or at least it does not play a decisive role. In the case of the children methods they have been clearly conceived as beginner methods to be use in the context of instrumental lessons guided by a teacher. The student’s age and the teacher’s support are also crucial for the conception and development’s method. For these reasons and according to the today pedagogical tendencies, the beginner method’s goal should be: “ …(das Kind) aus kindgemäße Weise in das Instrumentalspiel einzuführen sowie eine gute Basis zu schaffen und Interesse für eine weiterführende Ausbildung der instrumental technischen Fähigkeiten und künstlerischen Entwicklung zu wecken30.” On the other hand it is well know that the pedagogy has been profoundly developed since the lately 20th century. Nowadays there is a pedagogical line, which emphasise the “enjoy factor” by the instrumental lessons. “Zunhemende Spaß-Orientierung des 29
To perform apoyando, the finger rest against the next upper string as he complete the stroke, to
perform tirando the finger do not rest against the next upper string as he complete the stroke. 30
Irmhild Beutler and Sylvia C.Rosin, “Wenn das Sück sich so schön ringelt. Kriterien für
Lieblingsstücke im Anfangsunterricht,” Üben & Musizieren 3 (2005): 30.
Instrumeltal unterrichts, Spaß im und am Unerricht zu initieren, ist die primäreZielsetzung dieses pädagogisches Ansatzes31. ” The structure, design and musical material in Fridolin, Meine Gitarrenfibel and GuitarPlayer are selected In order to reach the “enjoy factor” during the instrumental class (cambiar notas de los metodos aesta parte), to generate a longterm student’s motivation. In all the cases, the design attempts to be attractive for the students. Since these methods are directed to children, many Illustrations with animals, toys, clowns, children, etc. are included. Some illustrations also have the purpose to make clearer some technical aspects: the notes’ position on the guitar, the hands’ position, etc. The length of the book is not too big, the layout of the notes and text is simple and confortable to the eyes. The musical material is also directed to the children; almost all the self-composed songs have lyrics, which suppose to be funny. In the case of the traditional songs, most of them are also children’s songs. Since the children’s’ guitar methods does not have the final aim to former advanced students or much less professional guitarists as the 19 th & early 20th centuries’ methods, Fridolin, Meine Gitarrenfibel and PlayGuitar introduced only the elementary principle of music, which are necessary to understand the diverse parts of the method. They are explained as short and simple as possible, so that the attention and effort of the student can be focussed on the practical aspects of the instrument. In the children’s guitar methods still present the 19 th & early 20th methods idea to develop the practical section: the model, “theory-musical exercise–small piece” (by Pujol sometimes technic exercise instead musical-exercise). By the 19 th methods a lot music theory and guitar’s technic information was provided, the “musical exercisessmall pieces” were only a few before continue with the next new issue. By the early 20th method the “musical exercises-small pieces” were increased and pure technical exercises were added for the first time in order to perfect the mechanical skills
31
Eva Genari, “Ein bisschen Spass muss sein, Über die zunehmende Spas-orientierung des
Intstrumentalunterrichts” Üben & Muzisieren 5 (2010): 46.
But the children’s guitar methods find a compromise between the 19 th and the early 20th methods. The provided music theory and guitar technic information is not too extensive, the “musical exercises-small pieces” are increased and the technical exercises without a musical context are avoided mostly. The approach to the musical material is also similar in all the cases. The selfcomposed songs cover almost of the method’s musical material. In addition to the obviously difference that the self-composed songs by the children’s guitar methods are not too complicate due to they are a beginners’ methods. As it has mentioned the musical material is directed to the children; almost all the self-composed songs have lyrics. 5.3 The musical material
Self-composed songs are a very important source for the pedagogical objectives of an instrumental method, since there specific designed to develop a certain technical skill. Meanwhile not self-composed songs very often must be adapted in order to reach a pedagogical objective. But on the other hand another kind of musical material are expected by the guitar students. Frequently the guitar is linked with Rock, Pop or World Music (Flamenco music, Latin music), for this reason is not a surprise that the guitar student assume they will learn that kind of music during the guitar lessons or trough a guitar method. Und selbdsverständlich ist z.B. die Violine in Mitteleuropa eher ein istrument zur Darstellung der Musik Vivaldis oder Mozarts als ein Instrument der Volkmusik oder gar des Rock oder Jazz… 32” Nowadays the Pop Music is closer to the children than the children’s songs, which are provided in the children’s guitar methods like “kommt ein Vogel geflogen”. Pop Music is present in the different sphere of the daily children’s life, for this reasons children expect to learn the music, which they regularly hear. “Jugendlichen
32
Peter Röbke, “Jugendlkultur und Musikschule” Üben und Musizieren 6(1999): 8.
