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Comparison of
the
titled
presented by
a candidate for the degree of
that in their
opinion
it
is
in
Music Education
worthy of acceptance.
Columbus
State University
Abstract
This paper compares and contrasts Zoltan Kodaly' s music methodology with John
Feierabend's Conversational Solfege. Both systems for teaching music are founded upon similar
philosophies and goals and emphasize singing
movement
by both methodologies,
is
The order
differs
in
also examined.
utilizes three
method
in the
main
uses a twelve step process similar to the three stages found in the Kodaly method. Throughout
may
be presented
at
philosophies.
The
months
paper.
final portion
of this paper provides a year long flow chart and lesson plans for two
They
in the
in
her classroom.
11
that the
Table of Contents
I.
Introduction
II.
III.
IV.
Goals
V.
Solfege
VI.
Rhythmic Syllables
VII.
Folk Music
12
VIII.
Movement
17
IX.
Lesson Planning
17
X.
Conclusion
22
XI.
Project Description
27
XII.
Appendices
Appendix
Grade One
B: Lesson Plans
30
34
in
Alphabetical Order
68
81
Appendix
E:
83
Appendix
F:
Rhythm Duration
86
Syllables
for
References
to
90
93
Introduction
The
hall.
Upon
it
is
songs using solfege hand signs. The chanting of a complex rhythm using a mnemonic device
follows
this.
is
move
in
may
not a
often a
common
occurrence
Palisca. 2001). In
developed
is
is
more
prominent figures
in the
is
in
method and
various
the
the approach
In
now
America, the
who developed
&
Two
his
Still
composers.
societies (Grout
movement
in
many
similarities
may be found
in their
men
who
a system entitled
same country or
differences.
The purpose of
this
men and
may be found
to discover
emphasis
Feierabend.
glimpse into the lives of both Kodaly and Feierabend will help
16. 1882, in
his father,
who was
Hungary.
Hungary during
Academy and
his
He was exposed
composing early
the villages in
in
music from
his country.
As
in his
an
music
the University of
to
facilitate
at
young age by
young
may
be found
in
).
Throughout
in furthering the
his life, he
later in the
was
he traveled
John Feierabend
Hartford
He
in
is
was on
his schedule
6.
at
Wayne
where he received
the young, and
is
in
).
his Ph.D.
He
his
(Choksy. 1981
this
has attended
development of
in
throughout Eastern Europe with Bela Bartok to collect folk music. The influence of
expedition
adult years,
Temple University
movement
development
to
in early
thirty years,
many
life
years to
assembling collections of American folk songs (GIA Publications, 2007). He continues to give
and the Organization of American Kodaly Educators (OAKE). Furthermore, he was the
American
has helped to
make
LEGO
prize, an
to
first
"someone who
grow" (University of
Hartford. 2007).
improvement
method
is
in
music education
their
programs
it.
literary one.
that all
who
are capable of
promotion of
need for
Kodaly believed
Without
after witnessing a
linguistic literacy
literacy
is
as pressing
now
as
was
the
five-
year plan should be fixed for the complete extermination of musical illiteracy, (as
cited
inChoksy, 1981,
p. 6)
skills,
The goal
in the
students by addressing
by pressing
the correct
is
).
sometimes
it
is
more than
"when you
see this dot in this space, press this key" approach to teaching music.
Instead, these systems of musical instruction seek to develop the innate musicianship of the
message of
not
-
mechanically, and accurately, or as Feierabend (1997a) has expressed, they should be able to
"breathe
life
is
its
(as cited in
Campbell
&
is
p.
it
turns,
at
a piece of music.
They
their voice,
p. 32;
which
is
how
to read
be
it
p. 14). In the
a score of
nor should
Feierabend. 2001.
stated:
seen
49)
Instead,
is
Scott-Kassner, 2006,
Kodaly has
this,
what
most effective
its
is
music
p.
17). In
Conversational Solfege, children begin their musical instruction by singing songs and eventually
developing an extensive repertoire of folk music. Both Kodaly and Feierabend extend
state that vocal proficiency
this idea to
"We
near an instrument until he or she can read and sing correctly. This
is
Feierabend, 1997a).
in
Feierabend (2001) also noted that the vocal before instrumental proficiency approach
that the students are expressing
a mechanical
manner with
little
is
taken so
(p. 14).
in
of music education truly utilize a singing approach. Instruments are added only
if
the students
possess an understanding of the music through singing so that true musical literacy
may be
developed.
young
time
in
age. This
is
the time in
this.
man
&
Carder, 1990).
from three
to
seven years
the
to learning
is
at a
also the
in these
Regarding
that
What
is
is
spoiled or missed
years can never be repaired or recovered again. In these years the fate of
is
to
at a
in
Kraus, 1967,
young age
is
Feierabend (2001
p.
79)
).
accurately and in tune, while maintaining a steady beat, before beginning the Conversational
Solfege curriculum. In order for these skills to be developed by the time the child enters the
at
young
age.
To address
this,
this
time
when
the students
in
were
in
by the elementary
school age.
is
&
York, 2001
).
Although
it
is
that
Abramson,
Gillespie,
Woods,
in the
numerous musical
articles that
instruction
at
concerning music education and Feierabend's Conversational Solfege lay very similar
philosophical ideas that helped to bring about their development.
Goals
The goals
for the
Choksy
et al.
(2001) has
noted the following goals of the Kodaly method, which are similar to the objectives of
same
discussed above,
is
"to
make
the language of
et al..
folk songs
2001.
p. 83).
people
activities in
in their
that the
Conversational Solfege
to children: to help
goal,
which was
them become
composed
is
music known
in all
(Choksy
art
et al.,
2001.
p. 83).
further goal
this
music (Choksy
2001,
et al..
that they
p. 83).
is to
may develop
art
music while
music
in the
classroom.
In
instruction, based
instruction.
upon
to
is
),
and Feierabend
skills
through a 12-stage
(compose). Beginning with the simplest rhythmic and tonal patterns, each stage
introduces a
new
upon previous
understandings.
this ear to
later
eye approach
is
the processing of musical ideas" (p. 9). In both systems, songs are initially taught
children's ears are developed. Patterns are also taught before songs "so that
(Feierabend, 2001,
when
by
in
rote as the
the students
and rhymes, they can be sung with joy instead of careful deliberation"
p. 13).
).
The
These
will be
examined
next.
develop into musicians. Neither Kodaly nor Feierabend were the sole creators of the practices
utilized in either
comes
Solfege
in their
methods were
first
introduced
in
various
"in the
way
in
et al.,
2001.
p.
81
into
).
Solfege
The
first
practice to be
examined
(Choksy
as
in
opposed
will
et al..
).
2001
).
Utilizing
movable do
58).
to focusing
is facilitated
Conversational Solfege, as
In addition,
it
is
similar to the
One major
its
name
et al.,
shift
in children's
common
p. 85).
Kodaly
felt
strongly
to another is the
&
Carter, 1990, p.
in that
it
(Appendix
E).
p. 166).
rhymes and
The minor
folk songs in
third interval
Hungary, so
most
2001,
Kodaly method
the
assists the
difference between these systems occurs in the order in which the solfege
occurrence
music classroom
being able to focus on "pitch relationships and pitch functions within a tonal system,"
in the
re,
sol and
from sol
this
was
to
mi
as the first
mi was
common
a natural choice. In
to
be some of
tones found in traditional folksongs, and the sol and mi syllables used
first in
the
syllables
chose do,
re,
and mi as the
first
in
in authentic
so,
and mi were
he
that
seemed more
Solfege
in
is
it
that use
).
in
made
is
Conversational Solfege, although these signs are often used simultaneously with solfege
American classrooms
in
England and
later
in the
first
in his writings,
et al.,
& Carter,
Hand
).
1990,
signs are
included with solfege syllables because using both of these together assists students in
developing tonal
al..
memory and
helps
make
memory more
secure (Choksy
et
2001).
