Mother and mother songs

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The mother and Kose songs are the last great work of Friedrich Froebel , the founder (actually donor) of the kindergarten . It addresses the individual family members (especially mother and child) through poetry, pictures, explanations and melodies. His publication, as the very first delivery of the subject 's means arranged upstream to the common viewing and games stimulate in the family.

Front of the book cover, a small masterpiece of romantic book illustration
Title page (inside) to Friedrich Fröbel's mother game and Koselieder, Blankenburg 1844
Friedrich Froebel
Plate: The carpenter
Mother and mother songs. New edition by Friedrich Seidel (5th edition), archived in the Ida-Seele archive

To the formation

After years of time-consuming preparatory work, Friedrich Froebel's work was published in Blankenburg (today Bad Blankenburg ) in 1844 under the title: Come on, let's our children live! Mother and Kose songs. Poetry and pictures for the noble care of childhood life. A family book by Friedrich Froebel. 'There is a great sense in the child's game.' With marginal drawings, explanatory texts and ways of singing. Blankenburg near Rudolstadt, the institution for the care of the employment instinct of childhood and youth . According to Bertha von Marenholtz-Bülow , Froebel is said to have said about his work:

In it I have laid down the most important aspects of my upbringing; it is the starting point for a natural upbringing in the first years of life, because it shows the way in which the germinal points of human predispositions must be cared for and supported if they are to develop healthily and completely .

Froebel received the suggestion for his mother and kose songs from a young farmer who let her little child wave to the chickens and pigeons in the yard:

“ 'Wave the chicken - wave the pigeon' was the first game that Froebel wrote down. This was followed by others whom he picked up on the spontaneous inspiration of young mothers. ".

After the death of his first wife, Wilhelmine Henriette, in 1839, the founder of the kindergarten and his relatives on his mother's side, Aunt Schmidt, had a close and lively correspondence. In the latter he saw the first mother who implemented his thoughts on raising small children in her own family. From this relationship his idea for his work of mother and co-songs arose .

The lavishly designed publication initially cost 12 thalers. However, since sales were extremely slow, Friedrich Froebel lowered the price to 3½ thalers.

Structure and intention

With his romantic-philosophical family book, the pedagogue had tried to complete the unfinished undertaking of his teacher Pestalozzi , a 'book of mothers', in his own way . He criticized the book of the mothers for being too little alive, natural and non-childish . The founder of the kindergarten did not only fall back on Pestalozzi, he asked for and received in his correspondence, especially with women, information and messages about the practical work with his book (and his toys) in the life of the family . He wanted to make it clear to the mothers - in the child's life 'in the arms and on the mother's lap' - the importance and responsibility that lie in motherhood and upbringing , while at the same time providing them with help in the education of their toddlers give (i.e. an educational guide). In Friedrich Froebel's view, this was necessary because maternal love and maternal instincts alone are not enough if all human talents are to develop in a healthy and complete manner. He wrote:

In this book I have laid down the most important aspects of my upbringing; it is the starting point for a natural upbringing, because it shows the way how the germinal points of the human disposition must be cared for and supported if they are to develop healthy and fully .

The Mutter- und Koselieder contain numerous illustrations (picture panels). They reflect the family life of that time as well as the rural reality of Keilhau and Blankenburg, and thus also the world of the children of that time:

On the basis of extensive knowledge and with his own sensitivity, Fröbel describes the developmental characteristics of infants and toddlers: their lively receptivity, their sociability and their need for activity and imitation .

The mother should name and show the child the objects while singing and playing and help him to gain access to the environment. As the main route, the pedagogue recommended combining finger, hand and kicking games with the consideration of the relevant pictures and the explanatory words or the mother's song . He had arranged the songs and games under the pedagogical and psychological aspect of the upbringing of the toddler - from the first movements through the individual stages of development to the ability to make small drawings; the pedagogical idea of ​​the book thus progresses from 'struggling leg' to 'little draftsman' .

The large-format family book is divided into three sections. The first part consists of seven mother and daughter songs , which are intended to promote the emotional affection and bond between the mother and the child. These are the following mother and co-songs :

  • Feelings of the mother when looking at her firstborn child
  • The mother in the feeling of her union with the child
  • The mother is blissful in contemplating her child
  • The mother playing with her child
  • The mother looking at her developing child
  • The mother and the child when it stands on your lap and rests in your arms
  • The child at the mother's breast

The second section is the actual focus of the work, which also serves as a picture book. Here Froebel's intention is clearly visible. He wants to encourage the mothers to lead a meaningful way of life in agreement with their child.