Blockfötenschülerinnen(...) erzählen sie oft, dass sie nur die lieder gerne gespielt haben, deren Melodie sie schon kannten. 33” The authors of the children guitar methods affirm, that the included musical material are funny and cover different music styles in order to replace boring exercises. In spite of it, it seems that the musical world of the music teacher and student still are very different. “Viele Instrumentalschuler leben in zwei musikalischen Welten. Mehr oder minder engagiert üben sie die „unterrichtsliteratur“, die von der Lehrkraft oder zusammen mit ihr ausgewählt wurde.Daben gibt es die ureigene Musik der persönlichen Vorlieben: Musik, bei der man sich entspannt, träummt, tanzt, begeistert, weint oder isch feut: Musik, die gehort wird, wenn man mit isch allein oder mit freunden zusammen ist. 34” That is why, the musical material of these guitar methods don’t stimulate the motivation of the guitar students. On the contrary, it the selected musical material would be the same that belong to the children’s daily life, the motivation could be substantially increase. die reaktion von eltern, geschwistern und FreundInnen beeinflusst die Schülerinen. wenn sie merken, dass die stucke die sie spielen, gerne angehort werden und bei Schulervorspielen Anklang finden, wird auch das die Motivation fördern35.” In addition to the motivation, with the inclusion of the Pop Music another aspects can be developed. It must not forget, that the Pop Music is closely linked with the physicality 36, so that this music style could contribute to the motor skills development. Lastly facets of the instrument, which are ignored by the reviewed children’s guitar methods, could be explored: the guitar as accompaniment instrument or the guitar as percussive instrument. 33
Irmhild Beutler and Sylvia C.Rosin, “Wenn das Sück sich so schön ringelt. Kriterien für
Lieblingsstücke im Anfangsunterricht,” Üben & Musizieren 3 (2005): 31. 34
Ulrich Mahlert, “Lieblingstucke,“ Üben & Musizieren 03 (2005): 1.
35
Irmhild Beutler and Sylvia C.Rosin, “Wenn das Sück sich so schön ringelt. Kriterien für
Lieblingsstücke im Anfangsunterricht,” Üben & Musizieren 3 (2005): 32. 36
Peter Röbke, “Jugendlkultur und Musikschule” Üben und Musizieren 6(1999): 10.
But not only the Pop Music are ignored by these children’s guitar methods, also the nowadays children’s songs, which they play and sing daily with his friends at the school or at home are ignored. It s not hard to imagine, that the children will prefer to play a children song, which they play and sing on their daily life as a unknown children song composed by a adult. If there is so many Advantage by using Pop Music and children’s song created by the children, why is that kind of music not included in the children’s guitar methods?. Maybe the answer does not have to do with pedagogical reasons, but with bureaucratic and tradition. “Andereseits ist die musikschule aus historischen wie pragmatischen Gründen nach wie vor eine Stätte zur Pflege der abendländsichen Kunstmusik; instrumentale Fertigkeiten werden anhand der Befassung mit traditioneller Musik entwickelt; instrumentale Fertigkeiten sollen isch in der adäqueten Dartstellung von Werken erweisen37.”
37
Peter Röbke, “Jugendlkultur und Musikschule” Üben und Musizieren 6(1999): 7.
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