Rhythmic Syllables
Another
is
rhythm
how
to
speak the
duration syllables (Appendix F). These syllables aid the students in learning
rhythms and
later
names but
in
are
ways
ti-ri
ti-ti
represent
rhythm. Note
utilized in
to voice the
in
et al..
2001
).
The
syllables
ti-ri,
in this
on the
fall.
beat.
du
In this system,
is
is
Notes occurring between the beats are given other labels depending on where they
that an alternate
system
may
syllables,
be used
if
it
it
is
is
noted
in the
preferred
(Feierabend, 2001).
When
teaching rhythm in the Kodaly system and Conversational Solfege, the order
triple
triple
this
triple meter,
whereas,
varies. In the
in
in
initial
countries.
Kodaly developed
his idea in
natural aspects of the spoken language. In the Hungarian tongue, the stress
is
placed on the
first
syllable of words:
Ha
>
When
in
en ci-ca vol-nek
>
>
these natural rhythmic stresses in language are applied to the folk music there, the music
English language
when
above
applied to music
is
(p. 180).
is
primarily
as follows:
10
is
If
>
In both the
in turn
may be found
curriculum
p. 180).
>
when music
When Kodaly
in the folk
material
is
the classroom,
and 6/8
is
is
As
in the
developed.
in the
first in
to use
which
this
music
used
is
p. 180). In
many Hungarian
is
presented to the students, they have been taught 2/4 time, 4/4 time, 2/2 time, 3/4 time, and 3/8
time. In addition, they have also been previously taught quarter notes, eighth notes, rests, dotted
quarter notes, sixteenth notes, dotted eighth notes, and syncopated rhythms (Szonyi, 1973, p. 34).
When
in the
Kodaly system
as
it
was established
2/8. 3/8,
6/8 time
is
In the
may
to the students
As
so rare in Hungarian folk music, teachers in Hungary must often look to music from
as well.
a result,
compound duple
).
in nature,
(Choksy. 1981
in the
presented together throughout. Instruction begins with the simplest meter, such as 2/4 time and
moves
to the
two eighth
notes, as
found
in 2/4
as 6/8. Unit
11
p. 86).
in the quarter
note and
dotted quarter note and set of three eighth notes, as they are used in 6/8 time
in
(p. 180).
(p. 134).
made up of the
Unit three
quarter note
New
continue to be introduced in Conversational Solfege levels two through four. After level four,
focus
placed upon introducing more complex melodic and harmonic aspects of music, such as
is
scales,
modes, and modulations, and new rhythms and note values are not presented. At
stage, the
(p.
this
274).
Folk Music
Solfege. hand signs, and rhythmic syllables are tools that are used in both the Kodaly
as the primary
One
is
it
rhymes
is
folk
music
p. 94). In
that
is
unique
is
into
music
in
music
in particular
an intricate aspect of the Kodaly system and of Conversational Solfege, and both of these
methods
utilize folk
music
in their
is
displayed
own
to
in the
his
methodology. He
tongue" and therefore should be incorporated into the music curriculum (Choksy
82).
Using songs
12
in
mother
et al.,
2001.
p.
own
language (Choksy
own
it
is
by
their
2001,
developing an
p. 82).
their country,
today, and
et al.,
by those
own
who
move
are] the
tell
for the
They
music classroom
in
is to
Kraus, 1990,
own
Conversational Solfege
"artificially contrived
literacy
in
is
which
it
Feierabend (2001
make
their
we
by the students'
may
be found
in
almost
Kodaly technique
was developed
"[They
stated,
into
its
in that
it
we do
p. 82).
incorporates folk
in
in the
similar to the
musical material
To
to
Kodaly has
p. 82).
songs written
sung by children when the country was being developed, or sung and danced
grandparents in years past.
to
in their
own
country
in
down
to the
much
the
same
as those stated
by Kodaly.
has explained that folk songs display "the natural melodic and rhythmic
language"
(p. 9).
Therefore,
when
folk
music
is
utilized in the
classroom, the students are presented with musical materials consisting of patterns, meters, and
found naturally
in their society.
13
Folk music
individuals
who
may
played a role
in
(Feierabend, 1997a). Students are able to learn about the people that
are
allowed the opportunity to develop an understanding of their ancestors. Children are also given
the
chance
to build a sense of
"community" with
develop a
common
Feierabend's
When
children with their ancestors, they enrich their children's childhood and enable
their children to
some day
own
delicious childhood
(GIA
in the
memories
in
Publications, 2007)
that folk
come.
all
folk music
children were not experiencing high quality music in the classroom. In an article, Feierabend
directly quotes
Kodaly on
But nothing
is
become bored:
the superficial
this subject:
as harmful as a distorted
in fact
he will
come
to loathe the
fill
will
to
know
14
It
is
that
all
Zemke,
in
her article
discussing the Kodaly system, (1990) has noted four basic guidelines to be considered
presented
first
of these
is that
the topics
songs should be applicable for children. Next, the language used should be clear
in the
and direct so
when
that
may
it
the folk song should invite the children to use their imaginations, as well as creativity skills.
level,
and
it
should emotionally
Feierabend
words and
melody
that
fit
they
may respond
(p. 94).
1996) has also discussed the qualifications for good music literature.
believes that songs "in which the text relates to the make-believe world of the
young child"
meaning of the
text,
utilized.
way
in
intensifications,
itself,
in a
in '"ups
are
fantasy
outside of the
moments,
He
are
inflection.*'
in the
suggest that well-written folk music from other countries be introduced so that the students can
to experience a variety of
understanding of people
in other countries
is
their folk
music
(p. 76).
Feierabend
styles
by examining
and
to
develop a better
their music.
Kodaly (1990)
refers to this
music
music
to
15
literature,
When
in
in the
in the
is
in the
Kodaly has used the following quote from Robert Schumann: "Only those who
is
it
included
classroom.
in
folk music,
are assiduous in
singing folk-songs can really appreciate the character of other people" (as cited in Szonyi,
p. 33).
973,
Therefore, instructing students with high quality folk music develops an understanding in
the students of themselves and their culture, as well as an understanding and appreciation of the
and understanding
is
may have
p. 8).
Kodaly
Kodaly
the opportunity to
into the
two
are
fine
own
examples of composers
music classroom
(p. 77).
Feierabend
(1997a) takes this same approach and has also stated that teachers should draw from a "rich
repertoire of great
composed
CD containing
is
recordings of from
addressed
some of
in the
Conversational
and Tchaikovsky,
is
provided.
Therefore, students in both the Kodaly method and Conversational Solfege encounter a variety of
quality music in the music classroom. This music ranges from the folk music found in one's
country
to that
16
own
Movement
Movement
is
Kodaly
method, the movement ideas incorporated into the music curriculum were influenced by the
who developed
performing rhythmic
ostinati, [and]
1973.
the
movement
p. 16).
p. 10). In addition,
movement
may be
Movement
is
it
(p. 72).
life
He
it
is
incorporated into
as part of a
it
is
it
Conversational Solfege so
Therefore, although
in
movement
)
is
(p. 73).
if this
"good
used only as
seen in the
method
is
are neglected.
"knowledge
stresses that
it
is
to
be included
in
every lesson
(p. 74).
Lesson Planning
All concepts introduced in either the Kodaly process or Conversational Solfege progress
through specific stages. Sequential progression through these steps ensures that the concepts and
17
ideas are fully taught, and subsequently understood. Three stages are used in the
They
In (he
it.
creativity
pattern.
Instead,
it
is
They
sing the
melody or
at
would consist of
Choksy (1999),
this stage
now
may
may
instruction in the
the students
at
work with
the
this
new concept
in
(p. 172).
During
in the
where
the students
Throughout
concepts
may be
at
may
be presented
at
18
the
new concept
comprehend
would be shown
listening, reading,
verbally and
level, students
The practice
first
is "ta."
in the
to
to
work
to
the
In the
line,
preparation stage, students are presented with unknown musical material, such as a
rhythm or melodic
identify
all
Kodaly process.
is at
the
preparation stage. In addition, familiar ideas are examined before unfamiliar ideas, and inner
hearing
is
included
at
in the
Kodaly
system helps the students to gain a deeper level of understanding of new concepts instead of a
surface knowledge that
is
quickly forgotten.
