Academic literature on the topic 'The Kodály Method'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'The Kodály Method.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "The Kodály Method"
1
Hooker, Lynn M. "The Kodály and Rajkó Methods: Voices, Instruments, Ethnicity, and the Globalization of Hungarian Music Education in the Twentieth Century." Hungarian Cultural Studies 6 (January 12, 2014): 130–47. http://dx.doi.org/10.5195/ahea.2013.117.
Full textAbstract:
Music is one of the fields in which Hungary has distinguished itself around the world, and music education is an arena in which Hungarian methods have had a profound impact. The basic principles of Hungarian music-pedagogical methods, developed by Zoltán Kodály (1882–1967) and his disciples and thus known as the Kodály method, are systematic instruction in sight-singing using “movable-do” solfège and rhythmic syllables, with the ideal of developing music literacy in all children through high-quality music, mainly classical and folk repertoire for choirs. Another type of well-known Hungarian music, so-called “Gypsy music,” is specifically denied legitimacy both in Kodály’s writings and those of some of his students, for two reasons: much of it is primarily instrumental instead of vocal, and it is considered “bad.” Yet Romani (Gypsy) musicians from Hungary have also become famous internationally, some from quite a young age. The Rajkó Ensemble, established in 1952 as the Gypsy Orchestra of the Young Communists’ League, brought Hungarian and Hungarian-Gypsy music to over a hundred countries over the years. Interviews with Rajkó members, some conducted by the author and some previously published, reveal those musicians struggling to claim the legitimacy not only of their music but of their music pedagogy, implicitly comparing the Rajkó method to the Kodály method. After a brief discussion of the Kodály method and its history, this essay gives some examples of how that method has dealt with talented Romani youth in Hungary; compares the Kodály method to methods of teaching instrumental music in Roma communities and in the Rajkó Ensemble; and considers how American ideals of multicultural education challenge some of Kodály’s tenets.
2
Rainbow, Bernarr. "The Kodály Concept and its Pedigree." British Journal of Music Education 7, no. 3 (November 1990): 197–203. http://dx.doi.org/10.1017/s0265051700007786.
Full textAbstract:
As rumours of a new method of teaching music introduced in Hungary by Zoltán Kodály began to spread early in the 1960s a few uncertain attempts were made to introduce it in English schools. Progress was impeded by language problems: the provision of English song texts to fit Hungarian rhythms and a scarcity of background information in English both proved handicaps. The appearance in translation of F. Sándor's compendium, Music Education in Hungary, in 1966 eventually extended our knowledge of the new method; and the details of the origin of the Kodály Concept it contained were naturally accepted as authentic.This article examines those claims – since found to be based on questionable evidence – and urges publication of a more reliable account.
3
Tabuena, Almighty C. "Carabo-Cone, Dalcroze, Kodály, and Orff Schulwerk Methods." International Journal of Asian Education 2, no. 1 (March 1, 2021): 9–16. http://dx.doi.org/10.46966/ijae.v2i1.88.
Full textAbstract:
This study emphasizes findings from literature reviews that aimed to describe and present the current teaching strategies in Music education. These teaching strategies are one of the needed primary skills of Music teachers to address the learning challenges, competencies, and diverseness of the existing curriculum, help them to explore the needs of the students, and give them a framework of what could be the best and appropriate strategy in delivering a lesson. This study employed a descriptive method to gather information about present conditions through a library method and literature review. The data were analyzed using explanatory synthesis. Based on the literature review, the researcher identified four well-known teaching strategies in Music education: the Carabo-Cone Method, Dalcroze Method, Kodaly Method, and Orff Schulwerk Approach. The researcher used four criteria in synthesizing reviews such as the proponent, foundation, philosophy, and methodology. Conclusion of the results and discussions, the four teaching strategies also varied in four indicators, yet similarly focused on using the senses for holistic growth and development and providing all students with the opportunity to be successful. The quality of education depends mostly on the part of the teacher. The different Music teaching strategies serve as a guide to fulfilling the purpose satisfactorily that a teacher and a student needs. It is recommended to analyze its implications towards different modes of learning as global education facing numerous challenges in terms of economic crisis, pandemic, and educational incapability and inequalities that could affect the educational system.
