Training courses Oslo, Stockholm, Copenhague, Helsinki

It's possible to pursue a training course and even to start a new training if that suits you. Contact us :

Kaddouch & Music Helsinki
stages de formation en Finlande, contactez :
Centre culturel français, Helsinki
Ranskan kulttuurikeskus
Kluuvikatu 4 A
00100 Helsinki
Tél./puh. (09) 2510 210
Fax. (09) 2510 2121
accueil.ccf@france.fi

Kaddouch & Music Stockholm
Conférences en Suède, contactez :
Stockholm Arts and Science AB Brinellvägen 68, KTH:s campus Box 700 11, 100 44 Stockholm
Tel: 08-790 60 23 Fax: 08-790 60 19
info@stockholmartsandscience.se www.spelplanstockholm.nu
ou
Ambassade de France en Suède,
Kommendörsgatan 13 Box 5296, 102 46 Stockholm

Working with the very young allows a better understanding of the great pedagogical principles. These principles apply to each age bracket and each instrument.

Music includes a linguistic substratum common to each culture. This substratum acts as a natural and unconventional language. Therefore it is not possible to learn this language first but it has to be discovered. It is obvious that we cannot reinvent Beethoven but this linguistic substratum. Improvisation is a natural human faculty and enables this investigation : it is the spoken language of music. The musical educator’s duty consists of looking after and developing this ability to explore then to fulfil the desire to leave traces. Writing acts as a kind of memory.

1. Child and sound :
Sound expression is considered as a transposition of the innate power.

• Foetal hearing, ante-natal memorising;
• The music of the spoken languages;
• The musics in the world : a universal language;
• Sound and affect;
• Non-verbal communication;
• The new born’s babbling : a way to discover oneself and to explore the world;
• The child’s sensory development : innate strategies to investigate the world;
• The young child’s psychology;
• Improvisation among the very young;
• Numerical awareness : the first rhythmic awareness;
• The child’s psychomotor development and basic rhythmic dynamics;
• The child’s favourite tempos;
• Tonal sense and the appearance of the " I " among children.
• Sense of stature and space structuring;

2. How to convert a story in a music lesson :
towards the opening to sound meaning : competence to acquire.

• The ear, the man’s first brain;
• The noise, the sound in verbal communication;
• The different degrees of listening;
• The relationships between the components of the music discourse and the human functions;
• Improvisation : a means of exchange;
• The improviser’s attitude;
• The rhythmic, melodic, harmonic and vocal improvisation (practical work then theorisation);
• The tonal colours : the selection of tonalities among the sound illustrations;
• Tonality among composers.

3. Rhythm, body and instrumental gesture.
Melody, voice and breath :

• Body listening, melody, voice and breath;
• Gestural expression;
• Rhythmic archetypes;
• Improvisation;
• Polyrhythms;
• Rhythmic coding;
• Melodic phrase and breath;
• Melodic archetypes;
• Melodic listening and repeat;
• Vocal improvisation.

4. The instrument :
the extension and development of breath and gesture.

• Melodic phrase and breath;
• Instrument initiation among children between 4 and 6 years old : "piano is a big rattle";
• The exploration of instrument space;
• The basic gestures of instrument techniques;
• An approach of instrument coding via improvisation;
• To improvise in the style of Mozart or Bach;
• Teacher’s accompaniment : a way to dynamise the pupil’s speech.

5. Reading and writing / internal hearing and understanding :

• Writing : a desire to leave traces;
• The history of music writing;
• The coding and structuring of intellectual functions;
• The name of notes : awareness of sound and of its movement;
• Analytic hearing;
• Reading and approach of music syntax;
• Writing and space structuring;
• Acoustics : sound, harmonics;
• The development of hearing awareness through the times: an approach of harmonic study.

Kaddouch & Music Production<ecoles@kaddouch-music.com>.