Conversational Solfege
is
much
in the
like the
Kodaly method
address singing, reading, and writing music in a twelve step process. In the
presented with
new
They
first
much
is
introduced to a
new
if
at a later
p. 11).
is
stage, readiness,
certain concepts at this stage, but these concepts will be formally introduced
is
to specifically
time. Next
Kodaly process. At
tonal patterns
songs after the teacher with rhythm or tonal syllables. Like Kodaly, working with unfamiliar
material occurs next, in the conversational solfege, decode unfamiliar stage. This
same
p.
in the
11).
that students
is
much
the
is
students create using the rhythm and tonal patterns used in the previous stages.
The subsequent
At
evaluate
if
the students
is
this.
have "bonded the notation for rhythm and/or tonal patterns with the
19
correct syllables" (Feierabend, 2001, p. 12). Students look at familiar notated patterns and then
The
how
now
skills, as
that pattern.
create.
At
to.
is
same
as the previous
new
patterns.
level utilizes
is
the
much
is
in their
The
may
be occurring
at
in
Conversational Solfege. In addition, both methods use familiar material before unfamiliar
material, as can be observed in the twelve step method. Furthermore. Feierabend (2001
noted
in the
every level
curriculum that
(p. 13).
"it is
has
is
found
in the
is
the
at
Kodaly method
steps,
both of these methods use the same teaching-learning approach. The pedagogical order for
instruction in the
(Choksy. 1981,
Kodaly method
p. 10).
is
Each of these
is
to
practice stages. Conversational Solfege also specifically addresses hearing, singing, reading,
knowledge
is
in the
20
stage,
which resembles Kodaly' s presentation stage; and reading and writing, which occurs
in
concepts progress through a preparation, presentation, and practice stage so that concepts
more
easily understood
Lesson planning
in
all
may be
may be
at
As was
different stages of
development. In order to ensure that each of the concepts presented are introduced thoroughly
is vital.
Kodaly method and Conversational Solfege, every lesson should include three
In both the
primary goals. These objectives are to reinforce the past, present, and future ideas being taught
(Feierabend. 2001.
literacy objective
p. 75).
is
this idea
by suggesting
that
when
some
a "past"
other
concept, such as a tonal idea related to solfege. Practicing this can keep "both rhythm syllables
in the students'
minds"
(p. 75).
students should have previously accomplished in order to participate in the lesson for that day.
Present literacy objectives are based upon the unit plan and lesson plan for the day, and
Feierabend (2001
The
has stated that there are most often "two or more present "objectives
preparation level
This goal of
the
in the
new concept
to
Kodaly method or
this objective is to
(p. 75).
when
it
21
is
time for
this point.
with
new
repertoire
As was
new concept
is
is
in
which musical
into consideration
p. 75).
call for
when planning
is
guided by
the natural abilities of the child "at various stages of growth" (Choksy, 1999, p. 10).
Instead of being presented with information in the order in which the subject
when
this
first,
progression
moves from
the
whole
to smaller units.
would be especially
first,
state that
whole notes
p. 9).
are
mathematically logical;
this is
would make
to
is
Conclusion
that will
is to
develop
in the child a
musical literacy
extend throughout adulthood. Both Kodaly and Feierabend believe that this musical
all
22
may
be developed
in the students
utilized,
in
movable do
is
and hand signs are incorporated. Although both systems use solfege syllables, the order
which these
Kodaly method,
mi
method
is
la, so,
first
because these
much American
folk
and
syllables.
Rhythm
is
duple.
is
first
In
introduces rhythmic
syllables associated with note values often found in duple meter, such as a single quarter note,
two eighth
in the
whole
curriculum.
Rhythm
and
triple
such as three eighth notes, a quarter note followed by an eighth note, and the dotted quarter note,
are introduced along with the note values often associated with duple meter.
Movement
activities
When
lessons, each concept introduced should progress through specific steps. In the
their
Kodaly method,
these steps are preparation, presentation, and practice. In Conversational Solfege. twelve steps,
similar to the three steps in the Kodaly method, must be followed. Concepts should be
as well as folk
in
is
based upon
should include past, present, and future objectives for the students.
23
When
these methods were developed, they were not incorporated immediately into
worked with
his colleagues
and students
At
this school,
in
to
many
et al.,
singing
2001,
New
the
The
first
at
p. 8).
at this
known
the capital
all
first
Kodaly's ideas for musical instruction were incoiporated, and the success
spread
Kodaly
in selected schools.
is
used
in locations
found
in
Eastern and
South America (Choksy. 1999). In addition, the influence of the Kodaly method may be found
in
in the
in
schools before
its
ideas were
Schools, and Simsbury Public Schools. During the testing, the teachers and students provided
feedback, which was taken in order to improve on the curriculum. In the introduction to the
4).
who
1,
Feierabend (2001
helped determine
how
this
method was
to
emerge"
(p.
Therefore, these two methods, which have steadily been gaining in popularity, have been
tested and
improved upon
in
to
to
be successful. In reference
to the
in
24
has stated:
it
can be.
improves: rhythmic
From week
skills
to
to year;
music
literacy
Conversational Solfege
today
in the
is
Feierabend on
how
to effectively teach
to attend
workshops taught by
these methodologies are currently being successfully implemented into music classrooms.
music"
the
Kodaly has
(as cited in
Choksy, 1999.
music classroom so
p. 184).
can be musically
only used
in part to
form an
literate adults.
that
in
variety of
in
all.
Conversational Solfege are two methodologies that are being incorporated into the music
is
being utilized
in the
is
being
felt all
United States.
Although the Kodaly method and Conversational Solfege provide exemplary tools for the
musical instruction of students,
is
it
must be remembered
that
it
is
It is
the
the responsibility of
who
music
teachers to adapt each of these methodologies to meet the needs of the students present in that
particular
music classroom. Teachers should consider the physical and mental developmental
at
which concepts
25
level of the students should determine the specific songs used. In addition, the student's social
in
which
the
music classroom
is
activities.
located should be
considered so that the folk music material chosen reflects the natural speech of the students.
in
in
p. 164).
Therefore, the music classroom teacher plays a vital role in developing a musically
literate society,
It
is
much more
important
who
is
the
poor director
(as cited in
It is
Choksy, 1999.
p.
of music
in thirty
music teachers
to
as
who
up
understand and appreciate music years after their musical instruction has ended, for
Kodaly has
Music
generations of children,
the responsibility of
the director of
is
stated:
is
a manifestation of the
practitioners
have conveyed
we do
language.
If
utmost to
make
cited in
to
human
spirit,
similar to language.
mankind things
Its
greatest
we must do our
Choksy. 1999.
p. 8)
26
who
Developing students
is
music education.
Project Description
this paper,
initially
common
syllables in
in
be
re,
mi
my
plans,
use so and mi
their occurrence in
commonly found
I
American
in
authentic
American
so, mi,
and
la
the
first
intervals to be
Using so and mi
that
initially,
re,
and
minor
third,
such as
is
so, mi,
adding
la,
and then
and
la are also
p. 18). In addition,
is
one of
young
children.
and
so, mi,
common
la are
from
occurrences
in
American
The order
in
which meters
much
later
on
in their
to
because of
later
were found
initially
to begin
the
mi
On
folk music.
sequence
re,
la.
initially.
considered
Compound
duple
is
in
my
lesson plans.
The
music studies because Hungarian folk song rarely contains the 6/8 meter.