It consists of a total of 50 play songs , which are intended to promote the development of skills in sensory, motor, cognitive, social-emotional and creative areas, as well as an initial introduction to knowledge and business life. The play songs, which are created by moving the hand or fingers, are each preceded by a rhyming motto and each song is framed by a richly narrative frame drawing. The picture boards, which describe the child's sensual, present-day world-wide relationships, are intended to encourage the mother to pick up on the motifs mentioned in the individual songs in their own little stories, to shape and deepen them. Your loving care encourages the child to follow the finger games. Here is a selection of play songs:

  • Kicking leg
  • Bautz! then my child falls down
  • Chicken on the tower
  • Waving doves
  • Patsche = cake
  • bird nest
  • Flower basket
  • Pigeon house
  • Mother, dear and good
  • The wolf
  • The window
  • The carpenter
  • The Carpenter
  • Kid hide!
  • Look look!
  • The merchant and the girl
  • The merchant and the boy
  • Hide and seek
  • Church door
  • The little draftsman etc.

The “family book” becomes a picture book thanks to the picture scenes shown for the individual panels.

A compact appendix (with detailed prose text, which comments on the individual main pages very broadly) concludes the Froebel old work. The appendix gives the mother suggestions for possible children's stories, game suggestions as well as theoretical educational (symbolic) explanations and didactic advice. At the same time the educational philosophy background of Friedrich Froebel ... is illuminated . The appendix is ​​divided into the following five headings:

  • Explanation of the title page
  • References to the mother and co-songs
  • Look at the mother, lost in looking at her child
  • Explanations of the marginal drawings and play songs
  • Explanation of the cover drawings
Notes to the mother and Kose songs

The illustrations for the family book come from the artist Friedrich Unger (1811-1858), who was close to the Nazarenes and who was a drawing teacher at the Froebel'sche Educational Institute in Keilhau:

Influenced by the romantic painting school under Peter von Cornelius and Friedrich Overbeck , he romanticized many realistic scenes; with the first title page ..., he also created a small masterpiece of romantic book illustration. With his conception of nature reflected in the drawings, Unger was particularly accommodating to Froebel, whose closeness to nature had an impact on his pedagogical work since early youth. With the use of motifs from the Schwarzatal ..., and from the area around Bad Blankenburg ..., Unger has made lasting merits as a chronicler .

A few weeks before the mother and co- songs were published, the music volume with 44 musical songs set to music, set in two parts by Robert Kohl (1813–1881), was published as an independent work. The music volume was also artistically designed by Friedrich Unger. Unger and Kohl taught at the educational institution in Keilhau , founded and directed by Friedrich Fröbel , which still exists today as the Fröbel School Keilhau . Ida Seele , the first Froebel kindergarten teacher in the world and from 1843 to 1844 director of the kindergarten founded by Froebel in Blankenburg in 1840, wrote in her memoirs:

During this time, Mr. Kohl composed the melodies for the mother and co-songs ... matching my voice. I sang almost every single song before it was ... written down .

Editions

Friedrich Seidel (Ed.): Mutter- und Koselieder , Vienna / Leipzig 1883
Mother and Kose songs , freely edited by Therese Focking

Although Fröbel's work was not granted any particular success, successors were repeatedly found in the period that followed, new editions (e.g. Wichard Lange , Friedrich Seidel and Johannes Prüfer) or arrangements (e.g. Lina Morgenstern , Therese Focking or Henriette Goldschmidt ). For example, in their new edition of the mother and co-songs published in 1904, the latter deliberately tightened up and deleted them considerably and replaced the spherical-philosophical basis of Froebel's pedagogy for young children with a reinterpretation of cultural history . Henriette Goldschmidt's revision was largely positively rated in the renowned specialist magazine Kindergarten . Anna Pappenheim was of the opinion:

How will Froebel's friends take up this work? ... Anyone who ... reads into Froebel with love ... will hardly make friends with the new version available to us, in which, of course, some of the things we have loved are missing or shortened 'We will never be able to give up the old version despite its shortcomings, not out of blind orthodoxy, as one might say, but because this book is too closely connected with Froebel's whole personality; we love it with all difficulties and peculiarities. If, with these words, I think I am speaking in the sense of those to whom the mother and co-songs have become friends and teachers, from whom they do not want to part, I now want to remind, on the other hand, of the author's question: 'Is the book closed? become a family book? ' I would like to ask further: Who from the broad circles of popular education found time and peace and was able to put the patience to delve into this work, which is permeated by fine child psychology? We are living in the century of child psychology, and what do we know of the man in whom Diesterweg saw the 'discoverer of unconscious childhood life'? We know enough of these accusations, which relate to bad verse, lengthiness, reflection and distant symbolism, to know that this book, as we have it, is not the appropriate form to carry FRÖBEL'S thoughts into the distance. It is too difficult to loosen the shell that contains the delicious core. - The senior citizen of our group, whose life work is dedicated to the educational work of FRÖBEL, is now trying to significantly facilitate penetration into the interior through a seriously thought-out selection by offering, as far as possible, biological examples from the mottos, children's verses, pictures and essays .

