An Instructional Guide to Teaching Kurtág s Játékok Volume ...
Transcript of An Instructional Guide to Teaching Kurtág s Játékok Volume ...
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students1)
장 정 욱
[국문초록]
피아노 교수법에 있어서 여러 가지 교육방법들이 계속적으로 진화되어가고 있다 초급단계의
피아노 학생들을 위한 전통적인 접근방법들은 대체적으로 음악이론과 악보를 읽는 기술을
발전시키는데 집중되어 있는 것이 현실이다 그러나 몇몇의 현대적인 교수법들은 악기를
연주하면서 동시에 학생들의 몸 전체를 사용하는 방법들에 집중하고 있다 이러한 접근방법의
가장 대표적인 작품들 중 하나는 헝가리 작곡가 쿠르탁 (Gyoumlrgy Kurtaacuteg 1926)의 8권으로 이루어진
모음곡 985172야테콕985173(Jaacuteteacutekok)이다
985172야테콕9851731권은 쿠르탁이 직접 고안한 새로운 그래픽 음표들이 특징적인 짧은 곡들로
이루어져있고 손바닥 주먹 팔뚝으로 연주하는 평범하지 않은 피아노 테크닉이 사용되어 진다
이러한 방법은 학생들이 주로 손가락으로 피아노를 연주하는 것과 다르게 몸을 사용하게 만들고
피아노의 전체 음역을 사용할 수 있게 한다
985172야테콕985173은 작곡된 지 40년이 지났음에도 불구하고 헝가리뿐만 아니라 전 세계적으로 교육용
이 논문은 2015년 5월에 University of North Texas 박사학위 취득 시 제출한 학위논문을 수정하여 제출한 것임
154 피아노음악연구
작품집으로 잘 알려있지 않은 것이 현실이다 이것은 아마도 선생님과 학생들 모두에게 익숙하지
않은 기보법 그래픽 음표들 한 권에 다양한 수준의 곡들이 있는 이례적인 음악적인 요소들
때문일 것이다 이 연구는 985172야테콕9851731권을 지도할 선생님에게 체계적인 안내서를 제공함으로써
보다 더 효과적인 피아노 교수법 도구로 잘 사용할 수 있도록 도와줄 것이다 이 안내서는
985172야테콕9851731권이 담고 있는 교육내용을 제공하고 원래 곡들의 순서를 레벨에 맞게 재배열할 뿐만
아니라 다양한 음악적인 기술을 창의적으로 가르칠 수 있는 교수법을 제공한다
Ⅰ INTRODUCTION
1 Brief Biographical Information about Gyoumlrgy Kurtaacuteg
Gyoumlrgy Kurtaacuteg (b 1926) is one of Hungaryrsquos most important living composers
and pianists1) He studied piano composition and chamber music at the Franz Liszt
Academy of Music from 1948 to 1955 He also studied composition in Paris with
Darius Milhaud and Olivier Messiaen During his stay in France Kurtaacuteg came across
some scores of Anton Webernrsquos works and studied some Bartoacutek pieces that had
been banned in Hungary during the Stalinist regime2) These two composers would
strongly influence Kurtaacutegrsquos development In 1947 Kurtaacuteg married pianist Maacuterta
Kinsker with whom he has performed many times Their duo repertoire mainly
consists of Kurtaacutegrsquos own transcriptions of JS Bachrsquos works and pieces from
Jaacuteteacutekok Kurtaacuteg worked as a resident composer for the Berlin Philharmonic from
1993 to 1995
1) Stephan Walsh ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series no 140 (1982) p 11
2) Sylvia Grmela ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos Instrumental
Musicrdquo (PhD diss State University of New York 2004) pp 5-6
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 155
2 Kurtaacutegrsquos Approach towards Piano Pedagogy
Throughout his career Kurtaacuteg has been critical of traditional piano pedagogical
methods His main criticism has been that standard methods lack freedom to
experiment and are not conducive to stimulating childrenrsquos playfulness and
curiosity Kurtaacuteg also believes these methods decrease studentsrsquo listening and the
ability to develop expressive qualities Because of his aversion towards these
methods Kurtaacuteg decided to compose piano works according to his own ideas
these are designed to supplant the elements he finds negative in traditional piano
methods According to Sylvia Grmela Kurtaacuteg feels standard piano methods are
tedious because 1) they mainly focus on playing at all times in the same register
and 2) students have to constantly think about fingering and rhythm3) Kurtaacuteg
composed works that use a wide range of the keyboard He also wanted to help
performers become more attuned with their bodies and to facilitate movement
He achieved this by writing numerous clusters to be played with the palm fist
and forearm as well as using wide range According to Valeacuteria Szervaacutenszky (b
1947) and Gergely Szokolay who studied piano and chamber music with Kurtaacuteg
he always pointed out the importance of listening and expressing emotion4) This
is consistent with his compositional approach as many of his piano pieces have
as a primary purpose enhancement of the studentsrsquo listening and expression
skills
3) Ibid p 25
4) Gegely Szokolay ldquoKurtaacuteg as I know Himrdquo Gestes fragments timbres La musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) pp 39-40
156 피아노음악연구
3 Jaacuteteacutekok Volume I
Jaacuteteacutekok (1973) is comprised of eight volumes containing hundreds of short piano
pieces Volumes I II III V VI and VII feature pieces for piano solo while
Volumes IV and VIII are for piano solo piano duet and for two pianos Primary
stages for the work originated in 1960 when Kurtaacuteg composed a few pieces for
his son Thirteen years later Hungarian piano pedagogue Marianne Teoumlke
suggested Kurtaacuteg compose music for children As a result Kurtaacuteg wrote an
additional nineteen pieces adding to those he wrote for his son These were the
starting points for the creation of Jaacuteteacutekok According to Rachel Beckles Willson
Kurtaacuteg wrote Jaacuteteacutekok in order to foster childrenrsquos playfulness curiosity and
bravura at the keyboard5) In the first part of the supplement to Jaacuteteacutekok Kurtaacuteg
himself stated that ldquoa great deal of freedom and initiative from the performerrdquo6) are
required to play these pieces properly7) As such Jaacuteteacutekok leads students to bond
with the piano in a more personal manner as if they were playing a game with a
big toy
Volume 1 of Kurtaacutegrsquos Jaacuteteacutekok consists of short piano pieces featuring a new
graphic notation devised by Kurtaacuteg himself Some pieces nonetheless are written in
standard musical notation while others combine both According to Kristina Junttu
Jaacuteteacutekok is an invaluable piano method that provides learners with a set of
performing skills enabling them to use their whole body8) Several musicologists and
piano pedagogues have conducted research on the importance of Jaacuteteacutekok noting its
5) Rachel Beckles Wilson Ligeti Kurtaacuteg and Hungarian Music during the Cold War (New York Cambridge
University Press 2007) p 149
6) Gyoumlrgy Kurtaacuteg Jaacuteteacutekok Supplement to series for Piano Vol1 (Budapest Editio Musica Budapest 1979) p 1
7) Ibid p 9
8) Kristina Junttu ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok Brings the Body to the Centre of Learning pianordquo The Finnish Journal of Music Education 11 no1-2 (2008) httpwww2sibafimusikkikasvatuslehtiusefilesFJMEvol11nro1+2
sivutpdf (accessed August 21 2014)
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 157
pedagogical value Antonietta Loffredo identifies Jaacuteteacutekok as method that is useful in
learning contemporary music She focuses her research on the piece titled Hommage
agrave Tchaikovsky which appears towards the end of Volume 19) In Centre and
Periphery Roots and Exile Stefano Melis explores various aspects that describe how
Jaacuteteacutekok helps children understand musical form and its relation to body gestures10)
He presents three pieces from VolumeI to illustrate the ways by which children
recognize and react to musical images Andre Hajdu states that Jaacuteteacutekok is a
significant pedagogical tool that introduces children to contemporary sonorities He
also claims that Jaacuteteacutekok encourages children to learn several sophisticated
performing techniques which include hand crossing technique playing overtones
and playing with palm fist and forearm11)
Most researchers and piano pedagogues have focused solely on researching
Jaacuteteacutekok from a kinesthetic perspective while providing brief guidelines and analyses
of selected pieces Even though many scholars have shown the significance and
advantages gained by students who learn Jaacuteteacutekok no research has been conducted
with regard to creating a systematic guideline aimed at successfully teaching the
work Though Kurtaacuteg provided teachers with a short four-page supplement that
includes detailed information on the new notation and the unusual signs that appear
in the score some of the signs are difficult to understand and follow As
mentioned in the previous paragraph most musicologists have focused on describing
the character of selected pieces within the set but none has fully addressed
teaching the work
9) Antonietta Loffredo ldquoContemporary Music in Piano Pedagogyrdquo (paper presented at the 9th Australasian Piano
Pedagogy Conference Sydney Australia July 13-17 2009) p 1
10) Stefano Melis ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A Voyagersquo into the Childrsquos Musical Mindrdquo in Centre and Periphery Roots and Exile Interpreting the Music of Istvan Anhalt Gyoumlrgy Kurtaacuteg and Sandor Veress eds
Friedemann Sallis Robin Elliot and Kenneth Delong (Waterloo Wilfrid Laurier University Press 2011) pp
241-259
11) Andre Hajdu ldquoA Galaxy Called lsquoMikrokosmos A Composerrsquos Viewrdquo Tempo 62 no 243 (2008) p 27
158 피아노음악연구
Despite being written 40 years ago Jaacuteteacutekok is only infrequently used as a
teaching tool in Hungary and is practically unknown in the United States This
probably is due to the fact that it presents students and teachers with atypical
musical elements These include use of novel notation use of an unlimited register
as well as pieces that feature varying degrees of difficulty within the same volume
According to Kurtaacuteg the first volume is mainly designed for children From a
pedagogical standpoint this volume would be appropriate for both beginning and
intermediate students
Thus given the potential significance and advantages of using Jaacuteteacutekok as a
pedagogical tool the creation of a systematic guideline is essential for teachers who
are not familiar with the collection or with teaching the techniques contained within
its various pieces Furthermore this research will be valuable for teachers looking to
explore a more varied repertoire for beginning and intermediate piano students
Ⅱ NON-TRADITIONAL PEDAGOGICAL ELEMENTS IN
JAacuteTEacuteKOKrsquoS VOLUME I
1 Introducing Four Non-Traditional Elements
Jaacuteteacutekok Volume I features four primary non-traditional musical elements These
constitute a serious challenge to teachers who are accustomed to working only with
standard notation and traditional method books These elements are 1) an unusual
novel notation 2) the use of a wide range of the keyboard that features the
inclusion of various ledger lines 3) the uncommon placement of notes and 4) a
wide gap between pieces that feature varying degrees of difficulty Below I provide
a detailed guideline for four non-traditional elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 159
2 Kurtaacutegrsquos Graphic Notation
As previously noted Kurtaacuteg uses his own graphic notation to portray different
kinds of musical ideas In addition to glissandi he uses six different kinds of
clusters these are to be played with the palm rotating palm circling palm
forearm fist laid fist In Volume 1 Kurtaacuteg frequently presents two kinds of clusters
as shown in ltExample 1gt The large black and white notes are meant to be played
with the palm the long thick lines with the forearm
ltEx1gt Kurtaacuteg Jaacuteteacutekokok Palm exercise Playing with palm and forearm
Copyright by Editio Musica BudapestReproduced by Permission
The large black and white notes (mm 1-8) require the performer to play palm
clusters Black notes are representative of shorter values while white notes stand
for longer values The accidentals on the left side of the clusters indicate their pitch
range The long thick lines in the last measure ask the pianist to use forearms
Kurtaacuteg also employs two kinds of duration signs these are located both at the top
160 피아노음악연구
of palm clusters and two kinds of pause signs in between palm and forearm
clusters The first of duration signs indicates a short duration while the second one
stands for a long one The first pause sign with red arrow in measure 5 stands a
long pause and the second sign of measure 9 indicates short pause
ltExample 2gt features the use of palm clusters and rotating palm clusters The
first type of graphic notation indicates a palm cluster while the second one asks
the performer to play with the two edges of the right hand palm from left to right
by rotating the right forearm The third graphic notation is needed to play with the
same part of the right hand palm from right to left rotating the right forearm
ltEx2gt Kurtaacuteg Jaacuteteacutekok Rotating palms (first line) Playing with palm and rotating palm
An additional form of palm cluster known as lsquocircling palmrsquo is shown in
ltExample 3gt To play a circling palm cluster the palm is placed on the white keys
and then turns in circular motion in either clockwise or counter direction Fingers
should try to remain on the same black keys which are shown by the black line
and the symbol For the first group of four circling palm clusters which are in
the treble clef part fingers should be placed to begin on B and right palm on
the white keys turns from E4 to C5 for the first circling palm cluster in the treble
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 161
staff For the second cluster of the first group the right palm on the white keys
turns from F4 to E5 while the fingers remain on B
ltEx3gt Kurtaacuteg Jaacuteteacutekok Sidling Palms (first line) Playing with circling palm
3 Symbols for Accidentals and Range
A second category of unusual signs involve accidental signs of which there are
four types normal accidentals large accidentals (with different meanings) those
serving to show range on the keyboard and those for black keys white keys or a
combination of both Kurtaacuteg frequently uses larger sharps flats and naturals these
indicate that all notes in the staff should be treated as sharps flats or naturals12)
In ltExample 4gt for instance all notes should be played as sharps
ltEx4gt Kurtaacuteg Jaacuteteacutekok Large size sharp
12) Gyoumlrgy Kurtaacuteg Supplement to Jaacuteteacutekok p 10
162 피아노음악연구
In ltExample 5gt the accidentals being used have two different meanings The
first one refers to the range of keyboard while the second one instructs the
performer to play black or white keys The accidentals before the first palm cluster
shown in other parts of Jaacuteteacutekok is indicative of the range on the keyboard This
could be potentially confusing and it should be noted once again that sharp and
natural symbols could refer to either the application of accidentals or to an
instruction regarding the range of the keyboard The range of the first palm cluster
extends from F4 to C5 The next palm cluster (found in the second line) denotes
accidentals that range from C3 to F3 The last forearm clusters of the last line
have both a sharp and natural signs The left side forearm cluster instructs the
performer to play the black keys with the left forearm while the right side cluster
should be played with the right forearm on white keys
ltEx5gt Kurtaacuteg Jaacuteteacutekok Quarrelling Two kinds of accidentals
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 163
4 Non-Traditional Placement of Notes
The third non-traditional element in Jaacuteteacutekok involves various kinds of unusual
placements of notes To begin with Kurtaacuteg places higher notes in the bottom staff
which is extremely uncommon in beginning pedagogical literature given the fact that
this reverses the traditional order of having the bass clef in the lower staff and the
treble clef in the upper one ltExample 6gt
As seen in ltExample 6gt the last note of the first measure C3 is on the top
staff rather than the bottom staff The third note of the second measure C4 is a
higher note than the previous C3 although this note is in the bottom staff This
piece can be used as a hand crossing exercise
ltEx6gt Kurtaacuteg Jaacuteteacutekok Higher notes in the bass staff and lower notes in the treble staff
Kurtaacuteg also uses the same clef in both hands as shown in ltExample 7gt Most
traditional method books also feature pieces with two treble or two bass clef signs
but what is unusual in this case is that higher notes have been placed in the
bottom staff Moreover traditional piano book usually employ the treble clef in only
one staff This example also shows the group of higher notes has been placed on
the bottom staff rather than in the top staff
164 피아노음악연구
ltEx7gt Kurtaacuteg Jaacuteteacutekok Dividing notes in the same clef sign into two different staves
A final example that illustrates Kurtaacutegrsquos non-traditional placement of notes involves
repeated notes in two different staves ltExample 8gt Most piano pedagogical method
books contain just one staff to write repeated notes but Kurtaacuteg positioned these in
two staves Kurtaacuteg suggested playing with the fifth fingers of both hands or even
with the side of the fifth fingers
ltEx8gt Kurtaacuteg Jaacuteteacutekok Repeated notes placed in two staves
Despite the difficult aspect of reading Kurtaacutegrsquos notation properly having an
unusual placement of notes stimulates studentsrsquo brain and fosters their creativity
When Kurtaacuteg described his motivation to compose Jaacuteteacutekok he spoke of playing the
piano with freedom and without limitations in addition to stimulating studentsrsquo
brain (eg improvement of thinking ability) and physical activity (eg using arms
and hand crossing) with game-like elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 165
5 Gap in Difficulty Levels
The last non-traditional element addressed in this study is the placement of both
beginning and more advanced pieces within the first volume ltExample 9gt shows a
piece that is too demanding for beginners This piece has a variety of difficult
elements that are out of reach for beginning students numerous accidentals playing
up to five-note clusters and a constant change in hand placement Usually method
books gradually increase the difficulty as one moves along In this case however
this piece is on the sixth page of the exercise part of volume 1 rather than in the
last part of the work