27
much
my
earlier on,
plans,
found
compound duple
is
introduced
and both simple and compound duple meter are developed simultaneously. For
have chosen
in the
but
first,
much
is
on
earlier
common
in the
occurrence
in
American
folk music,
and many children's songs and chants contain both simple duple and compound duple meters.
is
first,
which
is
followed by the
Differences in the order of rhythmic instruction occur after the introduction of the quarter note
and eighth note between the Kodaly method and Conversational Solfege, and
follow the Conversational Solfege level one order
this
music. Furthermore.
have chosen
more
to use the
point,
at this
by
have chosen to
my
(Appendix F)
new
is
by focusing on
also taken.
past,
As
first
symbolically. Finally, they will practice listening, reading, and then writing with familiar and
then unfamiliar material. Throughout each stage, the students are provided with inner hearing
activities to
develop their
28
my
classroom.
29
believe
would most
benefit
30
for
Grade One
Meter
Triple
Ti-ti-ti
Triple Meter
Ti-ti-ti
a.
<
r-
Triple
Triple
Meter
Ti-ti-ti
Triple
Meter
Ti-ti-ti
Triple
Meter
Meter
Ti-ti-ti
Triple
Meter
Ti-ti-ti
Ti-ti
Ti-ti-ti
Ti-ti
SML
SML
oo r*
oo ^-
r3
Triple
Meter
Ti-li-ti
Triple
Meter
Ti-ti
Ti-ti-ti
Ti-ti
SML
SML
Ih
s H
w
cu
SML
Ti-ti
Ti-ti
Ti-ti
SML
SML
00 r*
oo
>
Ti-ti
Ih
Ti-ti
SML
SML
|h
oo r-
>I
3 AV3IA3^
NHl^VOHHQNM
AV3IA3>I
AV3IA3H
N31>IVD>I3aNI>I AV3IA3^
Doing
Improvisation
Improvisation
Presentation
PREPARATION
Creativity/
VERBAL
Improvisation
Practice
SYMBOLIC
Listening
Creativity/
Practice
31
Presentation
Practice
Practice
Reading
Writing
Creativity/
beat/
soft
verbal
verbal
presentation
y.
3J
presentation
at
at
SM
Ta
Loud,
Steady
Movement
SM
Rhythms
CO
Movement
Ta SM
co r*
CD
'E
a
x:
Musical
Musical
Musical
cues
i)
cues
cues
2 H*
SM
g
a?
- J"
a.
"33
Q
CO
>
CO
SML
it
s-
t-
co t
-J
Ti-ti
CO
CO
0.
-a:
it
i*
it
X!
32
3
C
i>
fa
reading
reading
unfamiliar
unfamiliar
VI
a
VI
VI
<
at
at
SM
Ta
CO
SB
_
"O
On
2-
CO
CO r-
co r-
CO
CO
CO
2 ^
W
2 ^*
w
CJD
C
3
'E
as
i_
CU
-J
r3
Ti-ti
SML
CO
>
notes
notes
0)
meter
meter
a d3
Ti-ti
eighth
Ti-ti
Ti-ti
SML
3j
meter
eighth
SML
Triple
Triple
Triple
Three
0)
}1
Three
3
C
<2J
>
34
Date:
Objectives:
Past:
The students
will
be able to
using
at the
Present.
The students
level
using
will be able to
at
of understanding.
level of understanding.
the
at
level of understanding.
the
Procedures:
Opening song:
Tonal or rhythmic patterns:
Known
song:
New song:
Content focus:
Recording:
Closing
game or song:
Materials needed:
35
SM
Content: Present
Month
Date:
three
at
Week
Prepare
ta;
SML
Objectives:
The students
Past:
will
be able
Present:
sing
SM
The students
at
will learn a
in
to
loud and
new
soft.
at
SM
in
The
SML. The
Ta and
Ti-ti at
at
verbal understanding
level.
Procedures:
Opening song: The teacher sings a greeting on SM, and students respond
SM:
Improvisation with
individually. (Prepare
SM)
Tonal or rhythmic patterns: Students echo the rhythmic patterns performed on the drum by
patting. (Prepare ta: Practice listening)
Known
song: 'The Counting Song" Review song. Have students add the hand motions that go
New
song: "Johnny
SM;
Prepare Ta)
body
part
rote.
sung about
Have students
pat a steady
maintaining
Go Away"
we
SM
at
verbal level of
understanding)
Recording: "Bug Music" from Music for Movement ami Stories (MusikGarten) The students
listen to the music and create movements for the themes they hear in the song. (Practice creating
movement)
Closing
game or
another student.
The
student then
The students
sit in
a circle.
One
36
in the
room
or gives
it
to
The students
sing louder
when
the student
in
is
Materials needed:
Key
Drum
Recording of "Bug Music"
37
room and
quieter
when
farther
SM
Month
at
three/
Week
SML
Objectives:
Past:
The students
SM
movements
in
tune
for a song.
The
at
Present:
SM
at
The students
SML at
The students
will
The students
perform movement
will sing
activities at the
practice level.
SML at
SM
at
level.
Procedures:
the song.
Have
movements
movement)
SM
(SM
at
moving
their
Known song: "Clap Your Hands" Students sing the song while patting the beat. The students
show how many beats are in the song by holding up the corresponding number of fingers. Hearts
are placed on the board to show the number of beats. (Prepare SML; Prepare Ta; Practice
maintaining steady beat)
New song:
"See Saw" Teach the song by rote. Discuss the text and ask the students where a see
saw might be found. The students sing the song again and imagine they are on a see saw.
(Prepare
SML)
Content focus: "The Counting Song" Review and point out that the notes sung are
was learned
lower.
(SM
Closing
Movement and
the students
SM
SM. which
(Creative
movement
at the
practice level)
item
sounds)
3.S
in the
Materials needed:
Pictures from the farm for high/low activity
39
Ta
SML
at
Objectives:
Past: Students will be able to sing in tune
at the
at
Ta
Present:
The students
will be able to
move hand
will be able to
speak Ta rhythms
at
SM. Students
SML at
preparation level.
Ta
SML at
at
The students
will be able
Procedures:
SML.
(Prepare
to the
SM
pattern.
SML)
Tonal or rhythmic patterns: The teacher will sing a pattern containing Ta on a neutral syllable,
Known
Go Away;" As
(SM
New song:
many
at
syllable,
be called Ta.
them move
their
hand higher or
move
their
"Snail. Snail"
beats are in
beat. (Prepare
rote.
The
class holds
SML)
SM
instead of
words (SM
at
verbal level of
understanding)
Recording: "Rodeo:
Closing
game or song:
circle,
When
the sons
is
movements
to the song.
movement)
"Button,
is
Students create
who
the song.
The students
sit in
40
in
tune singing)
secretly.
Materials needed:
Button
41
SM
Ta
SML; SML
improvisation level;
at
at
Month
Date:
at
One
three/
Week
Objectives:
The students
movements.
Past:
Present:
The
in a
SM
new song
in a
ta,
SML
while saying
at
be able to create
ta, at
the
the preparation
repeat patterns of
SM
at
SML at
Procedures:
SML:
a greeting with
to another student.
SM. (SM
Known
snails.
New
at
at
SML
SML;
SM
(SML
a student,
SML to
Show
Review and
talk about
preparation level)
Number Nine"
with
SM
then words
(SM
at
verbal level of
understanding)
ta.
in a circle.
at
ta pattern
while saying
ta,
and class
improvisation level)
Recording: "Carnival of the Animals": Elephant (Camille Saint-Saens) Students will create
movement
Closing
that
hand up high,
this is S. If
(SM
it
at
is
low. this
is
M. The
If
improvisation level)
42
Materials needed:
Laminated hearts to show the beats
43
SML
Content:
at
preparation level;
Date:
Month
presentation level;
SM
three/
at
Ta
at
at
Week
three/
Lesson one
Objectives:
The students will be able repeat SM patterns at the preparation level. Students
speak Ta at the preparation level. Students will be able to create movements.
Past:
to
Present:
The students
SM
own
at
will
be able
the verbal
understanding level. Students will be able to arrange pictures higher and lower and sing S on the
higher one and
SML in
at
it
at
understanding level.
Procedures:
Opening song: "See Saw" The class is divided into groups. One group sings the song to
other. This group sings the song to a different group. This is done while patting the beat
on the lap. (SML at preparation level of understanding; Practice keeping a steady beat)
the
is
patted
Tonal or rhythmic patterns: The teacher claps a rhythm while saying Ta. and the class repeats
it.
