Jale (music)
Jale is a teaching concept that the music teacher Richard Münnich presented in 1930. This teaching concept should summarize the advantages of the Tonika-Do teaching and Eitz's tone word . Münnich relied on the use of tone syllables similar to relative solmization , the use of hand signs in the tradition of the tonic-sol-fa system and the use of rhythm syllables in the tradition of the Galin-Paris-Chevé method ; in all three areas he tried to outperform his predecessors. Münnich's tone syllables played an important role in music lessons in the GDR .
The tone syllables
Richard Münnich's tone syllable system is based on the diatonic ladder and is at the same time completely chromatised . The syllables of the major scale consist of the seven sounding consonants and the five vowels of the alphabet. The order of the consonants j, l, m, n, r, s and w as well as the vowels a, e, i, o and u follows the alphabet; in the places mi-ni and wa-ja the vowels are used twice to depict the semitone steps of the diatonic ladder and thus to represent music-theoretical facts in the sound of syllables. The resulting series of tone syllables for the ascending major scale is called:
ja, le, mi, ni, ro, su, wa, ja
The pitches are intended as parallel keys; the pure minor scale therefore begins a minor third lower than the major scale:
su, wa, ja, le, mi, ni, ro, su
As in the relative solmization, the tone syllables in Jale do not denote fixed pitches, but places in the tone system: Not only the C major scale, but also A major or E flat major are called ja, le, mi, ni, ro, su , wa, yes; Not only the A minor ladder, but also F sharp minor or C minor are called su, wa, ja, le, mi, ni, ro, su.
Diatonic semitones are indicated by a change of consonants, with islands of the same vowels being created. In the C major context, the tone sequence is c sharp-d-es je-le-me , the tone sequence f sharp-g-a -flat no-ro-so and the tone sequence g sharp -ab ru-su-wu . Chromatic semitones are indicated by vowel changes, creating islands of the same consonants. In the C major context, the tone sequence is des-de-dis la-le-li , the tone sequence ges-g-gis ri-ro-ru and the tone sequence as-a-ais so-su-sa .
The hand signals
Münnich also tried to emancipate himself from his predecessors in his choice of hand signals. In his opinion, the directional quality of the tonic-sol-fa hand signals was not logical in all cases. For example, the index finger pointing upwards for the seventh step of the major scale, the leading tone , is only evident in tone sequences that lead upwards, but not in tone sequences that lead downwards.
Münnich's new hand sign system was highly complex and implemented the peculiarities of his tone syllables. The seven consonants corresponded to seven different positions of the palm (thumb and index finger), and the five vowels corresponded to five different positions of the outer hand (middle finger, ring finger and little finger). Apparently, Münnich's system turned out to be not very user-friendly; In any case, the Jale work after 1960 resorted to the tonic-sol-fa hand signals and integrated them into the Jale teaching concept.
The rhythm syllables
Münnich's rhythmic language uses the plosives k , p and t in conjunction with the diphthongs ei , au and eu (in a later stage oi ) and is oriented (like the rhythmic languages of the Galin-Paris-Chevé method, the tonic-sol-fa- Systems, the Tonika-Do teaching and the Music Learning Theory , but different from the rhythm language of the Kodály method ) on the meter . So the quarter values in three-quarter time are called kai, pau, teu , the eighth values kai, kä, pau, pü, teu, tö and the sixteenth values kai, ke, kä, ke, pau, pe, pü, pe, teu, te, tö, te . Similar to the hand signals, the rhythm syllables have not become established in practice.
Information base
literature
- Fritz Bachmann, Siegfried Bimberg, Christian Lange: From Singing to Understanding Music. Hofmeister, Leipzig 1957.
- Siegfried Bimberg, Rolf Lukowsky: Sing-Eule booklet 4. Ear and voice training in the choir. Blue Owl, Essen 2000, ISBN 3-89206-557-8 .
- Malte Heygster, Manfred Grunenberg: Handbook of relative solmization. Schott, Mainz 1998, ISBN 3-7957-0329-8 .
- Richard Münnich: Jale. A contribution to the tonal syllable question and to school music propaedeutics. 1st edition: Schauenburg, Lahr 1930. 2nd edition: Möseler, Wolfenbüttel 1959.
Web links
- Thomas Buchholz: Jale. History - method - practice. PDF file on buchholz-verbindist.de, as of December 8, 2010.
- Thomas Phleps: The right method or what music educators argue about. Notes on the function and functioning of solmization syllables and their producers in the first half of the 20th century. In: Mechthild von Schoenebeck (Ed.): From dealing with the subject of music education with its history. Music educational research 22, Die Blaue Eule, Essen 2001; urn : nbn: de: 0111-pedocs-102231
- Anicia Timberlake: Teaching Solfège in Socialist East Germany. On the History of Music Theory page . SMT Interest Group & AMS Study Group , article from August 22, 2017.
Individual evidence
- ↑ On the title of the 1st edition 1930 you can find the spelling JALE, on the title of the 2nd edition 1959 the spelling Jale.
- ↑ Buchholz, p. 20.
- ↑ Hans Heinrich Eggebrecht (Ed.): Riemann Musiklexikon. Material part. Schott, Mainz 1967, keyword “Jale”.
- ↑ Heygster / Grunenberg, p. 156.
- ↑ Buchholz, p. 19.
- ↑ Buchholz, pp. 57/58; Heygster / Grunenberg, p. 157.
- ↑ Buchholz, p. 17.