ltEx9gt Kurtaacuteg Jaacuteteacutekok 12 c) to 13 d) Difficult piece for beginning students
Another example of a piece that has difficult elements is shown in ltExample
10gt This short piece has five sharps but these are placed in non-traditional order
Furthermore a piece with five sharps in the key signature would not appear in a
traditional method book for beginners This kind of difficult element could also be
confusing to teachers and would also pose concerns for students who have already
learned the normal order of sharps In addition this piece has free meter and
Kurtaacuteg did not follow same key signature in the bass clef part compared to the
treble clef part
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
154 피아노음악연구
작품집으로 잘 알려있지 않은 것이 현실이다 이것은 아마도 선생님과 학생들 모두에게 익숙하지
않은 기보법 그래픽 음표들 한 권에 다양한 수준의 곡들이 있는 이례적인 음악적인 요소들
때문일 것이다 이 연구는 985172야테콕9851731권을 지도할 선생님에게 체계적인 안내서를 제공함으로써
보다 더 효과적인 피아노 교수법 도구로 잘 사용할 수 있도록 도와줄 것이다 이 안내서는
985172야테콕9851731권이 담고 있는 교육내용을 제공하고 원래 곡들의 순서를 레벨에 맞게 재배열할 뿐만
아니라 다양한 음악적인 기술을 창의적으로 가르칠 수 있는 교수법을 제공한다
Ⅰ INTRODUCTION
1 Brief Biographical Information about Gyoumlrgy Kurtaacuteg
Gyoumlrgy Kurtaacuteg (b 1926) is one of Hungaryrsquos most important living composers
and pianists1) He studied piano composition and chamber music at the Franz Liszt
Academy of Music from 1948 to 1955 He also studied composition in Paris with
Darius Milhaud and Olivier Messiaen During his stay in France Kurtaacuteg came across
some scores of Anton Webernrsquos works and studied some Bartoacutek pieces that had
been banned in Hungary during the Stalinist regime2) These two composers would
strongly influence Kurtaacutegrsquos development In 1947 Kurtaacuteg married pianist Maacuterta
Kinsker with whom he has performed many times Their duo repertoire mainly
consists of Kurtaacutegrsquos own transcriptions of JS Bachrsquos works and pieces from
Jaacuteteacutekok Kurtaacuteg worked as a resident composer for the Berlin Philharmonic from
1993 to 1995
1) Stephan Walsh ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series no 140 (1982) p 11
2) Sylvia Grmela ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos Instrumental
Musicrdquo (PhD diss State University of New York 2004) pp 5-6
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 155
2 Kurtaacutegrsquos Approach towards Piano Pedagogy
Throughout his career Kurtaacuteg has been critical of traditional piano pedagogical
methods His main criticism has been that standard methods lack freedom to
experiment and are not conducive to stimulating childrenrsquos playfulness and
curiosity Kurtaacuteg also believes these methods decrease studentsrsquo listening and the
ability to develop expressive qualities Because of his aversion towards these
methods Kurtaacuteg decided to compose piano works according to his own ideas
these are designed to supplant the elements he finds negative in traditional piano
methods According to Sylvia Grmela Kurtaacuteg feels standard piano methods are
tedious because 1) they mainly focus on playing at all times in the same register
and 2) students have to constantly think about fingering and rhythm3) Kurtaacuteg
composed works that use a wide range of the keyboard He also wanted to help
performers become more attuned with their bodies and to facilitate movement
He achieved this by writing numerous clusters to be played with the palm fist
and forearm as well as using wide range According to Valeacuteria Szervaacutenszky (b
1947) and Gergely Szokolay who studied piano and chamber music with Kurtaacuteg
he always pointed out the importance of listening and expressing emotion4) This
is consistent with his compositional approach as many of his piano pieces have
as a primary purpose enhancement of the studentsrsquo listening and expression
skills
3) Ibid p 25
4) Gegely Szokolay ldquoKurtaacuteg as I know Himrdquo Gestes fragments timbres La musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) pp 39-40
156 피아노음악연구
3 Jaacuteteacutekok Volume I
Jaacuteteacutekok (1973) is comprised of eight volumes containing hundreds of short piano
pieces Volumes I II III V VI and VII feature pieces for piano solo while
Volumes IV and VIII are for piano solo piano duet and for two pianos Primary
stages for the work originated in 1960 when Kurtaacuteg composed a few pieces for
his son Thirteen years later Hungarian piano pedagogue Marianne Teoumlke
suggested Kurtaacuteg compose music for children As a result Kurtaacuteg wrote an
additional nineteen pieces adding to those he wrote for his son These were the
starting points for the creation of Jaacuteteacutekok According to Rachel Beckles Willson
Kurtaacuteg wrote Jaacuteteacutekok in order to foster childrenrsquos playfulness curiosity and
bravura at the keyboard5) In the first part of the supplement to Jaacuteteacutekok Kurtaacuteg
himself stated that ldquoa great deal of freedom and initiative from the performerrdquo6) are
required to play these pieces properly7) As such Jaacuteteacutekok leads students to bond
with the piano in a more personal manner as if they were playing a game with a
big toy
Volume 1 of Kurtaacutegrsquos Jaacuteteacutekok consists of short piano pieces featuring a new
graphic notation devised by Kurtaacuteg himself Some pieces nonetheless are written in
standard musical notation while others combine both According to Kristina Junttu
Jaacuteteacutekok is an invaluable piano method that provides learners with a set of
performing skills enabling them to use their whole body8) Several musicologists and
piano pedagogues have conducted research on the importance of Jaacuteteacutekok noting its
5) Rachel Beckles Wilson Ligeti Kurtaacuteg and Hungarian Music during the Cold War (New York Cambridge
University Press 2007) p 149
6) Gyoumlrgy Kurtaacuteg Jaacuteteacutekok Supplement to series for Piano Vol1 (Budapest Editio Musica Budapest 1979) p 1
7) Ibid p 9
8) Kristina Junttu ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok Brings the Body to the Centre of Learning pianordquo The Finnish Journal of Music Education 11 no1-2 (2008) httpwww2sibafimusikkikasvatuslehtiusefilesFJMEvol11nro1+2
sivutpdf (accessed August 21 2014)
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 157
pedagogical value Antonietta Loffredo identifies Jaacuteteacutekok as method that is useful in
learning contemporary music She focuses her research on the piece titled Hommage
agrave Tchaikovsky which appears towards the end of Volume 19) In Centre and
Periphery Roots and Exile Stefano Melis explores various aspects that describe how
Jaacuteteacutekok helps children understand musical form and its relation to body gestures10)
He presents three pieces from VolumeI to illustrate the ways by which children
recognize and react to musical images Andre Hajdu states that Jaacuteteacutekok is a
significant pedagogical tool that introduces children to contemporary sonorities He
also claims that Jaacuteteacutekok encourages children to learn several sophisticated
performing techniques which include hand crossing technique playing overtones
and playing with palm fist and forearm11)
Most researchers and piano pedagogues have focused solely on researching
Jaacuteteacutekok from a kinesthetic perspective while providing brief guidelines and analyses
of selected pieces Even though many scholars have shown the significance and
advantages gained by students who learn Jaacuteteacutekok no research has been conducted
with regard to creating a systematic guideline aimed at successfully teaching the
work Though Kurtaacuteg provided teachers with a short four-page supplement that
includes detailed information on the new notation and the unusual signs that appear
in the score some of the signs are difficult to understand and follow As
mentioned in the previous paragraph most musicologists have focused on describing
the character of selected pieces within the set but none has fully addressed
teaching the work
9) Antonietta Loffredo ldquoContemporary Music in Piano Pedagogyrdquo (paper presented at the 9th Australasian Piano
Pedagogy Conference Sydney Australia July 13-17 2009) p 1
10) Stefano Melis ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A Voyagersquo into the Childrsquos Musical Mindrdquo in Centre and Periphery Roots and Exile Interpreting the Music of Istvan Anhalt Gyoumlrgy Kurtaacuteg and Sandor Veress eds
Friedemann Sallis Robin Elliot and Kenneth Delong (Waterloo Wilfrid Laurier University Press 2011) pp
241-259
11) Andre Hajdu ldquoA Galaxy Called lsquoMikrokosmos A Composerrsquos Viewrdquo Tempo 62 no 243 (2008) p 27
158 피아노음악연구
Despite being written 40 years ago Jaacuteteacutekok is only infrequently used as a
teaching tool in Hungary and is practically unknown in the United States This
probably is due to the fact that it presents students and teachers with atypical
musical elements These include use of novel notation use of an unlimited register
as well as pieces that feature varying degrees of difficulty within the same volume
According to Kurtaacuteg the first volume is mainly designed for children From a
pedagogical standpoint this volume would be appropriate for both beginning and
intermediate students
Thus given the potential significance and advantages of using Jaacuteteacutekok as a
pedagogical tool the creation of a systematic guideline is essential for teachers who
are not familiar with the collection or with teaching the techniques contained within
its various pieces Furthermore this research will be valuable for teachers looking to
explore a more varied repertoire for beginning and intermediate piano students
Ⅱ NON-TRADITIONAL PEDAGOGICAL ELEMENTS IN
JAacuteTEacuteKOKrsquoS VOLUME I
1 Introducing Four Non-Traditional Elements
Jaacuteteacutekok Volume I features four primary non-traditional musical elements These
constitute a serious challenge to teachers who are accustomed to working only with
standard notation and traditional method books These elements are 1) an unusual
novel notation 2) the use of a wide range of the keyboard that features the
inclusion of various ledger lines 3) the uncommon placement of notes and 4) a
wide gap between pieces that feature varying degrees of difficulty Below I provide
a detailed guideline for four non-traditional elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 159
2 Kurtaacutegrsquos Graphic Notation
As previously noted Kurtaacuteg uses his own graphic notation to portray different
kinds of musical ideas In addition to glissandi he uses six different kinds of
clusters these are to be played with the palm rotating palm circling palm
forearm fist laid fist In Volume 1 Kurtaacuteg frequently presents two kinds of clusters
as shown in ltExample 1gt The large black and white notes are meant to be played
with the palm the long thick lines with the forearm
ltEx1gt Kurtaacuteg Jaacuteteacutekokok Palm exercise Playing with palm and forearm
Copyright by Editio Musica BudapestReproduced by Permission
The large black and white notes (mm 1-8) require the performer to play palm
clusters Black notes are representative of shorter values while white notes stand
for longer values The accidentals on the left side of the clusters indicate their pitch
range The long thick lines in the last measure ask the pianist to use forearms
Kurtaacuteg also employs two kinds of duration signs these are located both at the top
160 피아노음악연구
of palm clusters and two kinds of pause signs in between palm and forearm
clusters The first of duration signs indicates a short duration while the second one
stands for a long one The first pause sign with red arrow in measure 5 stands a
long pause and the second sign of measure 9 indicates short pause
ltExample 2gt features the use of palm clusters and rotating palm clusters The
first type of graphic notation indicates a palm cluster while the second one asks
the performer to play with the two edges of the right hand palm from left to right
by rotating the right forearm The third graphic notation is needed to play with the
same part of the right hand palm from right to left rotating the right forearm
ltEx2gt Kurtaacuteg Jaacuteteacutekok Rotating palms (first line) Playing with palm and rotating palm
An additional form of palm cluster known as lsquocircling palmrsquo is shown in
ltExample 3gt To play a circling palm cluster the palm is placed on the white keys
and then turns in circular motion in either clockwise or counter direction Fingers
should try to remain on the same black keys which are shown by the black line
and the symbol For the first group of four circling palm clusters which are in
the treble clef part fingers should be placed to begin on B and right palm on
the white keys turns from E4 to C5 for the first circling palm cluster in the treble
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 161
staff For the second cluster of the first group the right palm on the white keys
turns from F4 to E5 while the fingers remain on B
ltEx3gt Kurtaacuteg Jaacuteteacutekok Sidling Palms (first line) Playing with circling palm
3 Symbols for Accidentals and Range
A second category of unusual signs involve accidental signs of which there are
four types normal accidentals large accidentals (with different meanings) those
serving to show range on the keyboard and those for black keys white keys or a
combination of both Kurtaacuteg frequently uses larger sharps flats and naturals these
indicate that all notes in the staff should be treated as sharps flats or naturals12)
In ltExample 4gt for instance all notes should be played as sharps
ltEx4gt Kurtaacuteg Jaacuteteacutekok Large size sharp
12) Gyoumlrgy Kurtaacuteg Supplement to Jaacuteteacutekok p 10
162 피아노음악연구
In ltExample 5gt the accidentals being used have two different meanings The
first one refers to the range of keyboard while the second one instructs the
performer to play black or white keys The accidentals before the first palm cluster
shown in other parts of Jaacuteteacutekok is indicative of the range on the keyboard This
could be potentially confusing and it should be noted once again that sharp and
natural symbols could refer to either the application of accidentals or to an
instruction regarding the range of the keyboard The range of the first palm cluster
extends from F4 to C5 The next palm cluster (found in the second line) denotes
accidentals that range from C3 to F3 The last forearm clusters of the last line
have both a sharp and natural signs The left side forearm cluster instructs the
performer to play the black keys with the left forearm while the right side cluster
should be played with the right forearm on white keys
ltEx5gt Kurtaacuteg Jaacuteteacutekok Quarrelling Two kinds of accidentals
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 163
4 Non-Traditional Placement of Notes
The third non-traditional element in Jaacuteteacutekok involves various kinds of unusual
placements of notes To begin with Kurtaacuteg places higher notes in the bottom staff
which is extremely uncommon in beginning pedagogical literature given the fact that
this reverses the traditional order of having the bass clef in the lower staff and the
treble clef in the upper one ltExample 6gt
As seen in ltExample 6gt the last note of the first measure C3 is on the top
staff rather than the bottom staff The third note of the second measure C4 is a
higher note than the previous C3 although this note is in the bottom staff This
piece can be used as a hand crossing exercise
ltEx6gt Kurtaacuteg Jaacuteteacutekok Higher notes in the bass staff and lower notes in the treble staff
Kurtaacuteg also uses the same clef in both hands as shown in ltExample 7gt Most
traditional method books also feature pieces with two treble or two bass clef signs
but what is unusual in this case is that higher notes have been placed in the
bottom staff Moreover traditional piano book usually employ the treble clef in only
one staff This example also shows the group of higher notes has been placed on
the bottom staff rather than in the top staff
164 피아노음악연구
ltEx7gt Kurtaacuteg Jaacuteteacutekok Dividing notes in the same clef sign into two different staves
A final example that illustrates Kurtaacutegrsquos non-traditional placement of notes involves
repeated notes in two different staves ltExample 8gt Most piano pedagogical method
books contain just one staff to write repeated notes but Kurtaacuteg positioned these in
two staves Kurtaacuteg suggested playing with the fifth fingers of both hands or even
with the side of the fifth fingers
ltEx8gt Kurtaacuteg Jaacuteteacutekok Repeated notes placed in two staves
Despite the difficult aspect of reading Kurtaacutegrsquos notation properly having an
unusual placement of notes stimulates studentsrsquo brain and fosters their creativity
When Kurtaacuteg described his motivation to compose Jaacuteteacutekok he spoke of playing the
piano with freedom and without limitations in addition to stimulating studentsrsquo
brain (eg improvement of thinking ability) and physical activity (eg using arms
and hand crossing) with game-like elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 165
5 Gap in Difficulty Levels
The last non-traditional element addressed in this study is the placement of both
beginning and more advanced pieces within the first volume ltExample 9gt shows a
piece that is too demanding for beginners This piece has a variety of difficult
elements that are out of reach for beginning students numerous accidentals playing
up to five-note clusters and a constant change in hand placement Usually method
books gradually increase the difficulty as one moves along In this case however
this piece is on the sixth page of the exercise part of volume 1 rather than in the
last part of the work
ltEx9gt Kurtaacuteg Jaacuteteacutekok 12 c) to 13 d) Difficult piece for beginning students
Another example of a piece that has difficult elements is shown in ltExample