4
Chiengchana, Natee, and Somchai Trakarnrung. "The effect of Kodály-based music experiences on joint attention in children with autism spectrum disorders." Asian Biomedicine 8, no. 4 (August 1, 2014): 547–55. http://dx.doi.org/10.5372/1905-7415.0804.326.
Full textAbstract:
AbstractBackground: Kodály approach is one of widely used methods in music education and music therapy. The method is based on singing activities that could facilitate young children’s social development. Thus, the application of Kodály approach may be appropriate to enhance the joint attention behaviors of children with autism.Objective: We examined the joint attention of individuals with autism spectrum disorders (ASD) during Kodály-based music experiences.Methods: The A-B-C-B single-case design was employed to investigate the effectiveness of Kodály-based music experiences on joint attention behaviors of three children, ranging from 7.8 to 11.5 years of age, with autism who had manifested joint attention problems. The experimental sessions consisted of baseline condition (A), group intervention (B), and individual invention session (C). The SCERTS assessment process (SAP) was used to measure joint attention behaviors. The findings were presented using visual inspection.Results: During baseline sessions, the three participants rarely engaged in joint attention with others. Their behaviors were stable during the first three sessions, with mean occurrence of 5, 9.3, and 4. In the course of the music intervention, they positively responded to the intervention. The frequencies of their behaviors continuously increased from the first group intervention sessions until the second group intervention sessions. Finally, the second group intervention sessions showed that most of the data points were above the mean of all previous sessions, with mean occurrence of 43.8, 34.1, and 18.8.Conclusion: The Kodály approach was found one of useful methods in music education that can apply to music therapy to enhance joint attention behaviors of the children with autism. The children were able to learn how to engage in a group setting through singing activities, folk music, and solfège learning.
5
Buzás, Zsuzsa. "The Music Pedagogical Method of Zoltán Kodály in the 21st Century." Polgári szemle 15, Chinese (2019): 355–66. http://dx.doi.org/10.24307/psz.2019.0824.
Full text
6
Dunbar, Laura, and Shelly Cooper. "Speaking the Same Language: How the Kodály Method Promotes Disciplinary Literacy." General Music Today 34, no. 1 (March 4, 2020): 14–20. http://dx.doi.org/10.1177/1048371320909804.
Full textAbstract:
Educators are consistently asked to show their students’ literacy levels; however, the traditional definition of literacy is typically limited to a strict interpretation of reading and writing using text rather than notation. Disciplinary literacy expands the definition of literacy, allowing music educators to teach disciplinary-specific symbology. This article describes how the Kodály concept helps students process sound into symbol, which provides students with specific literacy strategies to convert sound into developmentally appropriate visual representations.
7
Narkwong, Twatchai. "The Possibility of using the Kodály Method to Teach Music Literacy in Thailand." MANUSYA 3, no. 2 (2000): 23–31. http://dx.doi.org/10.1163/26659077-00302003.
Full textAbstract:
The Kodály method of teaching music literacy was used by the writer to teach Western music notation to elementary students, at the laboratory school of Kasetsart University in Thailand for six years. The students achieved good competencies in reading music, singing and playing the recorder. The method was afterwards disseminated to music teachers of municipal schools in Bangkok and was accepted. It seems that the method will spread further to other groups of music teachers.
8
Croassacipto, Muhammad, Muhammad Ichwan, and Dina Budhi Utami. "Tone Classification Matches Kodàly Handsign with the K-Nearest Neighbor Method at Leap Motion Controller." International Journal on Information and Communication Technology (IJoICT) 5, no. 2 (June 10, 2020): 40. http://dx.doi.org/10.21108/ijoict.2019.52.283.