And Jenny Asch stated about the pious redesign of the mother and co-songs by Henriette Goldschmidt:

But precisely because we want his teaching [Friedrich Froebel's] to be widely disseminated, we cannot ignore the view that this clumsy way of speaking scares away many well-meaning people, educators and non-educators, and that it is therefore a particular merit to introduce Froebel to those circles who would not study him, but would like to take note of his original and meaningful creations about bringing up children ... Therefore, this reworking, carried out in such a respectful way, is to be gratefully welcomed.

The mother and Kose songs later came onto the market in France, England, Japan and North America.

Recently, Froebel pedagogy appeared under Practice series. Orientation for education and upbringing today is a shortened new edition of Froebel's work. In 2011, Günter Erning transcribed the fourth edition by Johannes Prüfer from 1927.

Reviews / Critical Appreciations

The mother and Kose songs were evaluated differently in the past and present, as the following selection of evaluations shows. One of the first reviews was published in March 1844 in Neue Zeitschrift für Musik , edited by Robert Schumann , Friedrich Wieck and Ludwig Schuncke . This refers to the music volume of the mother and co-songs :

  • The point here is not to speak to a musical art product in the higher sense of the word, but to speak to an idea for which the music only serves as a means to an end, just as thanking the poet first and then the composer. Neither of them imposed anything on the narrow sphere of the children's world that reminds one of that condescension of a more mature spirit to it, and which nevertheless makes itself felt in most of the verses and songs published under the name of children's songs. [...] Here the music does not appear as the completed art elevated to ideality, not as a sublime goddess whose throne is only drawn by selected spirits who proclaim their fame. She descends into the children's world, an angel, mild and sweet, with jokes and games, and lets the little ones, who like to listen to him, into her magic .

Further reviews in selection:

  • Unfortunately, the way of expression is clumsy, and Froebel's style is not easy to read in general, which is due to the overabundance of ideas that billowed up and down in him ... But these deficiencies indicated here are secondary in comparison to the rich treasure of the Good and beautiful, which he laid down in the mother and co-songs. Its core is pure gold and unsurpassable as a means of education for the mother and as an expression of her feelings for her child .
  • Despite all their weakness, the 'Mutter- und Kose-Lieder' were a strangely valuable attempt to finally create the 'Book of Mothers' with which Krüsli had once failed as Pestalozzi's executive .
  • Froebel immersed himself in the study of maternal activity with infinite love. We find the expression in his mother book, the Mutter-Spiel- und Kose-Lieder ... If it wasn't easy for Froebel's contemporary witnesses to find the 'golden grains' in Froebel's 'linguistic scree', our sensitivity to sentimentality and Pathos is particularly difficult with this romantic-philosophical, lively tone .
  • The family book 'Mutter- und Koselieder' ... should not be overlooked in a story of the picture book as it has been up to now, although it cannot be counted among the actual picture books. Friedrich Unger's illustrations mainly serve to emphasize Froebel's intention to encourage the mother to improvise artistically in song and play with her small child. Froebel's songs and verses were hardly able to enrich children's literature, but his educational efforts around the parents' task of leading their child to see and recognize, to an encounter with art and poetry, deserved to be continued today more than ever .
  • The mother and co-songs have not become a widespread picture book. The educational-philosophical consideration on the one hand and the bad verses on the other hand may have been to blame for this .
  • A. Detmer's list of books from 1844 ... already listed the Koselieder ..., but fails to recognize the spiritual location of the collection ... Similar to Comenius '' Orbis sensualium pictus ', [Fröbels]' mother and Kose songs became 'pushed onto a neutral track. But even in this way, maybe even because of that, they worked as an 'expression of true child life and child-making' in reform pedagogy around 1900 and helped usher in the century of the child .
  • It is indeed a wonderful book, and the preoccupation with Froebel will have to come back to it again and again, because in it Froebel's pedagogical thoughts are presented in the simplest and at the same time immediately vivid way .
  • The introductory rhymed instructions for the finger and hand games for the verses, the detailed explanations of meanings in the appendix are confusing and often ridiculous for the uninitiated. They are loaded with the educational-philosophical ideas of FRÖBEL and formally do not withstand this content. The verses have lost the naive appeal of popular rhymes and cannot compete with the contemporary verses of Friedrich Güll (1812–1879) and Wilhelm Hey (1789–1854) .
  • Regardless of the possibilities that FRÖBELS Mutter- und Koselieder offer as a whole from a phenomenological perspective, it should be pointed out above all: the texts and panels of the Mutter- und Koselieder partly bear too clear traces of their time and are unlikely to find any meaningful use outside of historical interest .
  • In summary, it can be said that Froebel's 'Mutter- und Koselieder', as they are today, can hardly encourage mothers to use them independently. But they should always be a guideline for everyone working professionally in the preschool sector. The prerequisite for this is intensive work with them, which is exhausting but definitely worthwhile .