10gt This short piece has five sharps but these are placed in non-traditional order
Furthermore a piece with five sharps in the key signature would not appear in a
traditional method book for beginners This kind of difficult element could also be
confusing to teachers and would also pose concerns for students who have already
learned the normal order of sharps In addition this piece has free meter and
Kurtaacuteg did not follow same key signature in the bass clef part compared to the
treble clef part
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 155
2 Kurtaacutegrsquos Approach towards Piano Pedagogy
Throughout his career Kurtaacuteg has been critical of traditional piano pedagogical
methods His main criticism has been that standard methods lack freedom to
experiment and are not conducive to stimulating childrenrsquos playfulness and
curiosity Kurtaacuteg also believes these methods decrease studentsrsquo listening and the
ability to develop expressive qualities Because of his aversion towards these
methods Kurtaacuteg decided to compose piano works according to his own ideas
these are designed to supplant the elements he finds negative in traditional piano
methods According to Sylvia Grmela Kurtaacuteg feels standard piano methods are
tedious because 1) they mainly focus on playing at all times in the same register
and 2) students have to constantly think about fingering and rhythm3) Kurtaacuteg
composed works that use a wide range of the keyboard He also wanted to help
performers become more attuned with their bodies and to facilitate movement
He achieved this by writing numerous clusters to be played with the palm fist
and forearm as well as using wide range According to Valeacuteria Szervaacutenszky (b
1947) and Gergely Szokolay who studied piano and chamber music with Kurtaacuteg
he always pointed out the importance of listening and expressing emotion4) This
is consistent with his compositional approach as many of his piano pieces have
as a primary purpose enhancement of the studentsrsquo listening and expression
skills
3) Ibid p 25
4) Gegely Szokolay ldquoKurtaacuteg as I know Himrdquo Gestes fragments timbres La musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) pp 39-40
156 피아노음악연구
3 Jaacuteteacutekok Volume I
Jaacuteteacutekok (1973) is comprised of eight volumes containing hundreds of short piano
pieces Volumes I II III V VI and VII feature pieces for piano solo while
Volumes IV and VIII are for piano solo piano duet and for two pianos Primary
stages for the work originated in 1960 when Kurtaacuteg composed a few pieces for
his son Thirteen years later Hungarian piano pedagogue Marianne Teoumlke
suggested Kurtaacuteg compose music for children As a result Kurtaacuteg wrote an
additional nineteen pieces adding to those he wrote for his son These were the
starting points for the creation of Jaacuteteacutekok According to Rachel Beckles Willson
Kurtaacuteg wrote Jaacuteteacutekok in order to foster childrenrsquos playfulness curiosity and
bravura at the keyboard5) In the first part of the supplement to Jaacuteteacutekok Kurtaacuteg
himself stated that ldquoa great deal of freedom and initiative from the performerrdquo6) are
required to play these pieces properly7) As such Jaacuteteacutekok leads students to bond
with the piano in a more personal manner as if they were playing a game with a
big toy
Volume 1 of Kurtaacutegrsquos Jaacuteteacutekok consists of short piano pieces featuring a new
graphic notation devised by Kurtaacuteg himself Some pieces nonetheless are written in
standard musical notation while others combine both According to Kristina Junttu
Jaacuteteacutekok is an invaluable piano method that provides learners with a set of
performing skills enabling them to use their whole body8) Several musicologists and
piano pedagogues have conducted research on the importance of Jaacuteteacutekok noting its
5) Rachel Beckles Wilson Ligeti Kurtaacuteg and Hungarian Music during the Cold War (New York Cambridge
University Press 2007) p 149
6) Gyoumlrgy Kurtaacuteg Jaacuteteacutekok Supplement to series for Piano Vol1 (Budapest Editio Musica Budapest 1979) p 1
7) Ibid p 9
8) Kristina Junttu ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok Brings the Body to the Centre of Learning pianordquo The Finnish Journal of Music Education 11 no1-2 (2008) httpwww2sibafimusikkikasvatuslehtiusefilesFJMEvol11nro1+2
sivutpdf (accessed August 21 2014)
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 157
pedagogical value Antonietta Loffredo identifies Jaacuteteacutekok as method that is useful in
learning contemporary music She focuses her research on the piece titled Hommage
agrave Tchaikovsky which appears towards the end of Volume 19) In Centre and
Periphery Roots and Exile Stefano Melis explores various aspects that describe how
Jaacuteteacutekok helps children understand musical form and its relation to body gestures10)
He presents three pieces from VolumeI to illustrate the ways by which children
recognize and react to musical images Andre Hajdu states that Jaacuteteacutekok is a
significant pedagogical tool that introduces children to contemporary sonorities He
also claims that Jaacuteteacutekok encourages children to learn several sophisticated
performing techniques which include hand crossing technique playing overtones
and playing with palm fist and forearm11)
Most researchers and piano pedagogues have focused solely on researching
Jaacuteteacutekok from a kinesthetic perspective while providing brief guidelines and analyses
of selected pieces Even though many scholars have shown the significance and
advantages gained by students who learn Jaacuteteacutekok no research has been conducted
with regard to creating a systematic guideline aimed at successfully teaching the
work Though Kurtaacuteg provided teachers with a short four-page supplement that
includes detailed information on the new notation and the unusual signs that appear
in the score some of the signs are difficult to understand and follow As
mentioned in the previous paragraph most musicologists have focused on describing
the character of selected pieces within the set but none has fully addressed
teaching the work
9) Antonietta Loffredo ldquoContemporary Music in Piano Pedagogyrdquo (paper presented at the 9th Australasian Piano
Pedagogy Conference Sydney Australia July 13-17 2009) p 1
10) Stefano Melis ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A Voyagersquo into the Childrsquos Musical Mindrdquo in Centre and Periphery Roots and Exile Interpreting the Music of Istvan Anhalt Gyoumlrgy Kurtaacuteg and Sandor Veress eds
Friedemann Sallis Robin Elliot and Kenneth Delong (Waterloo Wilfrid Laurier University Press 2011) pp
241-259
11) Andre Hajdu ldquoA Galaxy Called lsquoMikrokosmos A Composerrsquos Viewrdquo Tempo 62 no 243 (2008) p 27
158 피아노음악연구
Despite being written 40 years ago Jaacuteteacutekok is only infrequently used as a
teaching tool in Hungary and is practically unknown in the United States This
probably is due to the fact that it presents students and teachers with atypical
musical elements These include use of novel notation use of an unlimited register
as well as pieces that feature varying degrees of difficulty within the same volume
According to Kurtaacuteg the first volume is mainly designed for children From a
pedagogical standpoint this volume would be appropriate for both beginning and
intermediate students
Thus given the potential significance and advantages of using Jaacuteteacutekok as a
pedagogical tool the creation of a systematic guideline is essential for teachers who
are not familiar with the collection or with teaching the techniques contained within
its various pieces Furthermore this research will be valuable for teachers looking to
explore a more varied repertoire for beginning and intermediate piano students
Ⅱ NON-TRADITIONAL PEDAGOGICAL ELEMENTS IN
JAacuteTEacuteKOKrsquoS VOLUME I
1 Introducing Four Non-Traditional Elements
Jaacuteteacutekok Volume I features four primary non-traditional musical elements These
constitute a serious challenge to teachers who are accustomed to working only with
standard notation and traditional method books These elements are 1) an unusual
novel notation 2) the use of a wide range of the keyboard that features the
inclusion of various ledger lines 3) the uncommon placement of notes and 4) a
wide gap between pieces that feature varying degrees of difficulty Below I provide
a detailed guideline for four non-traditional elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 159
2 Kurtaacutegrsquos Graphic Notation
As previously noted Kurtaacuteg uses his own graphic notation to portray different
kinds of musical ideas In addition to glissandi he uses six different kinds of
clusters these are to be played with the palm rotating palm circling palm
forearm fist laid fist In Volume 1 Kurtaacuteg frequently presents two kinds of clusters
as shown in ltExample 1gt The large black and white notes are meant to be played
with the palm the long thick lines with the forearm
ltEx1gt Kurtaacuteg Jaacuteteacutekokok Palm exercise Playing with palm and forearm
Copyright by Editio Musica BudapestReproduced by Permission
The large black and white notes (mm 1-8) require the performer to play palm
clusters Black notes are representative of shorter values while white notes stand
for longer values The accidentals on the left side of the clusters indicate their pitch
range The long thick lines in the last measure ask the pianist to use forearms
Kurtaacuteg also employs two kinds of duration signs these are located both at the top
160 피아노음악연구
of palm clusters and two kinds of pause signs in between palm and forearm
clusters The first of duration signs indicates a short duration while the second one
stands for a long one The first pause sign with red arrow in measure 5 stands a
long pause and the second sign of measure 9 indicates short pause
ltExample 2gt features the use of palm clusters and rotating palm clusters The
first type of graphic notation indicates a palm cluster while the second one asks
the performer to play with the two edges of the right hand palm from left to right
by rotating the right forearm The third graphic notation is needed to play with the
same part of the right hand palm from right to left rotating the right forearm
ltEx2gt Kurtaacuteg Jaacuteteacutekok Rotating palms (first line) Playing with palm and rotating palm
An additional form of palm cluster known as lsquocircling palmrsquo is shown in
ltExample 3gt To play a circling palm cluster the palm is placed on the white keys
and then turns in circular motion in either clockwise or counter direction Fingers
should try to remain on the same black keys which are shown by the black line
and the symbol For the first group of four circling palm clusters which are in
the treble clef part fingers should be placed to begin on B and right palm on
the white keys turns from E4 to C5 for the first circling palm cluster in the treble
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 161
staff For the second cluster of the first group the right palm on the white keys
turns from F4 to E5 while the fingers remain on B
ltEx3gt Kurtaacuteg Jaacuteteacutekok Sidling Palms (first line) Playing with circling palm
3 Symbols for Accidentals and Range
A second category of unusual signs involve accidental signs of which there are
four types normal accidentals large accidentals (with different meanings) those
serving to show range on the keyboard and those for black keys white keys or a
combination of both Kurtaacuteg frequently uses larger sharps flats and naturals these
indicate that all notes in the staff should be treated as sharps flats or naturals12)
In ltExample 4gt for instance all notes should be played as sharps
ltEx4gt Kurtaacuteg Jaacuteteacutekok Large size sharp
12) Gyoumlrgy Kurtaacuteg Supplement to Jaacuteteacutekok p 10
162 피아노음악연구
In ltExample 5gt the accidentals being used have two different meanings The
first one refers to the range of keyboard while the second one instructs the
performer to play black or white keys The accidentals before the first palm cluster
shown in other parts of Jaacuteteacutekok is indicative of the range on the keyboard This
could be potentially confusing and it should be noted once again that sharp and
natural symbols could refer to either the application of accidentals or to an
instruction regarding the range of the keyboard The range of the first palm cluster
extends from F4 to C5 The next palm cluster (found in the second line) denotes
accidentals that range from C3 to F3 The last forearm clusters of the last line
have both a sharp and natural signs The left side forearm cluster instructs the
performer to play the black keys with the left forearm while the right side cluster
should be played with the right forearm on white keys
ltEx5gt Kurtaacuteg Jaacuteteacutekok Quarrelling Two kinds of accidentals
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 163
4 Non-Traditional Placement of Notes
The third non-traditional element in Jaacuteteacutekok involves various kinds of unusual
placements of notes To begin with Kurtaacuteg places higher notes in the bottom staff
which is extremely uncommon in beginning pedagogical literature given the fact that
this reverses the traditional order of having the bass clef in the lower staff and the
treble clef in the upper one ltExample 6gt
As seen in ltExample 6gt the last note of the first measure C3 is on the top
staff rather than the bottom staff The third note of the second measure C4 is a
higher note than the previous C3 although this note is in the bottom staff This
piece can be used as a hand crossing exercise
ltEx6gt Kurtaacuteg Jaacuteteacutekok Higher notes in the bass staff and lower notes in the treble staff
Kurtaacuteg also uses the same clef in both hands as shown in ltExample 7gt Most
traditional method books also feature pieces with two treble or two bass clef signs
but what is unusual in this case is that higher notes have been placed in the
bottom staff Moreover traditional piano book usually employ the treble clef in only
one staff This example also shows the group of higher notes has been placed on
the bottom staff rather than in the top staff
164 피아노음악연구
ltEx7gt Kurtaacuteg Jaacuteteacutekok Dividing notes in the same clef sign into two different staves
A final example that illustrates Kurtaacutegrsquos non-traditional placement of notes involves
repeated notes in two different staves ltExample 8gt Most piano pedagogical method
books contain just one staff to write repeated notes but Kurtaacuteg positioned these in
two staves Kurtaacuteg suggested playing with the fifth fingers of both hands or even
with the side of the fifth fingers
ltEx8gt Kurtaacuteg Jaacuteteacutekok Repeated notes placed in two staves
Despite the difficult aspect of reading Kurtaacutegrsquos notation properly having an
unusual placement of notes stimulates studentsrsquo brain and fosters their creativity
When Kurtaacuteg described his motivation to compose Jaacuteteacutekok he spoke of playing the
piano with freedom and without limitations in addition to stimulating studentsrsquo
brain (eg improvement of thinking ability) and physical activity (eg using arms
and hand crossing) with game-like elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 165
5 Gap in Difficulty Levels
The last non-traditional element addressed in this study is the placement of both
beginning and more advanced pieces within the first volume ltExample 9gt shows a
piece that is too demanding for beginners This piece has a variety of difficult
elements that are out of reach for beginning students numerous accidentals playing
up to five-note clusters and a constant change in hand placement Usually method
books gradually increase the difficulty as one moves along In this case however
this piece is on the sixth page of the exercise part of volume 1 rather than in the
last part of the work
ltEx9gt Kurtaacuteg Jaacuteteacutekok 12 c) to 13 d) Difficult piece for beginning students
Another example of a piece that has difficult elements is shown in ltExample
10gt This short piece has five sharps but these are placed in non-traditional order
Furthermore a piece with five sharps in the key signature would not appear in a
traditional method book for beginners This kind of difficult element could also be
confusing to teachers and would also pose concerns for students who have already
learned the normal order of sharps In addition this piece has free meter and
Kurtaacuteg did not follow same key signature in the bass clef part compared to the
treble clef part
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
156 피아노음악연구
3 Jaacuteteacutekok Volume I
Jaacuteteacutekok (1973) is comprised of eight volumes containing hundreds of short piano
pieces Volumes I II III V VI and VII feature pieces for piano solo while
Volumes IV and VIII are for piano solo piano duet and for two pianos Primary
stages for the work originated in 1960 when Kurtaacuteg composed a few pieces for
his son Thirteen years later Hungarian piano pedagogue Marianne Teoumlke
suggested Kurtaacuteg compose music for children As a result Kurtaacuteg wrote an
additional nineteen pieces adding to those he wrote for his son These were the
starting points for the creation of Jaacuteteacutekok According to Rachel Beckles Willson
Kurtaacuteg wrote Jaacuteteacutekok in order to foster childrenrsquos playfulness curiosity and
bravura at the keyboard5) In the first part of the supplement to Jaacuteteacutekok Kurtaacuteg
himself stated that ldquoa great deal of freedom and initiative from the performerrdquo6) are
required to play these pieces properly7) As such Jaacuteteacutekok leads students to bond
with the piano in a more personal manner as if they were playing a game with a
big toy
