Research Into Solfeggio Musical Training For Children’s Chorus

Children’s chorus instruction is an important part of children’s aestheticdevelopment and is receiving increasing attention. While solfeggio training plays a vitalrole in teaching children’s chorus, the pros and cons of the results of teaching this waydirectly and indirectly affect children’s aesthetic ability with regard to music perceptionand music performance. A cornerstone in the teaching of children’s chorus, laying agood ear training foundation plays a pivotal role in children’s choral rehearsals. Themajority of music educators should focus on applying solfeggio children’s chorusresearch. Domestic Chinese and international outstanding music education theory hasanalyzed and summarized the basic situation of the current status of solfeggioinstruction in children’s choral training, and found it to be distinctly important. IfChinese music educators learn from and draw on the success and failures of solfeggioeducation in domestic Chinese and international children’s chorus, then solfeggioinstruction for children’s chorus can meet the need to modernize, globalize, and embracethe future, and bolster China’s the development of children’s choral instruction.This paper describes the significance and positive impact that solfeggio trainingcan have on children and on their lives. Ear training classes for children’s chorus shouldbe an amalgamation of basic music theory, music, emotions, and training in musicalperformance and creation skills. Teachers of these courses are responsible for fosteringstudents’ musical potential. If students learn well, this improves the musical quality andlays the foundation for learning future music assignments.The author holds that teaching children using the solfeggio technique ought to bedone in a manner that also takes into consideration children’s characteristics, the realityof national conditions, classroom instruction in ear training, and how to employ variousteaching methods. Doing so would advance children’s chorus instruction in a specific,scientific and systematic manner. The underlying goal for using solfeggio to teachchildren is to impart to them basic aesthetic and musical knowledge. The primarypurpose behind solfeggio instruction should be to cultivate children’s interests. Taking"Joyful learning" as a key principle, a variety of excellent domestic Chinese andinternational multimedia animation, art, and dance should be combined with a range ofteaching methods to enhance solfeggio learning.The innovation of this paper lies in its in-depth comparative analysis of excellent international music teaching methods. These include the four following teachingmethodologies： the Geneva, Switzerland approach called the Total Cross School ofMusic teaching system； that of the German composer and music educator, Carl Orff,the Orff musical education system； an approach established by the famous Hungariancomposer, Kodaly Zoltan, and ethnic musicians and music educators, known as theKodaly music teaching technique； and from the former Soviet Union, the Kabalevskyteaching system. An example of global, professional solfeggio achievement in aprominent school, the experience of Kansas State University in the United States, also isanalyzed. New and improved instructional techniques, and new concepts for children’ssolfeggio choral training are set forth based on a variety of research methods： priorfindings drawn from literature review and analysis, comparative studies, fieldinterviews, and web-based surveys. Furthermore, it is recommended to integratemultimedia software in solfeggio instruction of children by using an ear trainingeducational software product, such as those from EarMaster or Auralia, whichincorporates new technologies. As appropriate for children’s age and psychologicalcharacteristics, assorted games, animation, props, new textbooks and other teachingmethods can improve children’s interest in learning solfeggio, and music can enhancechildren’s overall motivation to learn. Instructors will improve if they teach inaccordance with these principles： advance step by step； move from the simple to thechallenging； and using solfeggio, gradually build in children their senses of rhythm,intonation, pitch, tone and overall music perception. Instructors also need to listencarefully to distinguish between students’ memory capacity and their musical aestheticability. By appealing to children’s imagination, using creativity, and practicing, a newapproach to teaching that is more scientific, more standardized, and more systematicwill emerge.