swell

  • Come, let us live our children! Mother and mother songs. Poetry and pictures for the noble care of childhood life. A family book by Friedrich Froebel, Blankenburg 1844
  • Robert Kohl: Come on, let's live for our children! Forty-four mother kose and play songs for the noble care of childhood life by Friedrich Fröbel, set to music in two parts, the opening song with piano accompaniment, the closing song for 4 female voices and dedicated to all mothers and nursing homes of childhood by Robert Kohl, Blankenburg 1844
  • Lina Morgenstern: childhood paradise. Textbook for mothers, kindergarten teachers and educators. According to Friedrich Froebel's system, Regensburg 1861
  • Wichard Lange (Hrsg.): Mother and Koselieder. Poetry and Pictures. A family book by Friedrich Froebel, Berlin 1866
  • Friedrich Seidel (Ed.): Friedrich Froebel's educational writings. Volume 3: Die Mutter- und Koselieder, Vienna / Leipzig 1883
  • Johanna Goldschmidt: Mother and Koselieder. Poetry and Pictures. A family book by Friedrich Froebel, Leipzig 1904
  • Jenny Asch : One more word about Henriette Goldschmidt's revision of the mother and co-songs, in: Kindergarten 1905, pp. 229–230.
  • Anna Pappenheim: A revision of the mother and co-songs' Henriette Goldschmidt, in: Kindergarten 1905, pp. 89-90.
  • Johannes Prüfer (Ed.): Friedrich Fröbel's mother = and Kose = songs, Leipzig 1919
  • Christiane Osann: Friedrich Froebel. Life picture of a human educator, Düsseldorf 1956
  • Hermann Froebel / Dietrich Pfaehler (eds.): Come on, let us our children live. Friedrich Froebel's mother and co-songs, Neustadt ad Saale 1982
  • Helmut König (Ed.): Mother =, Game = and Koselieder. Drafted and printed material for and from Friedrich Fröbel's family book, Berlin 1984
  • Michael Grübler: The pigeon house. With my thumb I say one. Mother, dear and good. Friedrich Fröbel's mother, play and cos songs in the original movement by Robert Kohl, Bad Blankenburg 2002
  • Friedrich Fröbel Museum Bad Blankenburg (Ed.): Friedrich Fröbel: Spiel - Lieder, Kassel o. J.