Volume 1 of Kurtaacutegrsquos Jaacuteteacutekok consists of short piano pieces featuring a new
graphic notation devised by Kurtaacuteg himself Some pieces nonetheless are written in
standard musical notation while others combine both According to Kristina Junttu
Jaacuteteacutekok is an invaluable piano method that provides learners with a set of
performing skills enabling them to use their whole body8) Several musicologists and
piano pedagogues have conducted research on the importance of Jaacuteteacutekok noting its
5) Rachel Beckles Wilson Ligeti Kurtaacuteg and Hungarian Music during the Cold War (New York Cambridge
University Press 2007) p 149
6) Gyoumlrgy Kurtaacuteg Jaacuteteacutekok Supplement to series for Piano Vol1 (Budapest Editio Musica Budapest 1979) p 1
7) Ibid p 9
8) Kristina Junttu ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok Brings the Body to the Centre of Learning pianordquo The Finnish Journal of Music Education 11 no1-2 (2008) httpwww2sibafimusikkikasvatuslehtiusefilesFJMEvol11nro1+2
sivutpdf (accessed August 21 2014)
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 157
pedagogical value Antonietta Loffredo identifies Jaacuteteacutekok as method that is useful in
learning contemporary music She focuses her research on the piece titled Hommage
agrave Tchaikovsky which appears towards the end of Volume 19) In Centre and
Periphery Roots and Exile Stefano Melis explores various aspects that describe how
Jaacuteteacutekok helps children understand musical form and its relation to body gestures10)
He presents three pieces from VolumeI to illustrate the ways by which children
recognize and react to musical images Andre Hajdu states that Jaacuteteacutekok is a
significant pedagogical tool that introduces children to contemporary sonorities He
also claims that Jaacuteteacutekok encourages children to learn several sophisticated
performing techniques which include hand crossing technique playing overtones
and playing with palm fist and forearm11)
Most researchers and piano pedagogues have focused solely on researching
Jaacuteteacutekok from a kinesthetic perspective while providing brief guidelines and analyses
of selected pieces Even though many scholars have shown the significance and
advantages gained by students who learn Jaacuteteacutekok no research has been conducted
with regard to creating a systematic guideline aimed at successfully teaching the
work Though Kurtaacuteg provided teachers with a short four-page supplement that
includes detailed information on the new notation and the unusual signs that appear
in the score some of the signs are difficult to understand and follow As
mentioned in the previous paragraph most musicologists have focused on describing
the character of selected pieces within the set but none has fully addressed
teaching the work
9) Antonietta Loffredo ldquoContemporary Music in Piano Pedagogyrdquo (paper presented at the 9th Australasian Piano
Pedagogy Conference Sydney Australia July 13-17 2009) p 1
10) Stefano Melis ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A Voyagersquo into the Childrsquos Musical Mindrdquo in Centre and Periphery Roots and Exile Interpreting the Music of Istvan Anhalt Gyoumlrgy Kurtaacuteg and Sandor Veress eds
Friedemann Sallis Robin Elliot and Kenneth Delong (Waterloo Wilfrid Laurier University Press 2011) pp
241-259
11) Andre Hajdu ldquoA Galaxy Called lsquoMikrokosmos A Composerrsquos Viewrdquo Tempo 62 no 243 (2008) p 27
158 피아노음악연구
Despite being written 40 years ago Jaacuteteacutekok is only infrequently used as a
teaching tool in Hungary and is practically unknown in the United States This
probably is due to the fact that it presents students and teachers with atypical
musical elements These include use of novel notation use of an unlimited register
as well as pieces that feature varying degrees of difficulty within the same volume
According to Kurtaacuteg the first volume is mainly designed for children From a
pedagogical standpoint this volume would be appropriate for both beginning and
intermediate students
Thus given the potential significance and advantages of using Jaacuteteacutekok as a
pedagogical tool the creation of a systematic guideline is essential for teachers who
are not familiar with the collection or with teaching the techniques contained within
its various pieces Furthermore this research will be valuable for teachers looking to
explore a more varied repertoire for beginning and intermediate piano students
Ⅱ NON-TRADITIONAL PEDAGOGICAL ELEMENTS IN
JAacuteTEacuteKOKrsquoS VOLUME I
1 Introducing Four Non-Traditional Elements
Jaacuteteacutekok Volume I features four primary non-traditional musical elements These
constitute a serious challenge to teachers who are accustomed to working only with
standard notation and traditional method books These elements are 1) an unusual
novel notation 2) the use of a wide range of the keyboard that features the
inclusion of various ledger lines 3) the uncommon placement of notes and 4) a
wide gap between pieces that feature varying degrees of difficulty Below I provide
a detailed guideline for four non-traditional elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 159
2 Kurtaacutegrsquos Graphic Notation
As previously noted Kurtaacuteg uses his own graphic notation to portray different
kinds of musical ideas In addition to glissandi he uses six different kinds of
clusters these are to be played with the palm rotating palm circling palm
forearm fist laid fist In Volume 1 Kurtaacuteg frequently presents two kinds of clusters
as shown in ltExample 1gt The large black and white notes are meant to be played
with the palm the long thick lines with the forearm
ltEx1gt Kurtaacuteg Jaacuteteacutekokok Palm exercise Playing with palm and forearm
Copyright by Editio Musica BudapestReproduced by Permission
The large black and white notes (mm 1-8) require the performer to play palm
clusters Black notes are representative of shorter values while white notes stand
for longer values The accidentals on the left side of the clusters indicate their pitch
range The long thick lines in the last measure ask the pianist to use forearms
Kurtaacuteg also employs two kinds of duration signs these are located both at the top
160 피아노음악연구
of palm clusters and two kinds of pause signs in between palm and forearm
clusters The first of duration signs indicates a short duration while the second one
stands for a long one The first pause sign with red arrow in measure 5 stands a
long pause and the second sign of measure 9 indicates short pause
ltExample 2gt features the use of palm clusters and rotating palm clusters The
first type of graphic notation indicates a palm cluster while the second one asks
the performer to play with the two edges of the right hand palm from left to right
by rotating the right forearm The third graphic notation is needed to play with the
same part of the right hand palm from right to left rotating the right forearm
ltEx2gt Kurtaacuteg Jaacuteteacutekok Rotating palms (first line) Playing with palm and rotating palm
An additional form of palm cluster known as lsquocircling palmrsquo is shown in
ltExample 3gt To play a circling palm cluster the palm is placed on the white keys
and then turns in circular motion in either clockwise or counter direction Fingers
should try to remain on the same black keys which are shown by the black line
and the symbol For the first group of four circling palm clusters which are in
the treble clef part fingers should be placed to begin on B and right palm on
the white keys turns from E4 to C5 for the first circling palm cluster in the treble
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 161
staff For the second cluster of the first group the right palm on the white keys
turns from F4 to E5 while the fingers remain on B
ltEx3gt Kurtaacuteg Jaacuteteacutekok Sidling Palms (first line) Playing with circling palm
3 Symbols for Accidentals and Range
A second category of unusual signs involve accidental signs of which there are
four types normal accidentals large accidentals (with different meanings) those
serving to show range on the keyboard and those for black keys white keys or a
combination of both Kurtaacuteg frequently uses larger sharps flats and naturals these
indicate that all notes in the staff should be treated as sharps flats or naturals12)
In ltExample 4gt for instance all notes should be played as sharps
ltEx4gt Kurtaacuteg Jaacuteteacutekok Large size sharp
12) Gyoumlrgy Kurtaacuteg Supplement to Jaacuteteacutekok p 10
162 피아노음악연구
In ltExample 5gt the accidentals being used have two different meanings The
first one refers to the range of keyboard while the second one instructs the
performer to play black or white keys The accidentals before the first palm cluster
shown in other parts of Jaacuteteacutekok is indicative of the range on the keyboard This
could be potentially confusing and it should be noted once again that sharp and
natural symbols could refer to either the application of accidentals or to an
instruction regarding the range of the keyboard The range of the first palm cluster
extends from F4 to C5 The next palm cluster (found in the second line) denotes
accidentals that range from C3 to F3 The last forearm clusters of the last line
have both a sharp and natural signs The left side forearm cluster instructs the
performer to play the black keys with the left forearm while the right side cluster
should be played with the right forearm on white keys
ltEx5gt Kurtaacuteg Jaacuteteacutekok Quarrelling Two kinds of accidentals
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 163
4 Non-Traditional Placement of Notes
The third non-traditional element in Jaacuteteacutekok involves various kinds of unusual
placements of notes To begin with Kurtaacuteg places higher notes in the bottom staff
which is extremely uncommon in beginning pedagogical literature given the fact that
this reverses the traditional order of having the bass clef in the lower staff and the
treble clef in the upper one ltExample 6gt
As seen in ltExample 6gt the last note of the first measure C3 is on the top
staff rather than the bottom staff The third note of the second measure C4 is a
higher note than the previous C3 although this note is in the bottom staff This
piece can be used as a hand crossing exercise
ltEx6gt Kurtaacuteg Jaacuteteacutekok Higher notes in the bass staff and lower notes in the treble staff
Kurtaacuteg also uses the same clef in both hands as shown in ltExample 7gt Most
traditional method books also feature pieces with two treble or two bass clef signs
but what is unusual in this case is that higher notes have been placed in the
bottom staff Moreover traditional piano book usually employ the treble clef in only
one staff This example also shows the group of higher notes has been placed on
the bottom staff rather than in the top staff
164 피아노음악연구
ltEx7gt Kurtaacuteg Jaacuteteacutekok Dividing notes in the same clef sign into two different staves
A final example that illustrates Kurtaacutegrsquos non-traditional placement of notes involves
repeated notes in two different staves ltExample 8gt Most piano pedagogical method
books contain just one staff to write repeated notes but Kurtaacuteg positioned these in
two staves Kurtaacuteg suggested playing with the fifth fingers of both hands or even
with the side of the fifth fingers
ltEx8gt Kurtaacuteg Jaacuteteacutekok Repeated notes placed in two staves
Despite the difficult aspect of reading Kurtaacutegrsquos notation properly having an
unusual placement of notes stimulates studentsrsquo brain and fosters their creativity
When Kurtaacuteg described his motivation to compose Jaacuteteacutekok he spoke of playing the
piano with freedom and without limitations in addition to stimulating studentsrsquo
brain (eg improvement of thinking ability) and physical activity (eg using arms
and hand crossing) with game-like elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 165
5 Gap in Difficulty Levels
The last non-traditional element addressed in this study is the placement of both
beginning and more advanced pieces within the first volume ltExample 9gt shows a
piece that is too demanding for beginners This piece has a variety of difficult
elements that are out of reach for beginning students numerous accidentals playing
up to five-note clusters and a constant change in hand placement Usually method
books gradually increase the difficulty as one moves along In this case however
this piece is on the sixth page of the exercise part of volume 1 rather than in the
last part of the work
ltEx9gt Kurtaacuteg Jaacuteteacutekok 12 c) to 13 d) Difficult piece for beginning students
Another example of a piece that has difficult elements is shown in ltExample
10gt This short piece has five sharps but these are placed in non-traditional order
Furthermore a piece with five sharps in the key signature would not appear in a
traditional method book for beginners This kind of difficult element could also be
confusing to teachers and would also pose concerns for students who have already
learned the normal order of sharps In addition this piece has free meter and
Kurtaacuteg did not follow same key signature in the bass clef part compared to the
treble clef part
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 157
pedagogical value Antonietta Loffredo identifies Jaacuteteacutekok as method that is useful in
learning contemporary music She focuses her research on the piece titled Hommage
agrave Tchaikovsky which appears towards the end of Volume 19) In Centre and
Periphery Roots and Exile Stefano Melis explores various aspects that describe how
Jaacuteteacutekok helps children understand musical form and its relation to body gestures10)
He presents three pieces from VolumeI to illustrate the ways by which children
recognize and react to musical images Andre Hajdu states that Jaacuteteacutekok is a
significant pedagogical tool that introduces children to contemporary sonorities He
also claims that Jaacuteteacutekok encourages children to learn several sophisticated
performing techniques which include hand crossing technique playing overtones
and playing with palm fist and forearm11)
Most researchers and piano pedagogues have focused solely on researching
Jaacuteteacutekok from a kinesthetic perspective while providing brief guidelines and analyses
of selected pieces Even though many scholars have shown the significance and
advantages gained by students who learn Jaacuteteacutekok no research has been conducted
with regard to creating a systematic guideline aimed at successfully teaching the
work Though Kurtaacuteg provided teachers with a short four-page supplement that
includes detailed information on the new notation and the unusual signs that appear
in the score some of the signs are difficult to understand and follow As
mentioned in the previous paragraph most musicologists have focused on describing
the character of selected pieces within the set but none has fully addressed
teaching the work
9) Antonietta Loffredo ldquoContemporary Music in Piano Pedagogyrdquo (paper presented at the 9th Australasian Piano
Pedagogy Conference Sydney Australia July 13-17 2009) p 1
10) Stefano Melis ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A Voyagersquo into the Childrsquos Musical Mindrdquo in Centre and Periphery Roots and Exile Interpreting the Music of Istvan Anhalt Gyoumlrgy Kurtaacuteg and Sandor Veress eds
Friedemann Sallis Robin Elliot and Kenneth Delong (Waterloo Wilfrid Laurier University Press 2011) pp
241-259
11) Andre Hajdu ldquoA Galaxy Called lsquoMikrokosmos A Composerrsquos Viewrdquo Tempo 62 no 243 (2008) p 27
158 피아노음악연구
Despite being written 40 years ago Jaacuteteacutekok is only infrequently used as a
teaching tool in Hungary and is practically unknown in the United States This
probably is due to the fact that it presents students and teachers with atypical
musical elements These include use of novel notation use of an unlimited register
as well as pieces that feature varying degrees of difficulty within the same volume
According to Kurtaacuteg the first volume is mainly designed for children From a
pedagogical standpoint this volume would be appropriate for both beginning and
intermediate students
Thus given the potential significance and advantages of using Jaacuteteacutekok as a
pedagogical tool the creation of a systematic guideline is essential for teachers who
are not familiar with the collection or with teaching the techniques contained within
its various pieces Furthermore this research will be valuable for teachers looking to
explore a more varied repertoire for beginning and intermediate piano students
Ⅱ NON-TRADITIONAL PEDAGOGICAL ELEMENTS IN
JAacuteTEacuteKOKrsquoS VOLUME I
1 Introducing Four Non-Traditional Elements
Jaacuteteacutekok Volume I features four primary non-traditional musical elements These
constitute a serious challenge to teachers who are accustomed to working only with
standard notation and traditional method books These elements are 1) an unusual
novel notation 2) the use of a wide range of the keyboard that features the
inclusion of various ledger lines 3) the uncommon placement of notes and 4) a
wide gap between pieces that feature varying degrees of difficulty Below I provide
a detailed guideline for four non-traditional elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 159
2 Kurtaacutegrsquos Graphic Notation
As previously noted Kurtaacuteg uses his own graphic notation to portray different
kinds of musical ideas In addition to glissandi he uses six different kinds of
clusters these are to be played with the palm rotating palm circling palm
forearm fist laid fist In Volume 1 Kurtaacuteg frequently presents two kinds of clusters
as shown in ltExample 1gt The large black and white notes are meant to be played
