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APPLICAT
IN THE
he endless adaptations and uses of
the teachings of Carl Orif, Zoltan by Douglas Turpin
Koddly, Shinichi Suzuki, and Emile
Jaques-Dalcroze have given addi-
tional credence in the music world conducting,performing,and teach-
ing skills; now an additionaleffort
to the word "eclectic." Perhaps in no other must be made to train prospective
teachers in the specialized tech-
medium but music is there such a variety of niques of Orff,Koda4ly, Suzuki,and
successful and proven teaching ten discover a need only afterbeing Dalcroze.
techniques, and they are available employed by the public schools, The modernmusic teacher could
for use by the secondary music and so receive additionalinforma- be the subject of a case study with
teacher.How potentialteachers re- tion on teaching techniques regard to expectations at both the
ceive informationregarding these through workshops, local teacher college and public school levels.
techniques varies from assigned associations, and observations of Armed with four or five years of
readings to workshops to an in- successful teachers. It was difficult training-sometimes with dual cer-
tense universityclass. Teachers of- enough when universitieshad only tification-this person is cast into
the task of providing the student an environmentthat demands the
Douglas Turpinis coordinatorof fine arts for
ParkwayPublic Schools, Chesterfield,Mis- with a working knowledge of the intellectual intensity and physical
souri. history and theory of music and staminaof Greekgods. Highlymoti-

56 MEJ/February'86
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IX iiiiiiiiiiiiiiiiiiiiiiiiiiii

SECONDARY
SCHOOL
vated and with raw talent, a com-
mitment to career, and university
and state certification,the second-
ary music specialist enters the job
marketwith little understandingof
the new world of music education.
The music teacher is confronted
with a variety of issues: ramifica-
tions of the National Commission
on Excellence in Education, mas-
tery and outcome-based instruc-
tion, computerized/synthesizedmu-
sic, the development of critical
thinking skills, scheduling and re-
cruitingpractices, state and federal
requirements,and the "back-to-ba-
sics" movement. The teacher con-
fronts increasing numbers of stu-
dents of differentnationalities and
cultural backgrounds, students of
variousabilitylevels fromthe gifted
to the handicapped,and students
who are privileged and nonprivi- to the secondary level? After all,
leged, motivatedand nonmotivated, one rarely sees students moving,
tracked and transferred.The back- improvising and singing a la Dal-
to-basics movement alone may croze, Orff,and Koddlyduring the
force many educatorsto reevaluate halftime of a high school football
the "music for music's sake" pos- game. Manychoral teachers proba-
ture;at the same time, the push for bly never use Koddlyconcepts be-
academic excellence will give cre- yond the warm-ups,and few teach-
dence to music educatorswho seek ers would even consider using
and highlight the often-neglected aspects of Dalcroze in their per-
intellectual and sophisticated as- formingclasses.
pect of the arts. Secondaryschool music teachers
These trends in education have are generallynot preparedto create
increased the already difficultbur- a sequential program in chorus,
den that secondary school music band, or orchestra based on the
teachers carry. At first it may ap- learningand teaching philosophies
pear impracticalto suggest the ad- of Orff,Suzuki,Kodily, or Dalcroze.
ditional responsibility of imple- It appears that the majority of
menting elementary music tech- teachers are better preparedto in-
niques in high school programs. corporatethese methods at the ele-
How do the teachings of Suzuki, mentary level, for which teacher
Koddly,Orff,and Dalcroze pertain trainingtakes a general approach.

MEJ/February'86 57
 MAJOR APPROACHES TO
MUSIC EDUCATION
Secondary teachers are not as com-
fortable with approaches to ele-
mentary school music, and their
emphasis is on more advanced per-
formance practices. What is truly
unfortunate is that the pedagogies
of Orff, Koddly, Suzuki, and Dal-
croze all espouse techniques that
enhance, rather than detract from,
the development of musicianship
qualities in high school students.
Teacher training at the university
level could have a significant im-
pact on secondary music instruc-
tion if a working knowledge of
these methods were included as an
integral part of the preparation of
prospective teachers at all levels.
If musicians are indeed "mer-
chants of the ear" and music teach-
ers universally incorporate this
premise as a basis for instruction,
and if ear training, movement,
rhythmic sensitivity, motor coordi-
nation, singing, musicianship, im-
provisation, composition, note
reading, and psychomotor skills are
a part of the instructional process
in the K-12 program, then these
philosophies offer a wealth of in-
structional information for the sec-
ondary music teacher. If teachers
are apprehensive in using these
teaching techniques because of cul-
tural differences among the United
States, Japan, Hungary, and Germa-
ny, they should also be aware of the
many similarities in the process of
music learning. As in the written or
spoken languages, music exhibits
common structural principles
cross-culturally, such as the organi-
zation of sounds, colors, or terms
into a system of probability rela-
tionships, the harmonic and struc-
tural juxtaposition of acoustical,
mathematical, and creative proper-
ties into a finite mixture of accept-
able sound simultaneities, and the
intellectual assessment of man's ul-
timate progress during any time or
place throughout history. Every cul-
ture records its personal expres-
sions through music and the arts.