The teacher then tosses a beanbag to a student who improvises a Ta rhythm, while saying Ta.
The class repeats. (Ta at improvisation level and verbal understanding)
Known
New song:
at
we
will sing
Ta
in
place of the
"Tick Tock"
Show
SM
doing
circle
(SM
at
listening level)
movement
Closing
the students
SM
how
Students
movement)
their
(SM
at
On
44
M.
Materials needed:
Worms"
45
SM
at
verbal level;
preparation level;
Month
Date:
SM
three/
ti-ti at
preparation level;
One
movement
at
practice level;
SML at
at creativity level
Week
three/
Lesson two
Objectives:
Past:
The students
will be able to
musical cues through listening. The students will be able to sing in tune
head voice.
in the
The students will be able to show the hand signals for SM. The students
improvise movement. Students will be able to create using SM.
Present:
ti-ti
will be able to
rhythm.
Procedures:
SM
Opening song: "The Counting Song" Introduce the Curwen hand signs for
them.
(SM
at
Tonal or rhythmic patterns: The teacher plays a rhythmic pattern with Ta and
and the students repeat them on their
Known
own
instruments
(Ti-ti at
Ti-ti
on the drum,
preparation level)
Number Nine" One student is the leader, like the engine leads,
movement shown while singing the song. The students take turns.
New song:
movement;
"Bye. Lo Baby.
O"
SML;
Prepare
how
it
is
Ti-ti; Practice in
a lullaby.
Show
beats
voice)
now go
to the front
who
represents
picture.
did not get to place the umbrellas higher and lower in the
SM
S,
last class
and low
under appropriate
Recording: "Carnival of the Animals" (Camille Saint-Saens) Play a listening game with hula
hoops. Students listen to a recording from Camille Saint-Saens' "Carnival of the Animals."
During the
move
like the
lap. (Practice in
to
musical cues)
46
The students
Materials needed:
Drum
for teacher
47
SM
at
Date:
Month
three/
Week
SM
at
Ta
at
Ta
improvisation
at
improvisation level
Lesson one
four/
Objectives:
Past:
The students
Present:
The students
improvise
SM
at
Ta
at
back Ta patterns
at
SM
patterns at
ti
one
beat. Students
will be able to sing Ti-ti at verbal understanding level. Students will be able to sing
SML at
Procedures:
it is.
When
the song.
Ask
SML:
if
Prepare
Ti-ti; Practice in
tune singing
Tonal or rhythmic patterns: The teacher plays a Ta pattern on the drum, and the student repeats
back using Ta. This student then plays a Ta pattern on the drum
students take a turn. (Assess
Known
Ta
at
Ta
at
it
Half the
improvisation level)
New
to
song: "Bye. Baby Bunting". The students pat the beat in their lap. They hold up their
show how many beats are in the song. Hearts are placed on the board to show the beat.
(Prepare
SML;
Prepare
Ti-ti)
fingers
room
groups
in
to
and bending down represents M. The teacher sings the pattern, and the
hand
signs. (Improvisation of
SM:
SM
at
verbal level of
understanding)
movements they
48
movement)
Students
Closing
animal.
teacher sings a
SM
SM
pattern
understanding)
Materials needed:
Drum to pass around
own
on a neutral
stuffed animals
49
SM
at
verbal
Assess Ta
Month
Date:
SM
three/
at
at
SML;
Practice
Week
four/
Lesson two
Objectives:
The students
Past:
will
be able
movements
that
match the
on instruments. Students
in tune.
at
will be able to
SML at
Students will
level.
Procedures:
is
in sections,
it
SM
at
SM. Ask
for
Ti-ti).
understanding
Known
New
song: "Bye.
movements
verbal
to
match the
when
"bell"
is
sung.
Practice listening)
sit in
a circle.
The teacher
pats a
Ta rhythm, and
calls
on
a student
did not get a turn in the last lesson, to pat a body part while saying Ta. This student taps a
at
song: "Bell Horses" Teach song by rote. Students play their bells
SML;
SM
pictures. Sing the song, again with motions the students create. (Prepare
Ta
Show
practice creating
(Prepare
who
SM
level).
been happening.
SML;
neumonic
calls
on another student
to tap
Recording: "Carnival of the Animals" (Camille Saint-Saens) Students will play their instruments
in
50
Closing
to
show
game or song:
the
"Button,
number of beats on
on the board
to
show
the beats.
Sing the sections and have the student point to the beat. Play the game. (Practice singing
Materials needed:
Stuffed animal for teacher
Students"
own
stuffed animals
Button
Bells for the students
Pictures for "Bye,
Baby Bunting"
51
in tune)
SM
Date:
SML;
at
Month
four/
Week
SM
Prepare
Ti-ti;
One
Ta
at
at
at
Objectives:
Past:
The students
The students
Present:
move
SM
hand
signs.
creatively to music.
will be able to
improvise
Future: The students will be able to clap and say rhythms containing
to sing
songs using
SML
Ti-ti.
syllables.
Procedures:
Opening song: The teacher asks the students questions using SML, and the students answer using
Improvise with
SML)
Known
song:
They then
pat the
"Cuckoo" Divide
Ti-ti,
Ti-ti)
cuck-oo. and the other will sing the remainder of the words.
New
song:
it.
(Prepare
the
song by
rote.
SML)
Go Away" Review
SM
written underneath.
SM, while
that the
(SM
at
the
movements
Closing
movement)
game or song: "The Counting Song" Review and show students the SM pattern used in
Have them sing SM while looking at the board. (SM at practice reading familiar level)
the song.
Materials needed:
Pictures representing
SM
52
Marker
Tape
Eraser
53
Month
Date:
Ti-ti;
four/
Prepare
Week
SML;
Practice reading
One
SM; Ta
at
Objectives:
The
Past:
Present:
The
ta
rhythms
at
SM
at
SML patterns
The
at
Procedures:
Ti-ti)
Tonal or rhythmic patterns: Teacher shows the students flashcards which display
SM
patterns
and sings them while pointing to the cards. Students sing them and use hand signals. (Practice
reading
SM)
Known
song: "See
Saw" Review
Show
the song.
Have
New song:
at night.
SML;
song because
we can
prepare Ti-ti)
"Star Light, Star Bright" Teach by rote. Talk about stars and constellations in the sky
Show
if
it
SML;
SM
sounds
is
to
show
beats on
prepare Ti-ti)
like a
Ask student
song
we have
learned before.
erase the pattern and have students sing while doing hand signs.
(SM
at
level)
Recording: "Bug Music" from Music for Movement and Stories (MusikGarten) Students
creatively to the music. (Practice creative
Closing
plays a
game or song:
Ta rhythm on
says
it.
movement)
the
The teacher
back on another smaller drum while saying
left/right.
move
it
Students
at
sit in
a circle.
54
Materials needed:
Flashcards with
SM
pattern to
show
students
Pictures of constellations
Marker
Eraser
Drum
Drum
for teacher
for students to pass around
55
SML;
Content: Prepare
prepare
Ti-ti;
Date:
Month
Week
four/
SM
Ta
at
symbolic presentation
symbolic
at
level;
Ta
at
level;
SM
at
practice reading
Objectives:
Past:
The students
The students
speak using Ta
be able
will
at
to
to read familiar
respond
SM
at the
SM
patterns
at
Future: The students will be able to identify and say rhythmic patterns containing
will be able to identify triple
SML
identify
at
meter by associating
it
Ti-ti.
Students
Procedures:
Remind
Have
are
by holding up
beats. (Prepare
is
a stepping song.
the corresponding
SML:
number of
the students
on the board
to
beats there
show
the
Prepare Ti-ti)
have
using
SM
patterns
mnemonic
Known
syllables.
They
Go Away" Review
the song.
(SM
at
The teacher
developing a story that might be happening during the song. Write key words on the board. Help
students arrange words into ostinato patterns, using
ostinato
is.