with the palm the long thick lines with the forearm
ltEx1gt Kurtaacuteg Jaacuteteacutekokok Palm exercise Playing with palm and forearm
Copyright by Editio Musica BudapestReproduced by Permission
The large black and white notes (mm 1-8) require the performer to play palm
clusters Black notes are representative of shorter values while white notes stand
for longer values The accidentals on the left side of the clusters indicate their pitch
range The long thick lines in the last measure ask the pianist to use forearms
Kurtaacuteg also employs two kinds of duration signs these are located both at the top
160 피아노음악연구
of palm clusters and two kinds of pause signs in between palm and forearm
clusters The first of duration signs indicates a short duration while the second one
stands for a long one The first pause sign with red arrow in measure 5 stands a
long pause and the second sign of measure 9 indicates short pause
ltExample 2gt features the use of palm clusters and rotating palm clusters The
first type of graphic notation indicates a palm cluster while the second one asks
the performer to play with the two edges of the right hand palm from left to right
by rotating the right forearm The third graphic notation is needed to play with the
same part of the right hand palm from right to left rotating the right forearm
ltEx2gt Kurtaacuteg Jaacuteteacutekok Rotating palms (first line) Playing with palm and rotating palm
An additional form of palm cluster known as lsquocircling palmrsquo is shown in
ltExample 3gt To play a circling palm cluster the palm is placed on the white keys
and then turns in circular motion in either clockwise or counter direction Fingers
should try to remain on the same black keys which are shown by the black line
and the symbol For the first group of four circling palm clusters which are in
the treble clef part fingers should be placed to begin on B and right palm on
the white keys turns from E4 to C5 for the first circling palm cluster in the treble
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 161
staff For the second cluster of the first group the right palm on the white keys
turns from F4 to E5 while the fingers remain on B
ltEx3gt Kurtaacuteg Jaacuteteacutekok Sidling Palms (first line) Playing with circling palm
3 Symbols for Accidentals and Range
A second category of unusual signs involve accidental signs of which there are
four types normal accidentals large accidentals (with different meanings) those
serving to show range on the keyboard and those for black keys white keys or a
combination of both Kurtaacuteg frequently uses larger sharps flats and naturals these
indicate that all notes in the staff should be treated as sharps flats or naturals12)
In ltExample 4gt for instance all notes should be played as sharps
ltEx4gt Kurtaacuteg Jaacuteteacutekok Large size sharp
12) Gyoumlrgy Kurtaacuteg Supplement to Jaacuteteacutekok p 10
162 피아노음악연구
In ltExample 5gt the accidentals being used have two different meanings The
first one refers to the range of keyboard while the second one instructs the
performer to play black or white keys The accidentals before the first palm cluster
shown in other parts of Jaacuteteacutekok is indicative of the range on the keyboard This
could be potentially confusing and it should be noted once again that sharp and
natural symbols could refer to either the application of accidentals or to an
instruction regarding the range of the keyboard The range of the first palm cluster
extends from F4 to C5 The next palm cluster (found in the second line) denotes
accidentals that range from C3 to F3 The last forearm clusters of the last line
have both a sharp and natural signs The left side forearm cluster instructs the
performer to play the black keys with the left forearm while the right side cluster
should be played with the right forearm on white keys
ltEx5gt Kurtaacuteg Jaacuteteacutekok Quarrelling Two kinds of accidentals
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 163
4 Non-Traditional Placement of Notes
The third non-traditional element in Jaacuteteacutekok involves various kinds of unusual
placements of notes To begin with Kurtaacuteg places higher notes in the bottom staff
which is extremely uncommon in beginning pedagogical literature given the fact that
this reverses the traditional order of having the bass clef in the lower staff and the
treble clef in the upper one ltExample 6gt
As seen in ltExample 6gt the last note of the first measure C3 is on the top
staff rather than the bottom staff The third note of the second measure C4 is a
higher note than the previous C3 although this note is in the bottom staff This
piece can be used as a hand crossing exercise
ltEx6gt Kurtaacuteg Jaacuteteacutekok Higher notes in the bass staff and lower notes in the treble staff
Kurtaacuteg also uses the same clef in both hands as shown in ltExample 7gt Most
traditional method books also feature pieces with two treble or two bass clef signs
but what is unusual in this case is that higher notes have been placed in the
bottom staff Moreover traditional piano book usually employ the treble clef in only
one staff This example also shows the group of higher notes has been placed on
the bottom staff rather than in the top staff
164 피아노음악연구
ltEx7gt Kurtaacuteg Jaacuteteacutekok Dividing notes in the same clef sign into two different staves
A final example that illustrates Kurtaacutegrsquos non-traditional placement of notes involves
repeated notes in two different staves ltExample 8gt Most piano pedagogical method
books contain just one staff to write repeated notes but Kurtaacuteg positioned these in
two staves Kurtaacuteg suggested playing with the fifth fingers of both hands or even
with the side of the fifth fingers
ltEx8gt Kurtaacuteg Jaacuteteacutekok Repeated notes placed in two staves
Despite the difficult aspect of reading Kurtaacutegrsquos notation properly having an
unusual placement of notes stimulates studentsrsquo brain and fosters their creativity
When Kurtaacuteg described his motivation to compose Jaacuteteacutekok he spoke of playing the
piano with freedom and without limitations in addition to stimulating studentsrsquo
brain (eg improvement of thinking ability) and physical activity (eg using arms
and hand crossing) with game-like elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 165
5 Gap in Difficulty Levels
The last non-traditional element addressed in this study is the placement of both
beginning and more advanced pieces within the first volume ltExample 9gt shows a
piece that is too demanding for beginners This piece has a variety of difficult
elements that are out of reach for beginning students numerous accidentals playing
up to five-note clusters and a constant change in hand placement Usually method
books gradually increase the difficulty as one moves along In this case however
this piece is on the sixth page of the exercise part of volume 1 rather than in the
last part of the work
ltEx9gt Kurtaacuteg Jaacuteteacutekok 12 c) to 13 d) Difficult piece for beginning students
Another example of a piece that has difficult elements is shown in ltExample
10gt This short piece has five sharps but these are placed in non-traditional order
Furthermore a piece with five sharps in the key signature would not appear in a
traditional method book for beginners This kind of difficult element could also be
confusing to teachers and would also pose concerns for students who have already
learned the normal order of sharps In addition this piece has free meter and
Kurtaacuteg did not follow same key signature in the bass clef part compared to the
treble clef part
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
158 피아노음악연구
Despite being written 40 years ago Jaacuteteacutekok is only infrequently used as a
teaching tool in Hungary and is practically unknown in the United States This
probably is due to the fact that it presents students and teachers with atypical
musical elements These include use of novel notation use of an unlimited register
as well as pieces that feature varying degrees of difficulty within the same volume
According to Kurtaacuteg the first volume is mainly designed for children From a
pedagogical standpoint this volume would be appropriate for both beginning and
intermediate students
Thus given the potential significance and advantages of using Jaacuteteacutekok as a
pedagogical tool the creation of a systematic guideline is essential for teachers who
are not familiar with the collection or with teaching the techniques contained within
its various pieces Furthermore this research will be valuable for teachers looking to
explore a more varied repertoire for beginning and intermediate piano students
Ⅱ NON-TRADITIONAL PEDAGOGICAL ELEMENTS IN
JAacuteTEacuteKOKrsquoS VOLUME I
1 Introducing Four Non-Traditional Elements
Jaacuteteacutekok Volume I features four primary non-traditional musical elements These
constitute a serious challenge to teachers who are accustomed to working only with
standard notation and traditional method books These elements are 1) an unusual
novel notation 2) the use of a wide range of the keyboard that features the
inclusion of various ledger lines 3) the uncommon placement of notes and 4) a
wide gap between pieces that feature varying degrees of difficulty Below I provide
a detailed guideline for four non-traditional elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 159
2 Kurtaacutegrsquos Graphic Notation
As previously noted Kurtaacuteg uses his own graphic notation to portray different
kinds of musical ideas In addition to glissandi he uses six different kinds of
clusters these are to be played with the palm rotating palm circling palm
forearm fist laid fist In Volume 1 Kurtaacuteg frequently presents two kinds of clusters
as shown in ltExample 1gt The large black and white notes are meant to be played
with the palm the long thick lines with the forearm
ltEx1gt Kurtaacuteg Jaacuteteacutekokok Palm exercise Playing with palm and forearm
Copyright by Editio Musica BudapestReproduced by Permission
The large black and white notes (mm 1-8) require the performer to play palm
clusters Black notes are representative of shorter values while white notes stand
for longer values The accidentals on the left side of the clusters indicate their pitch
range The long thick lines in the last measure ask the pianist to use forearms
Kurtaacuteg also employs two kinds of duration signs these are located both at the top
160 피아노음악연구
of palm clusters and two kinds of pause signs in between palm and forearm
clusters The first of duration signs indicates a short duration while the second one
stands for a long one The first pause sign with red arrow in measure 5 stands a
long pause and the second sign of measure 9 indicates short pause
ltExample 2gt features the use of palm clusters and rotating palm clusters The
first type of graphic notation indicates a palm cluster while the second one asks
the performer to play with the two edges of the right hand palm from left to right
by rotating the right forearm The third graphic notation is needed to play with the
same part of the right hand palm from right to left rotating the right forearm
ltEx2gt Kurtaacuteg Jaacuteteacutekok Rotating palms (first line) Playing with palm and rotating palm
An additional form of palm cluster known as lsquocircling palmrsquo is shown in
ltExample 3gt To play a circling palm cluster the palm is placed on the white keys
and then turns in circular motion in either clockwise or counter direction Fingers
should try to remain on the same black keys which are shown by the black line
and the symbol For the first group of four circling palm clusters which are in
the treble clef part fingers should be placed to begin on B and right palm on
the white keys turns from E4 to C5 for the first circling palm cluster in the treble
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 161
staff For the second cluster of the first group the right palm on the white keys
turns from F4 to E5 while the fingers remain on B
ltEx3gt Kurtaacuteg Jaacuteteacutekok Sidling Palms (first line) Playing with circling palm
3 Symbols for Accidentals and Range
A second category of unusual signs involve accidental signs of which there are
four types normal accidentals large accidentals (with different meanings) those
serving to show range on the keyboard and those for black keys white keys or a
combination of both Kurtaacuteg frequently uses larger sharps flats and naturals these
indicate that all notes in the staff should be treated as sharps flats or naturals12)
In ltExample 4gt for instance all notes should be played as sharps
ltEx4gt Kurtaacuteg Jaacuteteacutekok Large size sharp
12) Gyoumlrgy Kurtaacuteg Supplement to Jaacuteteacutekok p 10
162 피아노음악연구
In ltExample 5gt the accidentals being used have two different meanings The
first one refers to the range of keyboard while the second one instructs the
performer to play black or white keys The accidentals before the first palm cluster
shown in other parts of Jaacuteteacutekok is indicative of the range on the keyboard This
could be potentially confusing and it should be noted once again that sharp and
natural symbols could refer to either the application of accidentals or to an
instruction regarding the range of the keyboard The range of the first palm cluster
extends from F4 to C5 The next palm cluster (found in the second line) denotes
accidentals that range from C3 to F3 The last forearm clusters of the last line
have both a sharp and natural signs The left side forearm cluster instructs the
performer to play the black keys with the left forearm while the right side cluster
should be played with the right forearm on white keys
ltEx5gt Kurtaacuteg Jaacuteteacutekok Quarrelling Two kinds of accidentals
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 163
4 Non-Traditional Placement of Notes
The third non-traditional element in Jaacuteteacutekok involves various kinds of unusual
placements of notes To begin with Kurtaacuteg places higher notes in the bottom staff
which is extremely uncommon in beginning pedagogical literature given the fact that
this reverses the traditional order of having the bass clef in the lower staff and the
treble clef in the upper one ltExample 6gt
As seen in ltExample 6gt the last note of the first measure C3 is on the top
staff rather than the bottom staff The third note of the second measure C4 is a
higher note than the previous C3 although this note is in the bottom staff This
piece can be used as a hand crossing exercise
ltEx6gt Kurtaacuteg Jaacuteteacutekok Higher notes in the bass staff and lower notes in the treble staff
Kurtaacuteg also uses the same clef in both hands as shown in ltExample 7gt Most
traditional method books also feature pieces with two treble or two bass clef signs
but what is unusual in this case is that higher notes have been placed in the
bottom staff Moreover traditional piano book usually employ the treble clef in only
one staff This example also shows the group of higher notes has been placed on
the bottom staff rather than in the top staff
164 피아노음악연구
ltEx7gt Kurtaacuteg Jaacuteteacutekok Dividing notes in the same clef sign into two different staves
A final example that illustrates Kurtaacutegrsquos non-traditional placement of notes involves
repeated notes in two different staves ltExample 8gt Most piano pedagogical method
books contain just one staff to write repeated notes but Kurtaacuteg positioned these in
two staves Kurtaacuteg suggested playing with the fifth fingers of both hands or even
with the side of the fifth fingers
ltEx8gt Kurtaacuteg Jaacuteteacutekok Repeated notes placed in two staves
Despite the difficult aspect of reading Kurtaacutegrsquos notation properly having an
unusual placement of notes stimulates studentsrsquo brain and fosters their creativity
When Kurtaacuteg described his motivation to compose Jaacuteteacutekok he spoke of playing the
piano with freedom and without limitations in addition to stimulating studentsrsquo
brain (eg improvement of thinking ability) and physical activity (eg using arms
and hand crossing) with game-like elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 165
5 Gap in Difficulty Levels
The last non-traditional element addressed in this study is the placement of both
beginning and more advanced pieces within the first volume ltExample 9gt shows a
piece that is too demanding for beginners This piece has a variety of difficult
elements that are out of reach for beginning students numerous accidentals playing
up to five-note clusters and a constant change in hand placement Usually method
books gradually increase the difficulty as one moves along In this case however
this piece is on the sixth page of the exercise part of volume 1 rather than in the
last part of the work
ltEx9gt Kurtaacuteg Jaacuteteacutekok 12 c) to 13 d) Difficult piece for beginning students
Another example of a piece that has difficult elements is shown in ltExample
10gt This short piece has five sharps but these are placed in non-traditional order
Furthermore a piece with five sharps in the key signature would not appear in a
traditional method book for beginners This kind of difficult element could also be
confusing to teachers and would also pose concerns for students who have already
learned the normal order of sharps In addition this piece has free meter and
Kurtaacuteg did not follow same key signature in the bass clef part compared to the
treble clef part
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 159
2 Kurtaacutegrsquos Graphic Notation
As previously noted Kurtaacuteg uses his own graphic notation to portray different
kinds of musical ideas In addition to glissandi he uses six different kinds of
clusters these are to be played with the palm rotating palm circling palm