Full textAbstract:
<p>Hands can produce a variety of poses in which each pose can have a meaning or purpose that can be used as a form of communication determined according to a general agreement or who communicate. Hand pose can be used as human interaction with the computer is faster, intuitive, and in line with the natural function of the human body called Handsign. One of them is Kodàly Handsign, made by a Hungarian composer named Zoltán Kodály, which is a concept in music education in Hungary. This hand sign is used in interactive angklung performances in determining the tone that will be played by the K-Nearest Neighbor (KNN) algorithm classification process based on hand poses. This classification process is performed on the extracted data from Leap Motion Controller, which takes Pitch, Roll, and Yaw values based on basic aircraft principle. The results of the research were conducted five times with the value of k periodically 1,3,5,7,9 with test data consisting pose of 874 Do', 702 Si, 913 La, 612 Sol, 661 Fa, 526 Mi, 891 Re, and 1004 Do punctuation on 21099 training data. The test results can recognize hand poses with the optimal k value k=1 with an accuracy level of 94.87%.</p>
9
Svec, Christina L. "Describing Elementary Certification Methods Across the Elementary Music Career Cycle." Update: Applications of Research in Music Education 35, no. 3 (May 4, 2016): 55–61. http://dx.doi.org/10.1177/8755123316649014.
Full textAbstract:
The purpose of the study was to describe elementary music method choice and certification method choice overall and across the elementary music career cycle. Participants ( N = 254) were categorized as Level I or Elementary Division in a southwestern music education association database. The questionnaire included 25 four-point Likert-type items that measured music curriculum alignment to given methods and agreement with statements concerning respondent school district curriculum, personal method practices, and motives concerning the pursuit of one or more method certifications. Gathered information was converted into descriptive statistics. Kodály and Orff were the method certifications of choice overall and across the elementary music career cycle. Perceptions and motives varied little across the career cycle. Conclusions include suggestions concerning professional development.
10
Liu, Ying-Shu, Jere T. Humphreys, and Albert Kai-Wai Wong. "The Role of North American Music Educators in the Introduction of the Kodály Method in Taiwan." Journal of Historical Research in Music Education 35, no. 1 (October 2013): 35–49. http://dx.doi.org/10.1177/153660061303500104.
Full textDissertations / Theses on the topic "The Kodály Method"
1
Penny, Lori Lynn. "The Kodály Method and Tonal Harmony: An Issue of Post-secondary Pedagogical Compatibility." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23132.
Full textAbstract:
This study explores the topic of music theory pedagogy in conjunction with the Kodály concept of music education and its North-American adaptation by Lois Choksy. It investigates the compatibility of the Kodály Method with post-secondary instruction in tonal harmony, using a theoretical framework derived from Kodály’s methodology and implemented as a teaching strategy for the dominant-seventh chord. The customary presentation of this concept is authenticated with an empirical case study involving four university professors. Subsequently, Kodály’s four-step instructional process informs a comparative analysis of five university-level textbooks that evaluates the sequential placement of V7, examines the procedure by which it is presented, and considers the inclusion of correlated musical excerpts. Although divergent from traditional approaches to tonal harmony, Kodály’s principles and practices are pedagogically effective. By progressing from concrete to abstract, preceding symbolization with extensive musical experience, conceptual understandings are not only intellectualized, but are developed and internalized.
2
Newton, James Lyle. "Changes in the teaching behaviors of a select group of teachers trained in the Kodály method of music education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq24638.pdf.
Full text
3
Penny, Lori Lynn. "Mind the Gap: An Integration of Art and Science in Music Theory Pedagogy." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/42032.
Full textAbstract:
My inquiry, centered on the applied practice of teaching, confronts the detachment that often disassociates the intellectual study of music theory from the physical experience of music. This pedagogical detachment, perceived as a split between opposing views of knowledge, privileges positivist science over interpretive art (Aróstegui, 2003), producing written competencies that have little or no musical meaning (Rogers, 2004). Endeavouring to re-attach music theory and the music it was initially intended to explain (Dirié, 2014), I constructed four Listening Guides to align with the intermediate-level theory curriculum of the Royal Conservatory of Music. Their construction incorporates elements of design research along with an underlying framework derived from the Kodály Method’s four-step instructional process. Given my multi-faceted personal/professional interactions with music theory, my research project is presented in the form of a quest narrative that weaves together my story and the stories of participant teachers who established the Listening Guides’ potential usefulness through reviewing and implementing interactions. This narrative, as a creative representation of arts-based research practices (Leavy, 2015), is derived from the blurring of specific cognitive findings and less definable aesthetic knowings (Greenwood, 2012). My data, both the prototypical data I designed and the empirical data I collected from focus group discussions with my participants, are filtered through an a/r/tographic lens that acknowledges the coexistence of my artist/researcher/teacher identities. The analysis of our aggregate narrative, as an exploration of music theory pedagogy with, about, in, and through music, relies on the evaluative tools of educational criticism (Eisner, 1991). Unfolding in a mostly linear climb, my quest for a fully integrated music/theory (art/science) pedagogy reaches its apex in the understanding that a music-logic organization confounds the subject-logic of traditional teaching approaches. Thus, my inquiry challenges the customary practices of scientific knowledge-building with a model for artistic “ways-of-knowing” in music theory pedagogy.