Some
Ta and
Ti-ti patterns.
Explain what an
students say ostinato, while others sing the song or act out the story. (Prepare
Ti-ti)
New song:
some
"Oliver Twist" Teach song by rote. Point out that some songs are stepping songs and
song
is
a skipping song.
Have students
meter)
Content focus: The teacher claps Ta rhythms, and the students tap them back on any body part
while saying Ta. Teacher explains that we write Ta with a straight line and demonstrates.
Teacher draws Ta patterns, and the students read them back. (Ta at symbolic level of
presentation:
Ta
at
56
Recording: "Hary Janos Suite: Viennese Musical Clock" (Zoltan Kodaly) Students will be taught
the
movements
Closing
for the
game or song:
song and
be able to respond
to
Review the song. The students sing and pat the beat. Have
show how many beats there are. Have a student place the
"Bell Horses"
up their fingers to
on the board to show the beat. (Prepare
will
SML;
Prepare Ti-ti)
Materials needed:
Pictures of constellations
Flashcards with
SM
patterns to
show
students
Marker
Eraser
57
prepare
Ti-ti;
SML; Ta
at
triple
meter;
SM
at
Month
Date:
four/
Week
Objectives:
Past:
The students
speak Ta
will be able to
at
SM
at
reading level.
Present:
The
able to sing
SM
at
Ta
at
SML
at
at
meter by corresponding
it
Procedures:
Opening song: Get suggestions from the class on a favorite song learned in music class. The
teacher chooses one of these that will help prepare Ti-ti or SML. All the students will then sing
the song, while patting the beats.
beats. (Prepare Ti-ti or
show
the
number of
SML)
Tonal or rhythmic patterns: The teacher shows the students flashcards with Ta patterns,
tempo, and get the student
started.
Known
song.
mnemonic
the pattern.
at
Have
sets the
if this is
a stepping or skipping
New song:
visiting.
"Goodnight" Teach song by rote. The students pat the beat in their lap while singing.
show the beats on the board with hearts. Explain that the song talks about friends
Who else might visit? Sing the song, again, replacing "friends" with the new visitor.
(Prepare
SML:
Have
a student
Prepare Ti-ti)
Content focus: The teacher prepares a container with pieces of colored paper that correspond
with color-coded flashcards containing SM patterns. Students are divided up into pairs. Each pair
draws a piece of paper. The teacher shows the corresponding color card with the SM
the pair sings the pattern back using SM and hand signals. (SM at unfamiliar reading
pattern,
and
level)
Recording: "Hary Janos Suite: Viennese Musical Clock" (Zoltan Kodaly) Students will be able
to participate in slightly structured
movement.
(Practice structured
58
movement)
Closing
this
it
text,
it
then on
SM
reading level)
Materials needed:
Container
59
SM
Ask
the
(SM
SM
at
pattern
symbolic
One
Ti-ti;
Date:
Month
four/
Week
SM
SML at
verbal
reading unfamiliar
three/
Lesson one
Objectives:
Past:
The students
able to sing
Present:
SM
at
will
be able to sing
SML in
The students
SM
triple
at
The students
SML at
will
be able to
The students
move
will be
creatively.
The students
will
The students
will
patterns.
be able to identify
tune
presentation level.
at
level.
Procedures:
the song.
Have
show
the
beats on the board using hearts. Say the rhythm of the song using "loo" in sections until the
Ti-ti)
Known
this
first
part.
Ti-ti
song: The teacher claps the rhythmic pattern for "Oliver Twist" and asks the students
if
reminds them of any of the songs they have learned. The teacher claps the rhythm for the
phrase, and the students repeat.
the
Put both phrases together by clapping the rhythm. Put the words with the clapping.
Ask
if
this is
a stepping or skipping song. (Prepare triple meter; Prepare three eighth note rhythm)
New song:
song.
Have
Daw" Teach
song by
the
rote.
Ask
if
it
is
a stepping or skipping
students skip while singing the song. (Prepare triple meter; Prepare three eighth note
rhythm)
Content focus: "See Saw" Review
try to sing the
songs. See
melody with
if this
In the third
which
SM
this
is
little
measure
if
we have done
that
SM
for
60
again with
some of our
to
other
now going
we
(SML
at
Recording: "In the Hall of the Mountain King" from the Peer Gynt Suite (Edvard Grieg) The
students are told the story behind this piece and practice walking and acting like a
let
the
melody on
troll.
Teach
the recording.
Closing
SM
patterns. Students
teacher brings the container with colored paper and the color-coded
that
unfamiliar)
Materials needed:
Laminated hearts to show the beats
Container with colored pieces of paper
Color-coded
SM
cards
61
SM reading of
Ta
at
Month
four/
Week
Ti-ti-ti;
three/
SM
at
SML at
verbal
prepare Ti-ti
Lesson two
Objectives:
Past:
The students
Present:
SML
The students
at
will
SM
Ta
patterns
at
preparation level.
at
SML at
verbal
understanding level.
Future: The students will be able to identify
triple meter.
at
Ti-ti-ti at
Procedures:
Ti-ti)
Tonal or rhythmic patterns: The teacher has written Ta patterns on the board. Each pattern has a
letter
next to
it.
the corresponding
Ta
(Ta
pattern.
at
game with
a letter.
Known
song: "Cuckoo" Review the song. The students sing with the words firs with hand signs.
The teacher points to SM patterns on the board while the students watch and sing. Students sing
with SM, and teacher does not point to SM. (SM at reading level)
New
Jill"
Have them
Is this a
Content focus: "Goodnight" Review the song. Remind the students that they learned L
lesson.
in the last
The teacher sings SML patterns for this song using mnemonic syllables, and students
mnemonic syllables. (SML at verbal understanding level)
repeat using
Recording:
Symphony
#5, 3
that
rd
Is this a
first
Beethoven wrote
this piece.
Show
a picture of
personal information on him. (Prepare triple meter; Prepare three eighth notes)
62
Closing
neutral syllables
and
students
sit
in a circle.
who
63
Ta and
Ti-ti pattern
with
Materials Needed
Recording for Beethoven's Symphony #5
preparation level)
Ta
Content: Assess
SM
presentation level;
Date:
Month
four/
at
reading unfamiliar;
at
Week
four/
Ta
triple;
at
Prepare
Ti-ti-ti; Ti-ti at
verbal
reading unfamiliar
Lesson one
Objectives:
Past:
The students
will be able to
speak Ta patterns
at
Present:
The students
SM
at
at
at
movement.
triple meter.
The students
will be
Procedures:
Opening song: "Teddy Bear" Sing the song and have the students add
singing in tune; Practice structured movement)
earlier. (Practice
Known
Daw" Review
song? (Prepare
triple
Have
Ta rhythm on
pair of
reading unfamiliar)
a stepping
New
at
that talks
is
Ta
Ask
if this is
the students sing again while skipping. (Prepare triple meter; Prepare three eighth note
rhythm)
Content focus: The teacher pats a rhythm and the students repeat
fingers
The
is
how many
happening
in
it.
beats are in the rhythm, and hearts are placed on the board to
some
beats.
Have
has more than one clap. This heart has two claps. This
called? Say the rhythm using
Ta and
Ti-ti.
Have
is
called Ti-ti.
What
at
Recording:
Symphony
#5. 3
if this is a
64
first
Beethoven.
triple
game or so?ig:
SM
it
is
Tic-tac-toe with
SM
containing either
If
a picture, again, of
Closing
called
Show
SM
patterns or
(SM and Ta
at
Ta
SM
patterns.
or
Ta on
the board.
Materials needed:
that
in a container
65
SML at
Content:
meter; Prepare
Date:
Month
verbal level;
Ti-ti-ti; Ti-ti at
four/
Week
four/
Ta
at
reading unfamiliar;
SM
One
at
Lesson two
Objectives:
Past:
sing
The students
SM
at
Ta
at
the reading unfamiliar level. Students will be able to sing in tune in the head voice at
the practice level. Students will sing loud and soft at the practice level.