forearm fist laid fist In Volume 1 Kurtaacuteg frequently presents two kinds of clusters
as shown in ltExample 1gt The large black and white notes are meant to be played
with the palm the long thick lines with the forearm
ltEx1gt Kurtaacuteg Jaacuteteacutekokok Palm exercise Playing with palm and forearm
Copyright by Editio Musica BudapestReproduced by Permission
The large black and white notes (mm 1-8) require the performer to play palm
clusters Black notes are representative of shorter values while white notes stand
for longer values The accidentals on the left side of the clusters indicate their pitch
range The long thick lines in the last measure ask the pianist to use forearms
Kurtaacuteg also employs two kinds of duration signs these are located both at the top
160 피아노음악연구
of palm clusters and two kinds of pause signs in between palm and forearm
clusters The first of duration signs indicates a short duration while the second one
stands for a long one The first pause sign with red arrow in measure 5 stands a
long pause and the second sign of measure 9 indicates short pause
ltExample 2gt features the use of palm clusters and rotating palm clusters The
first type of graphic notation indicates a palm cluster while the second one asks
the performer to play with the two edges of the right hand palm from left to right
by rotating the right forearm The third graphic notation is needed to play with the
same part of the right hand palm from right to left rotating the right forearm
ltEx2gt Kurtaacuteg Jaacuteteacutekok Rotating palms (first line) Playing with palm and rotating palm
An additional form of palm cluster known as lsquocircling palmrsquo is shown in
ltExample 3gt To play a circling palm cluster the palm is placed on the white keys
and then turns in circular motion in either clockwise or counter direction Fingers
should try to remain on the same black keys which are shown by the black line
and the symbol For the first group of four circling palm clusters which are in
the treble clef part fingers should be placed to begin on B and right palm on
the white keys turns from E4 to C5 for the first circling palm cluster in the treble
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 161
staff For the second cluster of the first group the right palm on the white keys
turns from F4 to E5 while the fingers remain on B
ltEx3gt Kurtaacuteg Jaacuteteacutekok Sidling Palms (first line) Playing with circling palm
3 Symbols for Accidentals and Range
A second category of unusual signs involve accidental signs of which there are
four types normal accidentals large accidentals (with different meanings) those
serving to show range on the keyboard and those for black keys white keys or a
combination of both Kurtaacuteg frequently uses larger sharps flats and naturals these
indicate that all notes in the staff should be treated as sharps flats or naturals12)
In ltExample 4gt for instance all notes should be played as sharps
ltEx4gt Kurtaacuteg Jaacuteteacutekok Large size sharp
12) Gyoumlrgy Kurtaacuteg Supplement to Jaacuteteacutekok p 10
162 피아노음악연구
In ltExample 5gt the accidentals being used have two different meanings The
first one refers to the range of keyboard while the second one instructs the
performer to play black or white keys The accidentals before the first palm cluster
shown in other parts of Jaacuteteacutekok is indicative of the range on the keyboard This
could be potentially confusing and it should be noted once again that sharp and
natural symbols could refer to either the application of accidentals or to an
instruction regarding the range of the keyboard The range of the first palm cluster
extends from F4 to C5 The next palm cluster (found in the second line) denotes
accidentals that range from C3 to F3 The last forearm clusters of the last line
have both a sharp and natural signs The left side forearm cluster instructs the
performer to play the black keys with the left forearm while the right side cluster
should be played with the right forearm on white keys
ltEx5gt Kurtaacuteg Jaacuteteacutekok Quarrelling Two kinds of accidentals
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 163
4 Non-Traditional Placement of Notes
The third non-traditional element in Jaacuteteacutekok involves various kinds of unusual
placements of notes To begin with Kurtaacuteg places higher notes in the bottom staff
which is extremely uncommon in beginning pedagogical literature given the fact that
this reverses the traditional order of having the bass clef in the lower staff and the
treble clef in the upper one ltExample 6gt
As seen in ltExample 6gt the last note of the first measure C3 is on the top
staff rather than the bottom staff The third note of the second measure C4 is a
higher note than the previous C3 although this note is in the bottom staff This
piece can be used as a hand crossing exercise
ltEx6gt Kurtaacuteg Jaacuteteacutekok Higher notes in the bass staff and lower notes in the treble staff
Kurtaacuteg also uses the same clef in both hands as shown in ltExample 7gt Most
traditional method books also feature pieces with two treble or two bass clef signs
but what is unusual in this case is that higher notes have been placed in the
bottom staff Moreover traditional piano book usually employ the treble clef in only
one staff This example also shows the group of higher notes has been placed on
the bottom staff rather than in the top staff
164 피아노음악연구
ltEx7gt Kurtaacuteg Jaacuteteacutekok Dividing notes in the same clef sign into two different staves
A final example that illustrates Kurtaacutegrsquos non-traditional placement of notes involves
repeated notes in two different staves ltExample 8gt Most piano pedagogical method
books contain just one staff to write repeated notes but Kurtaacuteg positioned these in
two staves Kurtaacuteg suggested playing with the fifth fingers of both hands or even
with the side of the fifth fingers
ltEx8gt Kurtaacuteg Jaacuteteacutekok Repeated notes placed in two staves
Despite the difficult aspect of reading Kurtaacutegrsquos notation properly having an
unusual placement of notes stimulates studentsrsquo brain and fosters their creativity
When Kurtaacuteg described his motivation to compose Jaacuteteacutekok he spoke of playing the
piano with freedom and without limitations in addition to stimulating studentsrsquo
brain (eg improvement of thinking ability) and physical activity (eg using arms
and hand crossing) with game-like elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 165
5 Gap in Difficulty Levels
The last non-traditional element addressed in this study is the placement of both
beginning and more advanced pieces within the first volume ltExample 9gt shows a
piece that is too demanding for beginners This piece has a variety of difficult
elements that are out of reach for beginning students numerous accidentals playing
up to five-note clusters and a constant change in hand placement Usually method
books gradually increase the difficulty as one moves along In this case however
this piece is on the sixth page of the exercise part of volume 1 rather than in the
last part of the work
ltEx9gt Kurtaacuteg Jaacuteteacutekok 12 c) to 13 d) Difficult piece for beginning students
Another example of a piece that has difficult elements is shown in ltExample
10gt This short piece has five sharps but these are placed in non-traditional order
Furthermore a piece with five sharps in the key signature would not appear in a
traditional method book for beginners This kind of difficult element could also be
confusing to teachers and would also pose concerns for students who have already
learned the normal order of sharps In addition this piece has free meter and
Kurtaacuteg did not follow same key signature in the bass clef part compared to the
treble clef part
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
160 피아노음악연구
of palm clusters and two kinds of pause signs in between palm and forearm
clusters The first of duration signs indicates a short duration while the second one
stands for a long one The first pause sign with red arrow in measure 5 stands a
long pause and the second sign of measure 9 indicates short pause
ltExample 2gt features the use of palm clusters and rotating palm clusters The
first type of graphic notation indicates a palm cluster while the second one asks
the performer to play with the two edges of the right hand palm from left to right
by rotating the right forearm The third graphic notation is needed to play with the
same part of the right hand palm from right to left rotating the right forearm
ltEx2gt Kurtaacuteg Jaacuteteacutekok Rotating palms (first line) Playing with palm and rotating palm
An additional form of palm cluster known as lsquocircling palmrsquo is shown in
ltExample 3gt To play a circling palm cluster the palm is placed on the white keys
and then turns in circular motion in either clockwise or counter direction Fingers
should try to remain on the same black keys which are shown by the black line
and the symbol For the first group of four circling palm clusters which are in
the treble clef part fingers should be placed to begin on B and right palm on
the white keys turns from E4 to C5 for the first circling palm cluster in the treble
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 161
staff For the second cluster of the first group the right palm on the white keys
turns from F4 to E5 while the fingers remain on B
ltEx3gt Kurtaacuteg Jaacuteteacutekok Sidling Palms (first line) Playing with circling palm
3 Symbols for Accidentals and Range
A second category of unusual signs involve accidental signs of which there are
four types normal accidentals large accidentals (with different meanings) those
serving to show range on the keyboard and those for black keys white keys or a
combination of both Kurtaacuteg frequently uses larger sharps flats and naturals these
indicate that all notes in the staff should be treated as sharps flats or naturals12)
In ltExample 4gt for instance all notes should be played as sharps
ltEx4gt Kurtaacuteg Jaacuteteacutekok Large size sharp
12) Gyoumlrgy Kurtaacuteg Supplement to Jaacuteteacutekok p 10
162 피아노음악연구
In ltExample 5gt the accidentals being used have two different meanings The
first one refers to the range of keyboard while the second one instructs the
performer to play black or white keys The accidentals before the first palm cluster
shown in other parts of Jaacuteteacutekok is indicative of the range on the keyboard This
could be potentially confusing and it should be noted once again that sharp and
natural symbols could refer to either the application of accidentals or to an
instruction regarding the range of the keyboard The range of the first palm cluster
extends from F4 to C5 The next palm cluster (found in the second line) denotes
accidentals that range from C3 to F3 The last forearm clusters of the last line
have both a sharp and natural signs The left side forearm cluster instructs the
performer to play the black keys with the left forearm while the right side cluster
should be played with the right forearm on white keys
ltEx5gt Kurtaacuteg Jaacuteteacutekok Quarrelling Two kinds of accidentals
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 163
4 Non-Traditional Placement of Notes
The third non-traditional element in Jaacuteteacutekok involves various kinds of unusual
placements of notes To begin with Kurtaacuteg places higher notes in the bottom staff
which is extremely uncommon in beginning pedagogical literature given the fact that
this reverses the traditional order of having the bass clef in the lower staff and the
treble clef in the upper one ltExample 6gt
As seen in ltExample 6gt the last note of the first measure C3 is on the top
staff rather than the bottom staff The third note of the second measure C4 is a
higher note than the previous C3 although this note is in the bottom staff This
piece can be used as a hand crossing exercise
ltEx6gt Kurtaacuteg Jaacuteteacutekok Higher notes in the bass staff and lower notes in the treble staff
Kurtaacuteg also uses the same clef in both hands as shown in ltExample 7gt Most
traditional method books also feature pieces with two treble or two bass clef signs
but what is unusual in this case is that higher notes have been placed in the
bottom staff Moreover traditional piano book usually employ the treble clef in only
one staff This example also shows the group of higher notes has been placed on
the bottom staff rather than in the top staff
164 피아노음악연구
ltEx7gt Kurtaacuteg Jaacuteteacutekok Dividing notes in the same clef sign into two different staves
A final example that illustrates Kurtaacutegrsquos non-traditional placement of notes involves
repeated notes in two different staves ltExample 8gt Most piano pedagogical method
books contain just one staff to write repeated notes but Kurtaacuteg positioned these in
two staves Kurtaacuteg suggested playing with the fifth fingers of both hands or even
with the side of the fifth fingers
ltEx8gt Kurtaacuteg Jaacuteteacutekok Repeated notes placed in two staves
Despite the difficult aspect of reading Kurtaacutegrsquos notation properly having an
unusual placement of notes stimulates studentsrsquo brain and fosters their creativity
When Kurtaacuteg described his motivation to compose Jaacuteteacutekok he spoke of playing the
piano with freedom and without limitations in addition to stimulating studentsrsquo
brain (eg improvement of thinking ability) and physical activity (eg using arms
and hand crossing) with game-like elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 165
5 Gap in Difficulty Levels
The last non-traditional element addressed in this study is the placement of both
beginning and more advanced pieces within the first volume ltExample 9gt shows a
piece that is too demanding for beginners This piece has a variety of difficult
elements that are out of reach for beginning students numerous accidentals playing
up to five-note clusters and a constant change in hand placement Usually method
books gradually increase the difficulty as one moves along In this case however
this piece is on the sixth page of the exercise part of volume 1 rather than in the
last part of the work
ltEx9gt Kurtaacuteg Jaacuteteacutekok 12 c) to 13 d) Difficult piece for beginning students
Another example of a piece that has difficult elements is shown in ltExample
10gt This short piece has five sharps but these are placed in non-traditional order
Furthermore a piece with five sharps in the key signature would not appear in a
traditional method book for beginners This kind of difficult element could also be
confusing to teachers and would also pose concerns for students who have already
learned the normal order of sharps In addition this piece has free meter and
Kurtaacuteg did not follow same key signature in the bass clef part compared to the
treble clef part
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 161
staff For the second cluster of the first group the right palm on the white keys
turns from F4 to E5 while the fingers remain on B
ltEx3gt Kurtaacuteg Jaacuteteacutekok Sidling Palms (first line) Playing with circling palm
3 Symbols for Accidentals and Range
A second category of unusual signs involve accidental signs of which there are
four types normal accidentals large accidentals (with different meanings) those
serving to show range on the keyboard and those for black keys white keys or a
combination of both Kurtaacuteg frequently uses larger sharps flats and naturals these
indicate that all notes in the staff should be treated as sharps flats or naturals12)
In ltExample 4gt for instance all notes should be played as sharps
ltEx4gt Kurtaacuteg Jaacuteteacutekok Large size sharp
12) Gyoumlrgy Kurtaacuteg Supplement to Jaacuteteacutekok p 10
162 피아노음악연구
In ltExample 5gt the accidentals being used have two different meanings The
first one refers to the range of keyboard while the second one instructs the
performer to play black or white keys The accidentals before the first palm cluster
shown in other parts of Jaacuteteacutekok is indicative of the range on the keyboard This
could be potentially confusing and it should be noted once again that sharp and
natural symbols could refer to either the application of accidentals or to an
instruction regarding the range of the keyboard The range of the first palm cluster
extends from F4 to C5 The next palm cluster (found in the second line) denotes
accidentals that range from C3 to F3 The last forearm clusters of the last line
have both a sharp and natural signs The left side forearm cluster instructs the
performer to play the black keys with the left forearm while the right side cluster
should be played with the right forearm on white keys
ltEx5gt Kurtaacuteg Jaacuteteacutekok Quarrelling Two kinds of accidentals
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 163
4 Non-Traditional Placement of Notes
The third non-traditional element in Jaacuteteacutekok involves various kinds of unusual
placements of notes To begin with Kurtaacuteg places higher notes in the bottom staff
which is extremely uncommon in beginning pedagogical literature given the fact that
this reverses the traditional order of having the bass clef in the lower staff and the
treble clef in the upper one ltExample 6gt
As seen in ltExample 6gt the last note of the first measure C3 is on the top
staff rather than the bottom staff The third note of the second measure C4 is a
higher note than the previous C3 although this note is in the bottom staff This
piece can be used as a hand crossing exercise
ltEx6gt Kurtaacuteg Jaacuteteacutekok Higher notes in the bass staff and lower notes in the treble staff
Kurtaacuteg also uses the same clef in both hands as shown in ltExample 7gt Most
traditional method books also feature pieces with two treble or two bass clef signs