literature

  • Bertha von Marenholtz-Bülow: The child and its being, Kassel 1878
  • o. V .: The outgoing century. In: Kindergarten . 1890, pp. 2-7.
  • Adele von Portugall : Friedrich Froebel - his life and work. Leipzig 1905.
  • Fritz Hafter : Friedrich Froebel. The career of a human educator. Hall 1931.
  • Helmut Heiland : Friedrich Froebel in personal testimonies and photo documents Reinbek 1982.
  • Erika Hoffmann : Froebel's share in laying the foundations for modern infant education. In: German education for girls. H. 2, 1933, pp. 49-62.
  • Fromut Minke: Toddler and picture book. Empirical and theoretical examination of the picture book from a psychological aspect, Munich 1958 (dissertation).
  • Klaus Doderer , Helmut Müller (ed.): The picture book. History and Development. Weinheim 1973.
  • Hermann Bertlein: Fröbel, Friedrich, in: Klaus Doderer (Hrsg.): Lexicon of children's and youth literature. First volume: AH, Weinheim / Basel 1975, pp. 417–419.
  • Otto Friedrich Bollnow : The Pedagogy of German Romanticism, Stuttgart 1977
  • Ottilie Dinges: Preschool literary education . In: Klaus Doderer (ed.): Lexicon of children's and youth literature. Third volume: PZ , Weinheim / Basel 1979, pp. 730–751.
  • Karl Renner: Build the house for a happy kindergarten! To understand Froebel's “Mother and Cousin songs”. In: Hermann, Froebel, Dietrich Pfaehler (ed.): Come on, let's our children live. Friedrich Froebel's mother and co-songs. Neustadt ad Saale 1982, pp. 185-199.
  • Rosemarie Boldt, Wolfgang Eichler: Friedrich Wilhelm August Froebel. Leipzig, Jena, Berlin 1982.
  • Susanne von Ramin: On romantic early childhood education - demonstrated using the example of Froebel's "Mother and Kose Songs". Unpublished thesis. Berlin 1998.
  • Erika Knechtel: Friedrich Froebel's mother and daughter songs - an educational concept for the toddler. In: Helmut Heiland, Karl Neumann, Michael Gebel (eds.): Friedrich Fröbel. Aspects of international comparative historiography. Weinheim 1999, pp. 102-111.
  • Andreas Frey, Birgit Gehrlein, Marold Wosnitza: Froebel's holistic pedagogy. Landau 2001, pp. 137-168.
  • Manfred Berger : Friedrich Froebel . In: Kurt Franz, Günter Lange, Franz-Josef Payrhuber (Hrsg.): Children's and youth literature. A lexicon. Meitingen 1995–2009, 14th supplementary delivery, February 2002, pp. 1-14.
  • Elisabeth Gutjahr, Werner Habel (ed.): Living tradition. Hohengehren 2002, pp. 45-60.
  • Sigurd Hebenstreit: Friedrich Froebel. Image of man, kindergarten pedagogy, game promotion. Jena 2003, pp. 177–228.
  • Christiane Konrad: The "mother and co-songs" by Friedrich Fröbel. Investigations into the history of its origins and effects . Unpublished dissertation. Würzburg 2006.
  • Christiane Konrad: Friedrich Fröbel's mother and co-songs in the light of educational research . In: Karl Neumann / Ulf Sauerbrey / Michael Winkler (eds.): Froebel pedagogy in the context of modernity. Education, upbringing and social action. Jena 2010, pp. 165-189.
  • Manfred Berger : Friedrich Froebel's family book - mother and Kose songs. In: Irmgard M. Burtscher (Hrsg.): Handbook for educators in crèche, kindergarten, daycare and after-school care. , Munich 2013, issue 74, September 2013, pp. 1–21.
  • Matthias Brodbeck: Friedrich Froebel. Stations in his life and work, Ilmenau 2015

Individual evidence

  1. ↑ König 1998, p. 8
  2. ↑ Marenholtz-Bülow 1878, p. 118
  3. ↑ Osann 1956, p. 124
  4. ↑ Renner 1982, p. 186
  5. ↑ Heiland 1982, p. 33
  6. ↑ Renner 1982, p. 186
  7. ↑ Kindergarten 1900, p. 5
  8. ↑ cit. n. Prüfer 1919, p. I
  9. ↑ Boldt / Eichler 1982, p. 102
  10. ↑ Boldt / Eichler 1982, p. 104
  11. ↑ König 1984, p. 9
  12. ↑ http://www.froebelweb.de/index.php/schaffen/58-admin.html
  13. ↑ Hebenstreit 2003, p. 179
  14. ↑ König1984, p. 8 f
  15. ↑ Manfred Berger:  KOHL, Robert. In: Biographisch-Bibliographisches Kirchenlexikon (BBKL). Volume 29, Bautz, Nordhausen 2008, ISBN 978-3-88309-452-6 , Sp. 782-786.  ( Article / beginning of article in Internet archive )
  16. ↑ http://www.froebelschule-keilhau.de/
  17. ↑ cit. n. Brodbeck 2015, p. 65
  18. ↑ Ramin 1998, p. 125
  19. ↑ Pappenheim 1905, p. 89 f
  20. ↑ Asch 1905, p. 229 f
  21. ↑ http://www.froebelsystems-shop.de/bilder/produkte/gross/52_1.jpg  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Dead Link / www.froebelsystems-shop.de  
  22. ↑ http://www.uni-bamberg.de/fileadmin/uni/fakultaeten/ppp_lehrstuehle/elementarpaedagogik/forschung/Umschrift/Umschrift_Froebel_MuK_.pdf
  23. ↑ cit. n. Konrad 2006, p. 129
  24. ↑ Portugall 1905, p. 72
  25. ↑ Hafter 1931, p. 747
  26. ↑ Hoffmann 1933, pp. 55f
  27. ↑ Minke 1958, p. 7
  28. ↑ Doderer / Müller 1975, p. 107
  29. ↑ Bertlein 1975, p. 418 f
  30. ↑ Bollnow 1977, p. 179 f
  31. ↑ Dinges 1979, p. 731
  32. ↑ Gutjahr / Habel 2002, p. 58 f
  33. ↑ Konrad 2006, p. 259

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