Present:
The students will be able to sing SML at the verbal presentation level. Students will be
Ta at the reading unfamiliar level. Students will be able to sing SM at the reading
able to read
at
will
Future: The students will be able to identify triple meter. Students will be able to speak
Ti-ti-ti at
Procedures:
Opening song: "Bye Lo. Baby, O" Review the song. Have the students sing the song on "loo."
to raise their hand when they hear the new note L. Have them sing the song on SML
Ask them
syllables.
(SML
at
Tonal or rhythmic patterns: The teacher shows flashcards with Ta. and the students clap and say
them back. The teacher shows flashcards with SM patterns, and the students sing them back.
Have the students try to do them in reverse order. (Ta at reading unfamiliar level; SM at reading
unfamiliar level)
Known
Ask
if
it
is
Have
the
students pat the beat in their laps and sing again. Students skip to the beat while singing. (Prepare
triple
New
sing the
the
first
phrase.
whole song
Ask
in this
rote.
Have
Ta and
Ti-ti.
Have
Ti-ti.
Ti-ti.
Continue with
it.
(Ti-ti at verbal
presentation level)
movements
Ilich
66
movement)
Closing game or song: 'The Closet Key" Review the song and remind students to sing to the
head voice, even if singing louder. Play the game. (Practice singing in tune; Practice singing in
the head voice; Practice singing loud and soft)
Materials needed:
Flashcards with Ta rhythm
Key
Recording for The Nutcracker
67
68
in
Alphabetical Order
BELL HORSES
*--
m
i
hor-
Bell
ses,
what's
hor- ses.
bell
the
day?
time
f
One
o'
(Choksy, 1999.
p.
two
clock,
o'
time
clock,
to
way.
hi*
knee.
192)
BOBBY SHAFTOK
Bob
bv
Shaf-
toe's
back
and
gone
.*.
scj
Sil
vcr
buck-
les
JS___.
__.
on
.*..
*3
He'll
come
(Choksy, 1999.
mar-
ry
Hon
me,
p. 195;
69
ny
Bob
by
Shaf-
l<w.
.
But
But
you
ton,
you
ton,
wan
must
wan
must
tier.
der
wan
der,
ver
wan
eyes
will
sharp
you,
find
dcr.
w tie re
eyes
will
find
9E
Bright
you.
a
But
you
ton.
(Choksy. 1999,
p.
wan
must
der
ever
where.
206)
BYKBABV BUNTING
<8>
Bye
ba
by
bunt
-^1
Catch
(Choksy. 1999.
p.
lit- tie
rab-
ing
Dad
dy's
gone
hunt
ing
to
tfp
bit
skin
wrap the
to
191)
70
ba
by
bunt- ing
in.
BYE, LO BABY,
*=
Bye.
(Choksy, 1999.
lo
Ba
by,
Off
O,
to
you must
dream - land
go.
192)
p.
Clap,
clap,
Stamp, stamp.
(Choksy. 1999.
p.
clap
your
stamp your
hands.
feet.
your hands
Clap
Stamp your
feet
to
geth-
er.
to
geth-
er.
192)
CUCKOO
:::*:::::::::^::z=i3::z
Cuck
(Choksy. 1999.
p.
oo.
where are
Cuck
you'?
190)
71
oo.
where are
you?
::
=il
Engine, Engine
Number Nine
Train
^m
~9
engine number
En-gine,
-M
^r^
the
If
~-*
goes
train
the track,
-ag
-m
nine,
off
will
"SB
line.
Piw 4W
my money
get
~gm
Song
j~
sj
back?
_J
$L
rr
En
gine,
en
gine
num
3g
If
(Rann. 2005.
p.
ber nine,
the track,
jr~
l
;.;
won't get
::.
ca
g~~~~~#
go
line.
my mon
ey back.
18)
GOODNIGHT
Good- night,
(Choksy, 1999.
p.
Sleep
tight,
<&
Friends
will
191)
72
~*
come
to
m-
mor row
-
night.
^m *
i^=g
^S
Hey,
Hey,
Bet-ty
Bet-ty
Mar
tin.
tip - loe,
tip
i
Mar
- tin,
p.
tip
toe,
tip
hey,
toe;
toe;
Bet-ty
Mar
lip
tin,
i=m
hey,
Bet-ty
-*
toe
*-..g
Mar
tin,
please be
176)
HICKETY TICKETY
:)
Hick
ty
you
(Choksy. 1999.
p.
sing
Tick
your
Bum
t\
name
196)
73
to
me?
fine;
hie
B ee.
mine.
Jack and
Jill
Jack and
To
Jack
fell
And
Jill
Nursery
Rhyme
went up the
hill
his
came tumbling
Up Jack
crown,
after.
got
Jill
went up the
hill
Who
Hammer
2
4
D
D
John-ny
I)
|S
works with
one
(two)
M
M
R
ham-mer, one
works with
one
D D
R
ham-mer, then
(two)
*
(Daniel. 1981.
one
two)
(two)
niiDM
n till)
D D
John-ny
ham-mer
R
he
works with
D
D
ham- met
D
two."
(three)
Substitute "three", "four", and "five" for the next four verses
p.
29)
74
LUCY LOCKET
9p-4
d =<
Lu
cy
Not
(Choksy, 1999.
"ar"~
Lock- et
pen ny
-
p.
fp
"jjf
her
lost
pock-
was there
in
Kit- ty
et,
on
it.
ly
Pish
rib
er
found
it,
bon
round
it.
190)
OLIVER TWIST
15^
li
ver Twist,
you
40
can't
jjjjx.
do
what's
the
>
this.
So
Touch
ing;
your
touch
knees,
your
b
I
your
Clap
Choksy, 1999.
p.
hands
and
use
I
try
E^ E
:
S
-
round
196)
75
you
go!
toe
of
RAIN, RAIN
||M
-i
Sun
p.
here to
shine's
(Choksy, 1999.
go
Rain.
Rain,
way;
stay,
Come a
Now we
gain
some
oth
go
out
can
er
day;
to
play.
191)
SEE SAW
3BZZZZJBI
!
See
Saw.
(Choksy. 1999.
p.
up
and down,
the
In
air
and
on
the
191)
4
baw.
Sav.
Mar- ee
m
-
ry
9
J ad
Daw.
hall
4&
mas
ter
cause
he
(Choksy. 1999.
p.
Ho
can't
work
sail
an
earn
but
fast
fjni
ter.
195)
76
have
n>
new
day,
B*
ground
SNAIL, SNAIL
Snail,
(Choksy, 1999.
snail,
p.
snail,
snail.
so
and
round
round and
round.
193)
Star
liuht
bright
star
First
star
see
$$
t
Wish
(Choksy. 1999.
may.
p.
Wish
might.
192)
77
wish
to
4&
night,
pgj
to- night.
TEDDY BEAR
Ted
dy
Ted
Rear.
dv
Bear,
Ted
dy
Bear
Ted
Ted
dy
(Choksy, 1999.
dy
p.
Bear.
Ted
Bear.
turn
touch
the
touch
round.
RTound.
your
shoe,
L_
-m
Ted
Bear.
Bear,
dv
Ted
dy
m-
dy
Bear,
198)
7S
Now
skid
do!
f*.
>
nt
tzar
uu
have
the
lost
clos
key
et
m
my
in
ia
den.
gar
dy's
iEEEEi
Help
me
key
et
TFI
*
in
(Rann. 2005.
clos
the
find
my
gar
dy's
p. 16;
79
den.
1
One,
two
tie
my
shoe;
Three,
four,
shut
the
door;
Five,
six.
pick
up
sticks;
Seven,
eight,
lay
straight;
Nine,
ten.
big
f\it
hen;
'Leven.
twelve.
dig
them
and
(Choksy, 1999,
p.
delve.
190)
Tick Tock
Traditional
IeI
de-fjf
Tick
tock,
tock.
tick
p!
ten
Lis
(Rann. 2005.
now
and
hear
p. 14)
80
the
clock.