Likewise, the music-learning styles
in the United States, Japan, Hunga-
ry, and Germany may be more alike
than different.
If music teachers accept the idea
of a universal music learning proc-
ess, they should also understand
that artistic endeavors may vary
from culture to culture and even
58 MEJ/February'86
within a culture. Therefore, practi-
tioners must understand the philo-
sophical intent of the teaching tech-
nique, its significance in time, and
its potential.
Different ideologies may contrib-
ute to two camps of thought with
regard to music and music instruc-
tion in the secondary schools:
eclecticism and the complete adop-
tion of a single method. We are as
diversified as a nation can be, plu-
ralistically and pedagogically. A sin-
gle approach of any nature might
exclude a segment of the popula-
tion. If, for instance, schools were
able to adopt most of the curricu-
lum of Koddly, they still could not
comply with one of its premises:
the use of quality folk songs of
one's own nation. What constitutes
an American folksong in this plural-
istic society? The concept of a na-
tional folksong repertoire may be
more possible in a country that is
not as diversified as the United
States.
Dalcroze for dance class
We need to build on the strengths
of the existing secondary music
methods. For the most part, sec-
ondary classes remain performance
oriented, but elementary music
methods could be employed that
complement, rather than detract
from, the high school curriculum.
Modern movement classes would
be an excellent place to introduce
Dalcroze. Students with an interest
in music and movement would be
likely candidates. The development
of musical sensitivity in young
dancers may have its greatest po-
tential in the Dalcroze techniques.
Specific eurhythmic classes stress-
ing physical and intellectual devel-
opment, eye-hand-body coordina-
tion, listening, improvisation, an un-
derstanding of melodic contour,
and rhythmic sensitivity should be
readily available for both gifted and
special students.
Kodaly for instrumentalists
Kodaly practices using hand sig-
nals are a possibility with instru-
mental ensembles. Excellent band
and orchestral directors have long
stressed the need for their ensem-
bles to sing individual instrumental
parts to develop musicianship. The
musical work becomes more com-
pletely internalized through vocal-
ization as new perspectives are
brought to the music. Hand signals
can also be used to teach pentaton-
ic and diatonic scales. If it is impor-
tant that students be able to play
and sing scales, hand signs provide
one of the most efficient means of
instruction. Also, warm-up exer-
cises can easily be arranged to de-
velop technical proficiency on indi-
vidual instruments while providing
instrumentalists with the challenge
of singing their parts using hand
signals in tandem with solf6ge (for
example, do-mi, re-fa, mi-so, fa-
la). Various rhythmic patterns, tak-
en directly from difficult passages
found in the music being per-
formed, could then be added to
these technical exercises. If the di-
rector lacks the time or inclination
to arrange these exercises, the later
volumes of Kodaly's Choral Method
can be used for woodwinds and
strings.
The instrumental teacher should
never neglect rhythmic sensitivity
and accuracy, which mirror the
heart of the composer's intent. The
orchestra and band director would
be well advised to use Koddly's
rhythmic syllables: clapping the
rhythm of an individual part while
chanting the rhythmic syllables,
adding other instruments with simi-
lar parts, and ultimately chanting
and clapping difficult passages as
an ensemble. The Kodaly method
can serve as the pedagogical nucle-
us for the avant-garde of instrumen-
tal teachers. Students can achieve a
greater degree of musical literacy
through the juxtaposition of vocal
and instrumental techniques.
Orff for string players
Ensembles that use echo clap-
ping, echo singing, echo playing,
pattern repetition, and "walking the
beat" through difficult passages are
incorporating the techniques of
Orif. Students can initially chant
and clap their individual parts while
marching in place, then apply these
concepts to their respective instru-
ments. In string classes the stu-
dents can walk the beat and clap
the rhythm, walk the beat and bow
the rhythm in the air, transfer con-
cepts to one string and one pitch,
and finally transfer to the printed
page. In addition, the teacher can
play one- or two-measure phrases,
with the students echoing the pas-
sage. This is an excellent technique
for the necessary repetition of diffi-
cult music, and provides the teach-
er with a means to hear many stu-
dents in a short period of time.
Eventually, talented students can
perform the phrase to be repeated
by the class.
One extension of having string
students walk the beat in place is
having them march around the
room while playing. This is valuable
at all levels to assist in the coordi-
nation of the whole body while
feeling the beat, using natural down
bows, and developing full-tone
quality and smooth bow changes. In
the Orff Schulwerk, rhythm devel-
opment is essential. While second-
ary performing groups will proba-
bly never use movement and
rhythm to accompany their own
dances, many aspects of Orff can be
used by the instrumental teacher,
beginning with echo, transferring to
body sounds and finally to tradi-
tional instrumental sounds.
