Her New Notation was designed to help beginners to learn, but in addition, she believed that those who could already read music would benefit from: She stated that two things were needed to achieve a better standard: a general acquaintance with notes, and practice in not only melody but harmony, so that all voices could take part. Let singing become a branch of national education, not only in schools for the children of labourers and mechanics, but in academies for young ladies and gentlemen, … A very little practice well directed, would soon produce a sufficient degree of skill, to render this employment highly attractive to the pupils.6 Summarising the general lack of musical skills and singing ability amongst what she referred to as the superior orders of the community, she noted that Psalmody is therefore usually abandoned to the care of the illiterate, some of whom derive aid from a degenerate species of sol-fa-ing. The lamentably low state of psalmody in most of the churches belonging to the Establishment. In her Prefatory Remarks,4 Sarah Glover commented on Of all the services of our church, none appear to me to have sunk to so low an ebb, or so evidently to need reform, as our parochial psalmody.3 The Bishop exhorted the clergy to promote singing, and suggested that much could be achieved by training charity children and Sunday School children to sing. She was just starting to take responsibility for music in church and in various schools. Sarah Glover was deeply influenced by the words of Beilby Porteus, Bishop of London, in his Charge to the diocese of London, written in 1790, and reprinted in 1811, when Sarah was twenty-five years old. This was published anonymously in 1835 as Scheme for Rendering Psalmody Congregational.2 Glover used the term Psalmody in her title to refer to the singing of hymns in church worship.
#Chromatic solfege hand signs full
In England an old gamut-derived solfa, far removed from Guido’s original concept, and probably more of an obstacle than an aid to learning, was still in use.1 Over the next twenty years Sarah Glover experimented with teaching methods and materials, rejecting traditional methods, and devised her own adaptation of Guido’s solfa, extending it to a full relative solfa system. European methods favoured, numbers to represent degrees of the scale, or were based on fixed-do solfa. Studying music at the time consisted of fact learning, with various devices to facilitate stave reading. The singing of her young pupils soon gained a reputation, and she began to receive requests to train others to teach music. An accomplished amateur musician and pianist, Sarah Glover was also a gifted and inventive teacher. She was well educated, had a lifelong interest in many subjects and was familiar with contemporary educational philosophy, scientific theory, scholarly treatises and histories of music. At that time Sunday Schools were schools for poor children who had to work on weekdays, when the more fortunate children attended regular school. As a young woman she began directing the music in church, and teaching with her sister at local parish schools, charity schools and Sunday schools. Sarah Anna Glover (1786 -1867) was the daughter of the curate of St Lawrence’s church Norwich. Much of this methodology was carried forward, through John Curwen’s Tonic Sol-fa method, to have an influence on Zoltán Kodály.
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Sarah Glover’s method for music education has a special value in the history of the Kodály movement, as the first example of a systematic programme of practical musicianship training through unaccompanied singing and relative solfa. Presented at the 19th International Kodály Symposium in August 2009, Katowice, Poland Independent Music Teacher based in Cambridgeshire, UK Tonic Sol-fa method, to have an influence on Zoltán Kodály Much of this methodology was carried forward through John Curwen’s
![chromatic solfege hand signs chromatic solfege hand signs](https://i.pinimg.com/236x/cb/aa/a5/cbaaa5a572df9931faa2fef8d660a616--reading-music-kids-music.jpg)
AN APPRAISAL OF THE NORWICH SOL-FA METHOD AND MATERIALS FOR CHOIR TRAINING AND MUSIC TEACHING, DEVISED BY SARAH ANNA GLOVER IN 19TH CENTURY NORWICH.