4
Hudgens, Cecilia Kay Knox. "A Study of the Kodaly Approach to Music Teaching and an Investigation of Four Approaches to the Teaching of Selected Skills in First Grade Music Classes." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331823/.
Full textAbstract:
This study examined the Kodaly approach to music teaching and investigated four different approaches to teaching first graders in elementary school to sing on pitch, echo (clap) rhythms, audiate tonal patterns, and audiate rhythm patterns. The approaches were the Kodaly approach, the traditional approach, and two eclectic approaches. One emphasized some of the techniques of the Kodaly approach, and the other emphasized some of the techniques of the Orff approach. The sample for this study consisted of one hundred twenty-one students in five classes from four different elementary schools. Two instruments were utilized: the standardized Primary Measures of Music Audiation (PMMA) by Gordon and the Individual Performance Test (IPT) designed by the investigator. The PMMA had two sections of forty examples each and measured the child's ability to audiate tonal and rhythmic patterns. This test was administered to the children as a group and they recorded their answers on an answer sheet. The IPT was tape recorded and administered individually by the investigator and assistants. It had two sections, rhythm and tonal. The children matched pitches and clapped the rhythms they heard. Responses were tape recorded and evaluated. Pretests were given shortly after the school year began and post-test were given eight weeks later. A completely randomized analysis of covariance was used to analyze the data. It was hypothesized that there would be no difference in the achievement of the children in the different classes to perform the selected skills. Findings revealed that the approach to music teaching does make a difference in the musical achievement of first-graders and their abilities to echo rhythms, match pitches, and to audiate rhythm patterns. The approach to music teaching does not make a difference in the musical achievement of the subjects and their abilities to audiate tonal patterns.
5
Amkraut, Merissa. "A comparison of the Kodaly method and the traditional method to determine pitch accuracy in grade 6 choral sight-singing." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1281.
Full textAbstract:
The purpose of this study was to determine which of the two methods is more appropriate to teach pitch discrimination to Grade 6 choral students to improve sight-singing note accuracy. This study consisted of three phases: pre-testing, instruction and post-testing. During the four week study, the experimental group received training using the Kodaly method while the control group received training using the traditional method. The pre and post tests were evaluated by three trained musicians. The analysis of the data utilized an independent t-test and a paired t-test with the methods of teaching (experimental and control) as a factor. Quantitative results suggest that the experimental subjects, those receiving Kodaly instruction at post-treatment showed a significant improvement in the pitch accuracy than the control group. The specific change resulted in the Kodaly method to be more effective in producing accurate pitch in sight-singing.
6
Hung, Hsiu-Hsing, and 洪秀幸. "The Study of Using Kodály Method on Grade Two Students’Auditory Ability and Learning Interest." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/68b8df.