81
Goal
Movable
do
Meters
Musical literacy
SM
Begin with
own
DRM
country, folk
own
triple
composed music
Twelve Steps:
Sequenced Steps
used in
Musical literacy
Cheve's system
Syllables
Musical Material
Conversational Solfege
Begin with
Solfege:
Rhythm
Kodaly
Preparation
Instruction
2.
Creativity/Improvisation
2.
3.
4.
familiar
(Make conscious)
5.
6.
Reading
material
7.
8.
9.
Writing, rote
3.
Experience
Presentation
Readiness rote
1.
Creativity/Improvisation
Practice (Reinforce)
unfamiliar
rote
10.
unfamiliar material
Creativity/Improvisation
Preparing Lessons
Origination
Hungary
United States
82
83
Melodic Sequence
Kodaly Method
So,
Conversational Solfege
Mi
Do, Re, Mi
La
Re
So
La
Fa
Low La
High Do
Low So
Low La
Low Ti
High Do
Fa
High Ti
Do
Ti
Si
Ii
Fi
Te
Te
Si
Di and Ri
Di and Ri
(Feierabend, 2001)
(Szonyi, 1973)
84
Rhythmic Sequence
Kodaly Method
Conversational Solfege
Quarter note
21A time
Two
eighth notes
Quarter
6/8 time
rest
2/4 time
Half note
Half
Quarter
rest
Whole note
Whole rest
rest (2/4)
Dotted quarter
rest (6/8)
Eighth
rest
Eighth
rest (2/4)
Eighth
rest (6/8)
Two
Two
Two
Changing meters
Triplet
(2/4)
note (2/4)
time
2/2 time
(Choksy, 1974)
(Feierabend, 2001)
85
86
Syllables
Used
in the
Kodaly Method
Rhythmic
Notes
190)
Syllable
Ta
Quarter Note
Two
p.
Eighth Notes
Ti-ti
Half Note
Ta-
Ta-
Whole Note
Ta
Ta-i-ti
Ti-ta-i
Triplet
Tri-o-la
Ti-ri-ti-ri
Ti-ti-ri
Two
Ti-ri-ti
Syn-co-pa
Tim-ri
Ti-rim
S7
Syllables
Used
in
Conversational Solfege
Two
Time
277-282)
Rhythmic Syllable
Du-de Du
Du
Du
Du
Half Note
Two
p.
Du
Du-tuh-de-tuh
De
Du-tuh-de-
Du-de-tuh Du
Du-de de
Du tuh Du
Time
Rhythmic Syllable
Du-da-di
Du
Du-di Du
Du
Du
Du-tuh-da-tuh-di-tuh
Du da-tuh-di
Du-tuh-di
Two
Du-da-di-tuh
88
Du-
Du
Du
et al.,
2001,
p.
88)
Notes
Rhythmic Syllable
Quarter Note
Ta
Two
Eighth Notes
Ti-ti
Ti-ka-ti-ka
Ti-tika
Two
Tika-ti
Syn-co-pa
Tam-ti
Ti-tam
Triplet
Tri-o-la
Half Note
Too
Toom
Whole Note
Toe
89
90
to
Dear
Principal,
write to
efforts to provide
all
to support your
students with the finest possible
The
typical general music teacher meets each music class just twice a week for thirty
minutes during a thirty-six week school year. Annual general music class time totals thirty
six hours-a mere day and a half of musical influence! Though often challenged to provide
services for other teachers and to meet ongoing expectations of the administration and
community, your general music specialist gives first priority to the musical growth and
development of every student.
Many
can become
music makers who sing comfortably and in tune, move comfortably in response
to music, and are sensitive to the expressive qualities in music. In addition, National
Music Standards recommend that all children become musically literate. All should learn
to play instruments, improvise and compose music, effectively evaluate music and
musical performances, and understand relationships between music, the other arts, and
disciplines outside the arts. These challenges are met with enthusiasm by your general
music teacher, who is well equipped to enable his/her students to musically succeed.
children study music for the last time during the elementary grades. All
proficient
With your support, the music teacher will use limited class time wisely so that children
can share the rich gift of music and become their musical best. Every minute counts. In
some communities, however, the elementary music teacher is expected to prepare and
present musical shows. Though shows may be attractive and offer public relations
values, the cost in time is very high. To "look good" during performance, children must
rehearse a few show songs for many weeks. Too often, the "show experience" focuses
on music of doubtful quality, Show songs tend to encourage a projected voice style of
singing that can be harmful to the child's developing voice. Shows eat up valuable
teaching time that could be used to learn more expressive music and to offer the broader
range of musical opportunities that all students should experience.
Not long ago we were a society of music makers. Families and communities shared and
performed a repertoire of traditional songs and dances. Influenced by modern
technology, we have become a society of music consumers. Implicit in the elementary
school "show" is the consumer attitude: music education-a place where children create
entertaining products to be consumed by parents and other members of the community.
Your general music teacher would like to help students build competencies that will allow
them to integrate music into their lives so that they may become more than just the next
generation of consumers.
a generation of citizens
comfortable when singing
lullabies to their children, when singing during worship, or when dancing at a wedding.
Rich musical processes are in jeopardy when the general music teacher must rob time
from the music curriculum to present music products such as "shows."
who
will
is
literature.
in
They
skills for
will feel
best public relations tools is to invite parents into music classes one or two weeks each
year. The parents sit with the students and participate in all music activities. Realizing
to
9)
activity
themselves develops
A May Day
grows
music class
day
or after school,
activities.
Songs
arid
is
another
dances
activity that
of
good
quality,
taken from
historic
weeks
rich learning
experience and
make
a delightful
requires
is
movement
movement
Another option
to
parents to
general music
classes This multigenerational. experience builds appreciation of the process of music
making. There are no consumers, there is no audience. There are only music makers-all
of them involved in the sharing of a wonderful but rare community spirit.
is
school, where they are taught folk dances that the children have learned
their
in
Events such as "Winter Solstice," with seasonal songs and dances, or a "Harvest
Festival," with barn dances and traditional songs, are also excellent ways to demonstrate
students' musical growth and development. Both events use activities that grow naturally
out of our cultural heritage and are central to the general music curriculum. The
elementary school musical show product has little meaning in the students' future life or
the larger musical world, but the process of learning traditional songs and dances
prepares students for lifelong successful music making.
As one of the few teachers who instructs all of the children in your school, the music
teacher observes students' growth and development throughout their elementary years.
Because of this fortunate situation, the general music teacher can create and monitor a
curriculum that will produce remarkable musical growth during the time available. With
your support, the music teacher can spend each year's day and half of class time in ways
that encourage broad and lasting musical accomplishments.
wish to thank you in advance for helping to educate the community and other
teachers about the real goals of the general music program. With your help we can hope
for a more musical tomorrow.
In
closing,
Sincerely,
V2
References
P.S.,
&
New
5.
elementary grades. (3
ed.).
in
Choksy.
VA: MENC.
L. (1981).
Englewood
Choksy, L. (1974). The Koddly method: Comprehensive music education from infant
Englewood
Choksy.
L.
On
1999).
to adult.
I:
U
(3
ed.).
Upper
Choksy.
L..
Abramson. R.M..
Gillespie. A.E..
Copland. A.
CBS
1990). Rodeo:
nd
ed.).
Woods,
D..
&
York,
Hoe-Down. [Recorded by
F.
(2001
).
Teaching music
in
Isaac Stern].
On Humoresque. New
York:
Masterworks.
Daniel. K.S. (1981). Koddly in kindergarten: 50 lesson plans, curriculum, song collection.
Champaign,
DeVries.
P.
(2001
).
IL:
Mark
Foster.
Reevaluating
27. Retrieved
common Kodaly
practices.
93
88. 24-
movement
for infants
6,
An
2007, from
http://giamusic.com/music_education/feierabend/articles/aural.cfm
November
2,
2007,
from http://giamusic.com/music_education/feierabend/articles/letter.cfm
Feierabend,
J.
M. (2001
).
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