but what is unusual in this case is that higher notes have been placed in the
bottom staff Moreover traditional piano book usually employ the treble clef in only
one staff This example also shows the group of higher notes has been placed on
the bottom staff rather than in the top staff
164 피아노음악연구
ltEx7gt Kurtaacuteg Jaacuteteacutekok Dividing notes in the same clef sign into two different staves
A final example that illustrates Kurtaacutegrsquos non-traditional placement of notes involves
repeated notes in two different staves ltExample 8gt Most piano pedagogical method
books contain just one staff to write repeated notes but Kurtaacuteg positioned these in
two staves Kurtaacuteg suggested playing with the fifth fingers of both hands or even
with the side of the fifth fingers
ltEx8gt Kurtaacuteg Jaacuteteacutekok Repeated notes placed in two staves
Despite the difficult aspect of reading Kurtaacutegrsquos notation properly having an
unusual placement of notes stimulates studentsrsquo brain and fosters their creativity
When Kurtaacuteg described his motivation to compose Jaacuteteacutekok he spoke of playing the
piano with freedom and without limitations in addition to stimulating studentsrsquo
brain (eg improvement of thinking ability) and physical activity (eg using arms
and hand crossing) with game-like elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 165
5 Gap in Difficulty Levels
The last non-traditional element addressed in this study is the placement of both
beginning and more advanced pieces within the first volume ltExample 9gt shows a
piece that is too demanding for beginners This piece has a variety of difficult
elements that are out of reach for beginning students numerous accidentals playing
up to five-note clusters and a constant change in hand placement Usually method
books gradually increase the difficulty as one moves along In this case however
this piece is on the sixth page of the exercise part of volume 1 rather than in the
last part of the work
ltEx9gt Kurtaacuteg Jaacuteteacutekok 12 c) to 13 d) Difficult piece for beginning students
Another example of a piece that has difficult elements is shown in ltExample
10gt This short piece has five sharps but these are placed in non-traditional order
Furthermore a piece with five sharps in the key signature would not appear in a
traditional method book for beginners This kind of difficult element could also be
confusing to teachers and would also pose concerns for students who have already
learned the normal order of sharps In addition this piece has free meter and
Kurtaacuteg did not follow same key signature in the bass clef part compared to the
treble clef part
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
162 피아노음악연구
In ltExample 5gt the accidentals being used have two different meanings The
first one refers to the range of keyboard while the second one instructs the
performer to play black or white keys The accidentals before the first palm cluster
shown in other parts of Jaacuteteacutekok is indicative of the range on the keyboard This
could be potentially confusing and it should be noted once again that sharp and
natural symbols could refer to either the application of accidentals or to an
instruction regarding the range of the keyboard The range of the first palm cluster
extends from F4 to C5 The next palm cluster (found in the second line) denotes
accidentals that range from C3 to F3 The last forearm clusters of the last line
have both a sharp and natural signs The left side forearm cluster instructs the
performer to play the black keys with the left forearm while the right side cluster
should be played with the right forearm on white keys
ltEx5gt Kurtaacuteg Jaacuteteacutekok Quarrelling Two kinds of accidentals
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 163
4 Non-Traditional Placement of Notes
The third non-traditional element in Jaacuteteacutekok involves various kinds of unusual
placements of notes To begin with Kurtaacuteg places higher notes in the bottom staff
which is extremely uncommon in beginning pedagogical literature given the fact that
this reverses the traditional order of having the bass clef in the lower staff and the
treble clef in the upper one ltExample 6gt
As seen in ltExample 6gt the last note of the first measure C3 is on the top
staff rather than the bottom staff The third note of the second measure C4 is a
higher note than the previous C3 although this note is in the bottom staff This
piece can be used as a hand crossing exercise
ltEx6gt Kurtaacuteg Jaacuteteacutekok Higher notes in the bass staff and lower notes in the treble staff
Kurtaacuteg also uses the same clef in both hands as shown in ltExample 7gt Most
traditional method books also feature pieces with two treble or two bass clef signs
but what is unusual in this case is that higher notes have been placed in the
bottom staff Moreover traditional piano book usually employ the treble clef in only
one staff This example also shows the group of higher notes has been placed on
the bottom staff rather than in the top staff
164 피아노음악연구
ltEx7gt Kurtaacuteg Jaacuteteacutekok Dividing notes in the same clef sign into two different staves
A final example that illustrates Kurtaacutegrsquos non-traditional placement of notes involves
repeated notes in two different staves ltExample 8gt Most piano pedagogical method
books contain just one staff to write repeated notes but Kurtaacuteg positioned these in
two staves Kurtaacuteg suggested playing with the fifth fingers of both hands or even
with the side of the fifth fingers
ltEx8gt Kurtaacuteg Jaacuteteacutekok Repeated notes placed in two staves
Despite the difficult aspect of reading Kurtaacutegrsquos notation properly having an
unusual placement of notes stimulates studentsrsquo brain and fosters their creativity
When Kurtaacuteg described his motivation to compose Jaacuteteacutekok he spoke of playing the
piano with freedom and without limitations in addition to stimulating studentsrsquo
brain (eg improvement of thinking ability) and physical activity (eg using arms
and hand crossing) with game-like elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 165
5 Gap in Difficulty Levels
The last non-traditional element addressed in this study is the placement of both
beginning and more advanced pieces within the first volume ltExample 9gt shows a
piece that is too demanding for beginners This piece has a variety of difficult
elements that are out of reach for beginning students numerous accidentals playing
up to five-note clusters and a constant change in hand placement Usually method
books gradually increase the difficulty as one moves along In this case however
this piece is on the sixth page of the exercise part of volume 1 rather than in the
last part of the work
ltEx9gt Kurtaacuteg Jaacuteteacutekok 12 c) to 13 d) Difficult piece for beginning students
Another example of a piece that has difficult elements is shown in ltExample
10gt This short piece has five sharps but these are placed in non-traditional order
Furthermore a piece with five sharps in the key signature would not appear in a
traditional method book for beginners This kind of difficult element could also be
confusing to teachers and would also pose concerns for students who have already
learned the normal order of sharps In addition this piece has free meter and
Kurtaacuteg did not follow same key signature in the bass clef part compared to the
treble clef part
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 163
4 Non-Traditional Placement of Notes
The third non-traditional element in Jaacuteteacutekok involves various kinds of unusual
placements of notes To begin with Kurtaacuteg places higher notes in the bottom staff
which is extremely uncommon in beginning pedagogical literature given the fact that
this reverses the traditional order of having the bass clef in the lower staff and the
treble clef in the upper one ltExample 6gt
As seen in ltExample 6gt the last note of the first measure C3 is on the top
staff rather than the bottom staff The third note of the second measure C4 is a
higher note than the previous C3 although this note is in the bottom staff This
piece can be used as a hand crossing exercise
ltEx6gt Kurtaacuteg Jaacuteteacutekok Higher notes in the bass staff and lower notes in the treble staff
Kurtaacuteg also uses the same clef in both hands as shown in ltExample 7gt Most
traditional method books also feature pieces with two treble or two bass clef signs
but what is unusual in this case is that higher notes have been placed in the
bottom staff Moreover traditional piano book usually employ the treble clef in only
one staff This example also shows the group of higher notes has been placed on
the bottom staff rather than in the top staff
164 피아노음악연구
ltEx7gt Kurtaacuteg Jaacuteteacutekok Dividing notes in the same clef sign into two different staves
A final example that illustrates Kurtaacutegrsquos non-traditional placement of notes involves
repeated notes in two different staves ltExample 8gt Most piano pedagogical method
books contain just one staff to write repeated notes but Kurtaacuteg positioned these in
two staves Kurtaacuteg suggested playing with the fifth fingers of both hands or even
with the side of the fifth fingers
ltEx8gt Kurtaacuteg Jaacuteteacutekok Repeated notes placed in two staves
Despite the difficult aspect of reading Kurtaacutegrsquos notation properly having an
unusual placement of notes stimulates studentsrsquo brain and fosters their creativity
When Kurtaacuteg described his motivation to compose Jaacuteteacutekok he spoke of playing the
piano with freedom and without limitations in addition to stimulating studentsrsquo
brain (eg improvement of thinking ability) and physical activity (eg using arms
and hand crossing) with game-like elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 165
5 Gap in Difficulty Levels
The last non-traditional element addressed in this study is the placement of both
beginning and more advanced pieces within the first volume ltExample 9gt shows a
piece that is too demanding for beginners This piece has a variety of difficult
elements that are out of reach for beginning students numerous accidentals playing
up to five-note clusters and a constant change in hand placement Usually method
books gradually increase the difficulty as one moves along In this case however
this piece is on the sixth page of the exercise part of volume 1 rather than in the
last part of the work
ltEx9gt Kurtaacuteg Jaacuteteacutekok 12 c) to 13 d) Difficult piece for beginning students
Another example of a piece that has difficult elements is shown in ltExample
10gt This short piece has five sharps but these are placed in non-traditional order
Furthermore a piece with five sharps in the key signature would not appear in a
traditional method book for beginners This kind of difficult element could also be
confusing to teachers and would also pose concerns for students who have already
learned the normal order of sharps In addition this piece has free meter and
Kurtaacuteg did not follow same key signature in the bass clef part compared to the
treble clef part
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
164 피아노음악연구
ltEx7gt Kurtaacuteg Jaacuteteacutekok Dividing notes in the same clef sign into two different staves
A final example that illustrates Kurtaacutegrsquos non-traditional placement of notes involves
repeated notes in two different staves ltExample 8gt Most piano pedagogical method
books contain just one staff to write repeated notes but Kurtaacuteg positioned these in
two staves Kurtaacuteg suggested playing with the fifth fingers of both hands or even
with the side of the fifth fingers
ltEx8gt Kurtaacuteg Jaacuteteacutekok Repeated notes placed in two staves
Despite the difficult aspect of reading Kurtaacutegrsquos notation properly having an
unusual placement of notes stimulates studentsrsquo brain and fosters their creativity
When Kurtaacuteg described his motivation to compose Jaacuteteacutekok he spoke of playing the
piano with freedom and without limitations in addition to stimulating studentsrsquo
brain (eg improvement of thinking ability) and physical activity (eg using arms
and hand crossing) with game-like elements
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 165
5 Gap in Difficulty Levels
The last non-traditional element addressed in this study is the placement of both
beginning and more advanced pieces within the first volume ltExample 9gt shows a
piece that is too demanding for beginners This piece has a variety of difficult
elements that are out of reach for beginning students numerous accidentals playing
up to five-note clusters and a constant change in hand placement Usually method
books gradually increase the difficulty as one moves along In this case however
this piece is on the sixth page of the exercise part of volume 1 rather than in the
last part of the work
ltEx9gt Kurtaacuteg Jaacuteteacutekok 12 c) to 13 d) Difficult piece for beginning students
Another example of a piece that has difficult elements is shown in ltExample
10gt This short piece has five sharps but these are placed in non-traditional order
Furthermore a piece with five sharps in the key signature would not appear in a
traditional method book for beginners This kind of difficult element could also be
confusing to teachers and would also pose concerns for students who have already
learned the normal order of sharps In addition this piece has free meter and
Kurtaacuteg did not follow same key signature in the bass clef part compared to the
treble clef part
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 165
5 Gap in Difficulty Levels
The last non-traditional element addressed in this study is the placement of both
beginning and more advanced pieces within the first volume ltExample 9gt shows a
piece that is too demanding for beginners This piece has a variety of difficult
elements that are out of reach for beginning students numerous accidentals playing
up to five-note clusters and a constant change in hand placement Usually method
books gradually increase the difficulty as one moves along In this case however
this piece is on the sixth page of the exercise part of volume 1 rather than in the
last part of the work
ltEx9gt Kurtaacuteg Jaacuteteacutekok 12 c) to 13 d) Difficult piece for beginning students
Another example of a piece that has difficult elements is shown in ltExample
10gt This short piece has five sharps but these are placed in non-traditional order
Furthermore a piece with five sharps in the key signature would not appear in a
traditional method book for beginners This kind of difficult element could also be
confusing to teachers and would also pose concerns for students who have already
learned the normal order of sharps In addition this piece has free meter and
Kurtaacuteg did not follow same key signature in the bass clef part compared to the
treble clef part
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
166 피아노음악연구
ltEx10gt Kurtaacuteg Jaacuteteacutekok Flowers We Are (3) Difficult piece with five sharps
Ⅲ PREPARING TO TEACH JAacuteTEacuteKOKrsquoS VOLUME I
1 Preparatory study for teacher
Traditional method books introduce standard musical notation through a
step-by-step process The first level in a traditional method book usually introduces
basic musical elements such as the staff guide notes rhythmic values registers and
accidentals This is geared towards students who have never learned piano before
A book like this is obviously designed for beginners not intermediate students
Jaacuteteacutekokrsquos Volume 1 differs in approach it does not include information on basic
musical elements and consists of pieces for both beginning and intermediate
students many of which feature unusual musical elements Because of this
preparatory study to introduce these pieces to for both groups of students is
necessary
The contents of Jaacuteteacutekokrsquos Volume 1 can be divided into two categories 1) works
that are written in standard musical notation and 2) works that are written in
Kurtaacutegrsquos own graphic notation The table addresses a studentrsquos knowledge of
musical notation Both types of teaching contents are shown in ltTable 1gt
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 167
Concepts to be taught
Two groupsof Students
Novel notationTraditional Standard
Musical NotationTo be taught
Students who never studied piano
The concept of high and low register of notes with body movementTeaching normal staff and additional five linesIntroducing new graphic notationBlack and White keys for and natural signsThree kinds of restsms and mdDynamics- pppp ppp pp p mp mf f ff sff fff etcOssia
Teaching all Crsquos-from the lowest C to C4Explaining octavesDiatonic scalesAccidentals- natural signThe concept of register-from low C to C3
The concept of interval-2ndto6th
Wide leaps
Variety placements of notes bass clef notes in the treble clef part treble clef notes in the bottom
Students who know how to read standard musical notation
Teaching ranges of additional five linesIntroducing new graphic notation three new restsms and mdDynamics- pppp ppp fffOssia
Drawing family Crsquos except for bass C C1 C2 and C3The concept of register-from low part which is lower than low C to high part that is higher than C3Variety placement of notesDiatonic scalesInterval playing with accidentalsWide leapsChord playing
ltTable 1gt Instructorrsquos Categorization of Teaching Content for two groups of students
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
168 피아노음악연구
2 Rearrangement of pieces in three levels
Jaacuteteacutekok Volume 1 features beginning through advanced intermediate pieces The
tables below rearrange the pieces into three levels of progressive difficulty ltTable