Suzuki for instrumentalists
Howard Gardner, author of
Frames of Mind: The Theory of
Multiple Intelligences, commented
in reference to effective approaches
to learning that "... .in theory, we
could Suzuki everything."' Many
school districts are reluctant to in-
corporate the teachings of Suzuki
because of the need for reading
orchestras at the secondary level.
There appears to be a phobia
against rote learning in the upper
grades. According to John Kendall:
It is also true that rote teaching is not
new.It has been used in variousways at
varioustimes. But in America,the gen-
eral attitudetoward instrumentalrote-
learninghas been one of caution,based
on a deep-rootedconvictionthat unless
readingmusic is taughtearly,correctly,
continuously,the eye-brain-fingerrela-
tionshipwill not develop properly.Fur-
thermore, there was in the Western
world for many years a faint suspicion
that"playingby ear"was a rathersinful,
if pleasurable,pastime.2
1. Howard Gardner, "Human Intelligence Isn't
WhatWeThinkItIs,"U.S. News and WorldReport,
19 March1984, 78.
2. John Kendall,"TalentEducation-The Violin
TeachingMethodsof Mr.ShinichiSuzuki,"mimeo-
graphedobservationsand reporton his 1959 trip
to Japan, SouthernIllinoisUniversity,1964, 8.
Nevertheless, a secondary or-
chestra teacher could use the "lis-
ten and play" techniques of Suzuki
at both the junior high and high
school levels. Suzuki's use of listen-
ing, repetition, and technical devel-
opment through the mastery of
bowing techniques, select rhythms,
and proper posture would enhance
any orchestral student's chance for
success. Listen-and-play exercises
involve the teacher, who plays one-
or two-measure phrases with the
strings repeating the phrases on
their instruments. Not only can stu-
dents learn the passage in question,
but they also develop a sensitivity
for the beat, for rhythm, and for
phrasing.
The Suzuki approach calls for
private lessons; the compilation of
a sequential orchestral repertoire
including the music of Vivaldi,
Bach, Handel, Mozart, and Beetho-
ven; and the involvement of parents
in the music education of their chil-
dren. The emphasis of the method
on memory skills, listening to re-
cordings, and the development of
physical dexterity can support sec-
ondary music teachers in their in-
structional endeavors.
Kodaly for chorus
The possibilities of using Koddly
practices with the secondary choral
program are endless. Kodaly pro-
vides the choral teacher with a
technical vehicle for warm-ups and
instruction of difficult passages in
the music to be performed. Using
the Kodaly hand signals, the teach-
er can rehearse major, minor, and
modal passages; scales; and diffi-
cult interval skips. The hand signs
allow the teacher to communicate
with the class without the use of a
piano, and there is no need to shout
directions.
Kodaly can also be used to teach
intonation, vowel sounds, and dic-
tion. An example is the tuning of
the perfect fifth using the syllables
do-sol. The students can actually
hear and feel the adjustments need-
ed to tune the interval, while the
vowel sound is also stressed. With
the major third (fa-ta), the students
tune the pitches while stressing the
vowel. In addition, students can
sing scales in thirds, adjust rising
and falling chords or clusters, and
use the rhythmic syllables to realize
a physical relationship with the mu-
sic to be performed.
Secondary choral teachers might
consider the use of Koddly's 333
Elementary Exercises for sight
singing; ear training; understanding
pitch relationships in scales, inter-
vals, and triads; and actual analysis.
A tune to be identified can be writ-
ten on the board, with students
singing silently while using hand
signals. At a more advanced stage,
the teacher can flash the tune to
students using only hand signs,
while asking for identification.
These are but a few methods of
presenting theory and ear-training
using Koddly.
Rhyme or reason
Musiceducatorsat the secondary
level may now be ready for sequen-
tial planning, or at least directional
programming, based on effective el-
ementary music methods. We may
need to reshape our curricular of-
ferings at the secondary level to
emphasize future social expecta-
tions. We need to define and then
implement without hesitation those
proven teaching techniques that
will enable us to meet the educa-
tional needs of all students. This
suggests a thorough understanding
of the original concepts in order to
apply any of these techniques to
specific situations.
What we don't need is more ad-
aptations without rhyme or reason.
We are now applying adaptations to
adaptations--usually many times
removed-with little or no under-
standing of the original intent. We
need to set a course for the twenty-
first century, complementing, not
detracting from, the most recent
science and math movements. We
need to build on the strengths of
the music programs, never apolo-
gizing for courses that make stu-
dents feel good about themselves,
but always cognizant that today's
music educators must show mea-
surable worth of their offerings,
both in the affective and cognitive
domains. The application of Dal-
croze, Orff, Kodily, and Suzuki
methods may help to ensure music
learning in the secondary schools,
just as they have so effectively
served the initial stages of music
learning for students at the elemen-
tary level. ]
MEJ/February'86 59