2gt categorizes works in Jaacuteteacutekok Volume 1 based on the use of clusters and
glissando further dividing them into five different sub-categories glissando forearms
palm fist and overtones
ltTable 2gt Rearrangement of pieces based on studentrsquos level and on use of clusters and glissando
subdivided into three levels and five categories13)
Cluster type
LevelGlissando Forearm Palm Fist Overtones
Level I II-A p1-A II-B IV-AIII-A IV-Ap3-A
VII-A
Level II
p4-AVII-Ap8-Ap10-Ap12-Ap19-Ap16-A
p4-Ap16-Ap19-A
VI-Ap2-Ap5-Ap8-Ap9-Ap12-Ap13-Ap14-Ap15-Ap17-Ap20-Ap22-LR
p11-Ap19-A
p8-ABp14-Bp19-A
Level IIIp11-Ap21-LR
p6-Ap10-Ap11-Ap20-Ap21-LR
VIII-Ap6-Ap10-Ap11-Ap16-ABp18-Ap19-Ap21-LRp23-LR
IX-ABp16-B
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 169
ltTable 3gt categorizes pieces that employ a standard musical notation In this
case these have been further organized by subdividing them by seven musical
elements Playing various Crsquos diatonic scales repeated patterns interval playing
chords chromatic scales and register use
normal notation
Level
Playing various Crsquos amp wide ranges
DiatonicScales
RepeatedNotes
amp patternsInterval Chord
Chromatic Scales
Variousregisters
Level IIV-B(8a)p5-B
V-B(9a)VII-B
p6-B
Level II
III-BIV-B(67ap1-Bp8-Bp2-Bp3-Bp4-Bp9-Bp17-Bp19-B
V-B(10a11a12)p12-B
VI-BVII-Bp8-Bp13-Bp9-Bp18-Bp20-B
VIII-B(Fifth)p5-Bp10-Bp11-Bp14-Bp15-Bp19-B
p8-Bp10-B
p12-Bp20-B
IV-BV-BAp18-Bp19-B
Level IIIp24-LR
V-Ap24-L
p17-Bp24-LR
ltTable 3gt Rearrangement of pieces that employ a standard musical notation
13) Every piece in Jaacuteteacutekokrsquos Volume 1 is preceded by preparatory exercise Both pieces and exercises are
labeled with the same page number except that exercises are identified with pages headed in Roman
numerals while pieces use Arabic numbers Kurtaacuteg also indicated ldquoArdquo for left side pages and ldquoBrdquo for right
side pages Kurtaacuteg eliminated the letters ldquoArdquo and ldquoBrdquo from pgs 21-24 so I substituted these for ldquoLrdquo (left
side) and ldquoRrdquo (right side) for these pages
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
170 피아노음악연구
Ⅳ A METHODOLOGY FOR DEVELOPING SELECTED
MUSICAL SKILLS IN VOLUME I
1 Introduction
Two primary musical skills that students will foster through the study of Jaacuteteacutekok
Volume I are enhancing their listening skills and expressing their emotions This
chapter will present a variety of teaching methods and activities with selected pieces
from Kurtaacutegrsquos Jaacuteteacutekok Volume I The teaching methods and activities in this chapter
are aimed at stimulating studentsrsquo creativity Suggested methods and activities below
are based on ideas of Kurtaacutegrsquos pupils Szervaacutenszky and Szokolay as well as on
Dalcrozersquos method
According to Szervaacutenszky and Szokolay during his lessons Kurtaacuteg specifically
emphasized the importance of listening and expressing emotions Though Kurtaacuteg
does not specifically address three aforementioned skills in the supplement to
Jaacuteteacutekok his music (particularly his use of a novel graphic notation) does lead
teachers to reflect about the impact of these pieces on their students
Through my study of these pieces I find that activities that encourage students to
move their whole bodies based on the movement and rhythm of clusters help the
students to conceptualize the piece Below I suggest activities based on Dalcrozersquos
method14) particularly for developing listening skills and expressing emotions I
propose certain activities that encourage students to move their bodies based on the
movement and rhythm of clusters
14) Dalcrozersquos method is also known as Dalcroze Euryhthmics which is an approach that attempts to teach
musical concepts through body movement Dalcroze thought that music is closely related to the sense of
movement and rhythm and proved that his method is effective in developing listening memorizing
imagining and fostering creativity
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 171
2 Listening
According to Szervaacutenszky Kurtaacuteg regarded the studentsrsquoability to improve their
listening skills as being extremely important15) In an article titled ldquoAbout the
Jaacuteteacutekok-Gamesrdquo Szervaacutenszky proposes a teaching method based on each clusterrsquos
character She suggests that teachers allow students to listen to the sounds between
the clusters in a way that they are later able to express their own emotions of
each piecersquos character16) In addition I will suggest the teaching method that is
related to Kurtaacutegrsquos phrasing
Teaching students how to enhance their listening skills is closely related to
creating a story to tell for each phrase For example the teacher plays an excerpt
of music and teaches five short phrases The teacher then allows the student to
make up studentrsquos own story asking hisher to write five sentences (one for each
phrase) these should be based on the mood of each section Once the process has
been completed the teacher instructs the student to play the excerpt with hisher
story in mind This includes imagining the feeling student conceived for every
phrase and listening carefully to the sound that is sustained between clusters and
rests In addition I suggest that this activity includes body gestures based on the
movement for each graphic notation Gestures should be practiced as the students
speak their respective sentences out loud This teaching method is an adaptation of
Dalcrozersquos method For example the teacher lets the student stand up when
playing notes in a high register Similarly the student sits down when playing in
the low register Consequently the teacher instructs the student to bend hisher
waist forward when playing notes in a medium register
15) Valeacuteria Szervaacutenszky ldquoAbout the Jaacuteteacutekok-Gamesrdquo Gestes fragments timbres La musique de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan (Paris 2008) p 178
16) Ibid p 179
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
172 피아노음악연구
ltEx11gt Kurtaacuteg Jaacuteteacutekok Flowers We Are Frail Flowers
3 Expressing Emotions
The second significant musical skill through the teaching and study of these
pieces is developing the ability to express emotions particularly on the leaps that
occur either between clusters or between two notes ltExample 12gt Szokolay stated
that Kurtaacuteg often emphasized the importance of sincerity and originality of
expression and suggested Szokolay to practice leaps by gradually extending their
distance while keeping a singing quality17) Based on Szokolayrsquos statement it is
conjectural that Kurtaacuteg composed certain pieces with various leaps in order to
enhance expression skills
In order to teach the second skill the instructor may present students with the
following list of emotions and asks them to choose one or some happy angry
sad scary funny nervous and tired In the first part of the process the teacher
gives the student time to figure out how many close or wide leaps occur in the
music Afterwards the teacher asks the student to choose certain emotion for each
leap It is important for the teacher to point out that students should imagine
specific situations that generate feelings In addition teachers can have a group
activity with minimum two and maximum ten students that includes body gestures
17) Szokolay ldquoKurtaacuteg as I Know Himrdquo pp 39-40
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 173
and singing based on the movement of each leap gestures should be practiced
following the distance in each leap For example the teacher instructs two students
to choose an emotion and the way they want to express it One student decides to
sing a high register part on the right side of the floor expressing the emotion that
heshe chooses The other student chooses to sing in a low register on the left side
of the floor and chooses an emotion For the first box of Example 12 two students
are in their places one on the right and one on the left and they follow the
distance as written in the music as the teacher plays an E4 Upon hearing this note
the student singing in a high register moves slightly to the left side and sings a
little bit lower than the first time for the second box Following the third box of cluster
shown in Example 12 both students move from their place to the right side In the
same way teachers can do this activity with ten students by dividing them into two
teams of five This group activity stimulates studentsrsquo cognitive skills as these relate to
the leaps between succeeding cluster The exercise also increases a studentrsquos interest
in music by encouraging body movement and expression of emotions through singing
ltEx12gt Kurtaacuteg Jaacuteteacutekok Sound and Sound-ball mm 1-4 Wide leaps and close leaps between clusters
Ⅴ CONCLUSION
Kurtaacutegrsquos Jaacuteteacutekokrsquos Volume I features the use of several interesting musical
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
174 피아노음악연구
elements These include a new graphic notation unusual signs use of a wide
range of the keyboard and a non-traditional placement of notes Kurtaacutegrsquos use of
these components was mainly designed to stimulate studentsrsquo creativity In addition
students can learn contemporary musical elements such as free meter tone clusters
dissonance and irregular rhythmic patterns Volume I not only can be used to
enhance significant musical skills but also may be used strategically based on
studentsrsquo personalities For example a student who has a timid character may
become actively inclined to express hisher emotions through the performance of a
piece with loud or wide-ranging clusters
Traditional piano pedagogical method books are mostly focused on developing the
skills necessary to read music and teaching music theory As a piano teacher I
have often felt that traditional approaches decrease beginning piano studentsrsquo natural
interest in playing the piano because of the limited range involved and the focus
on music theory Unlike traditional approaches Jaacuteteacutekok Volume 1 stimulates
studentsrsquointerest and creativity enabling them to use their whole body This results
in students feeling more interested in playing the piano because of the sense of
freedom and fun In addition teaching methodologies suggested in Chapter IV are
may help teachers to bring out their studentsrsquo potential musical talent and creativity
Although Kurtaacutegrsquos Jaacuteteacutekok Volume 1 includes valuable pedagogical tools it is not
well known as a method book Additionally not all teachers are able to effectively
present the difficult musical elements present in the score It is hoped that this
guideline may serve as a useful complement to Kurtaacutegrsquos existing supplement for
teachers wishing to use Jaacuteteacutekok Volume 1 in the teaching studio It may also allow
teachers to further understand Kurtaacutegrsquos complex writing and introduce to students a
valuable and novel method of learning piano that can be paired along traditional
methods for a more complete pianistic education
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 175
Bibliography
Beckles Wilson Rachel Ligeti Kurtag and Hungarian Music during the cold war New
York Cambridge University Press 2007
ldquoKurtaacuteg Jaacuteteacutekok by Maacuterta Kurtaacuteg Gyoumlrgy Kurtaacutegrdquo Tempo New
Series 204 (1998) pp 45-46
ldquoKurtaacutegrsquos Instrumental Music 1988-1998rdquo Tempo New Series 207
(1998) pp 15-21
Bitcon Carol Hampton The Clinical and Educational use of Orff-Schulwerk Santa Ana
Rosha Press 1976
Broughton Julia Success in Piano teaching New York Vantage Press 1956
Canaday Alice Max W Contemporary Music and the Pianists A Guidebook of Resources
and Materials Port Washington NY Alfred Music 1974 reprint Turnbridge VT
Trillenium Music 1997
Cohen VW ldquoThe Emergence of Musical Gestures in Kindergarten childrenrdquo DMA diss
University of Illinois 1980
Enoch Yvonne and James Lyke Creative Piano Teaching Illinois Stipes Publishing
company 1977
Grmela Sylvia ldquoExploiting Material to the Maximum Pitch Structure and Recall in Kurtaacutegrsquos
instrumental Musicrdquo PhD diss State University of New York 2004
Hajdu Andre ldquoA Galaxy Called lsquoMikrokosmos A composerrsquos Viewrdquo Tempo 62 no 243
(2008) pp 16-35
Johnson Monica Dale ldquoDalcroze Skills For All Teachersrdquo Music Educators Journal 79 no 8
(1993) pp 42-45
Johnson Tim ldquoCommunication and Experience Some Observations on the Relationship
between Composer and Performer in Jaacuteteacutekokrdquo Studia Musicologica Academiae
Scientiarum Hungaricae 43 no3-4 (2002) pp 281-287
Juntunen M-L and L Hyvoumlnen ldquoEmbodiment in musical knowing how body movement
facilitates learning within Dalcroze Eurythmicsrdquo Journal of Music Education 21 no2
(2004) pp 199-214
Junttu Kristina ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok brings the body to the centre of learning pianordquo
The Finnish journal of music education 11 no1-2 (2008) pp 97-106
Mead Virginia Hoge ldquoMore than Mere Movement Dalcroze Eurhythmicsrdquo Music Educators
Journal 72 no 6 (1986) pp 42-46
Melis Stefano ldquoGyoumlrgy Kurtaacutegrsquos Jaacuteteacutekok A lsquovoyagersquo into the childrsquos musical mindrdquo In The
Centre and Periphery Roots and Exile Interpreting the music of Istvaacuten Anhalt Gyoumlrgy
Kurtaacuteg and Saacutendor Veress eds Friedemann Sallis Robin Elliot and Kenneth Delong
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
176 피아노음악연구
pp 241-264 Canada Wilfrid Laurier University Press 2011
Mills J and McPherson J The Child As a Musician A Handbook of musical development
Oxford Oxford University Press 2006
Loffredo Antonietta ldquoContemporary Music in Piano Pedagogyrdquo Paper presented at the
9thAustralasianpianopedagogyconference Sydney Australia July 13-17 2009
Orff Carl The Schulwerk New York Schott Music Corp 1978
Pelo Mika ldquoAn Analysis of the Third Movement of Gyoumlrgy Kurtaacutegrsquos Stelerdquo DMA diss
Columbia University 2009
Potamkin Frank J Modern Piano Pedagogy Philadelphia Elkan-Vogel Co Inc 1936
Song Hyun-Joo ldquoMikrokosmos and 32 Piano Games Introducing Contemporary Musical
Language and Developing Piano Technique for the Beginning Studentrdquo DMA diss
University of North Texas 2011
Szervaacutenszky Valeria ldquoAbout Jaacuteteacutekok of G Kurtaacutegrdquo In The Gestes fragments timbres La
musique de Gyoumlrgy Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan
pp 177-184 France rue de lrsquoEcole polytechnique 2009
Szokolay Gergely ldquoKurtaacuteg as I Know Himrdquo In The Gestes fragments timbres La musique
de Gyoumlry Kurtaacuteg en lrsquohonneur de son 80e anniversaire ed LrsquoHarmattan pp 37-44
France rue de lrsquoEcole polytechnique 2008
Thompson Ellen R Teaching and Understanding Contemporary Piano Music San Diego
Calif Kjos West 1976
Walsh Stephen ldquoGyoumlrgy Kurtaacuteg An Outline Study (II)rdquo Tempo New Series 142 (1982)
pp 10-19
ldquoGyoumlrgy Kurtaacuteg An Outline Study (I)rdquo Tempo New Series 140 (1982) pp
11-21
Warner Brigitte Orff-Schulwerk Applications For the Classroom New Jersey Prentice-Hall
Inc 1991
Waterman Fanny On Piano Teaching and Performing London Faber Music 1983
ltMusic Scoregt
Kurtaacuteg Gyoumlrgy Jaacuteteacutekok Series for Piano vol1 Budapest Editio Musica Budapest 1979
ltInternet Resourcegt
Beckles Wilson Rachel ldquoKurtaacuteg Gyoumlrgyrdquo Grove Music Online Oxford University Press
httpwwwoxfordmusiconlinecomsubscriberarticlegrovemusic15695
[accessed December 19 2014]
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
An Instructional Guide to Teaching Kurtaacutegrsquos Jaacuteteacutekok Volume I to Beginning and Intermediate Piano Students 177
[Abstract]
An Instructional Guide to Teaching Kurtaacutegrsquos
Jaacuteteacutekok Volume I to Beginning and
Intermediate Piano Students
Jang Jeongwook
Pedagogical methods in piano instruction are constantly evolving Traditional approaches for
beginning students typically focus on teaching music theory and developing the skills necessary to
read music Some contemporary methods however are centered on training students to use their
whole body while playing the instrument These more recent methodologies allow students to bond
with the piano in a more personal manner as if they were playing a game with a big toy One of
the most representative works of this approach is the eight-volume collection Jaacuteteacutekok (1973) by
Gyoumlrgy Kurtaacuteg (b 1926)
Volume I of Jaacuteteacutekok consists of short pieces featuring a new graphic notation devised by Kurtaacuteg
himself It also incorporates the use of unusual piano techniques such as playing with the palm fist
and forearm The method also explores the use of the entire range of the instrument Though the
work is over 40 years old Jaacuteteacutekok is only infrequently used as a teaching tool for piano instructors
in Hungary and is unknown in the United States This probably stems from the fact that it presents
students and teachers with atypical musical elements such as unusual notation use of an unlimited
register and pieces that feature varying degrees of difficulty within the same volume This study
provides a guideline which will assist instructors in implementing Jaacuteteacutekokrsquos Volume I effectively as a
pedagogical tool by introducing instructorrsquos teaching content rearranging the original order of pieces
in ascending level of difficulty and providing a methodology to creatively teach the three most
significant musical skills to be developed through Volume I
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일
178 피아노음악연구
주제어(Keywords) 피아노 교수법 (Piano Pedagogy) 쿠르탁 야테콕 볼륨1권 (Kurtaacutegrsquos
Jaacuteteacutekok Volume 1) 현대음악적인 요소 (Contemporary musical elements)
논문투고 2016년 10월 31일 논문심사 2016년 12월 2일 게재확정 2016년 12월 15일