Full textAbstract:
碩士國立臺北教育大學
音樂學系碩士班
106
Abstract The purpose of this study was to explore the effectiveness of promoting students’ music learning interest and auditory ability by applying Kodály’s method to teach music lessons for the 2nd grade students in elementary school. In this action research, a class of 25 2nd grade student in Taichung was chosen as reach participants taught by the investigator using Kodály’s method. The twelve lessons lasted 12 weeks. Through literature review, music interest survey, and pre- and post- music achievement test, teaching log, teaching observation, and teaching video, the results were got by the Quantitative and Qualitative analysis. A series of statistical analyses (descriptive statistics, pair sample t-test and One way ANOVA) were conducted by the software “SPSS 22.0 for windows” to investigate the students’ music learning interest and auditing ability, and to compare the differences of factors after the 12 music lessons taught by Kodály’s method. For Qualitative analysis, teaching log and teaching observation was used to aid the explanation of the outcomes. The results were as follows: 1. After taught by the Kodály Method, the music learning interest of 2nd grade students of primary schools was promoted positively. The analysis to the students’ music learning interest with different contexts (gender and music background) was as follows: (1) With regard to the gender, girls’ music learning interest was significantly higher than boys’. (2) The music learning interest for Kodály Method of the students with music study experience was higher than those who without experience. (3) There was no significant difference about the learning interest to the Kodály Method between those who with and without the experience of attending music activities, or dancing classes. 2. As to the auditory ability of 2nd grade students of primary school when applying the Kodály Method: (1) Regarding to the melody discrimination ability, the boys’ progress rate was larger than girls’; for those students who have never learned music, attended the music activities and dancing classes, their progress of melody discrimination ability was more significant than students with experiences. (2) As to the rhythm discrimination outcomes, it was observed that students liked the rhythm practice, especially by playing the small instruments. Moreover, the teachings of Stick Notations and Rhythm Syllables helps a lot for their learning of rhythm.
7
PAN, HUI-CHUN, and 潘慧君. "An Action Research on Kodály Teaching Method Applied to Rhythm learning for Second-graders." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/42ez96.
Full textAbstract:
碩士國立臺中教育大學
教師專業碩士學位學程
107
The purpose of this study aimed to explore the process of Kodály method employed in teaching rhythm, in order to understand the learning performance of the second-grader's in the rhythm listening and rhythm imitation. Researcher’s teaching reflections were discussed afterwards.Ten second-grade students in Star (alias) elementary school in Hualien County were recruited as research participants. They attended fourteen lessons, a total of four units of rhythm learning activities during this 7-week project.Rhythm imitation tests were implemented in the seventh and the last class. The researcher summarized the teaching methods and principles of the Kodály method through the collection of the literature, and then designed the curriculum and teaching activities. The researcher employed teaching tools of Kodály method— movable do system of solmization, stick notations, and rhythm syllable. The research tools included self-developed teaching observation form, teaching reflections, unit worksheets and rhythm imitation tests. Researcher discussed with scholars and collaborative teachers to understand the children's learning and progress in order to adjust and modify teaching. The data were recorded by qualitative description, and the quantitative data were analyzed through SPSS 20. Triangulation was ultilized to increase the reliability and validity. The conclusions of the study were summarized as follows: 1. The application of the Kodály method in rhythm teaching could grasp the learning responses of the children and help them to learn the rhythm elements in a happy mood. 2. Kodály method was helpful for the learning performance of the second-graders in rhythm listening and rhythm imitation. 3. Teaching through a cappella singing based on Kodály's philosophy, the researcher constantly adjusted the teaching contents and procedures according to the learning development and reaction of students in the teaching process. In the teaching dilemma, researcher attemped to solve the problems encountered and gain professional growth.Although the planned lessons could help students' rhythm listening and rhythm imitation, the course design still needed to increase the diversity of musical abilities. According to students' learning development, providding enough time was necessary to make music learning happen.
8
Ko, Chih-Lin, and 柯芝琳. "An Action Research of Kodály Method Applied in Music Literacy for Aboriginal Third-graders of an Elementary School." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/w6384s.
Full textAbstract:
碩士國立臺中教育大學
教師專業碩士學位學程
102
The purpose of this study aimed to explore whether the Kodály Method instruction would significantly improve music literacy of the aboriginal third-grade students and examine the instructor’s teaching problems, solutions, self-efficiency and reflections during the Kodály Method implementation. Action research was adopted as the approach of this study. The aboriginal third-graders in Happy elementary school were the main participants in this study, and this study had last for 24 teaching periods totaled 12 weeks. According to the literature, the researcher concluded the music literacy of aboriginal third-grade students shoud acquire and designed the research instruments including “Music Literacy Assessment,” “Worksheet,” “Observation Form,” and “Teaching Diary.” The qualitative data were be collected and described as the results while the quantitative data were be calculated and analyzed through “SPSS 12 .0 for Windows” software. After the data analyses, the researcher concluded the findings: I.The Kodály Method instruction could improve aboriginal third-grade students’ music literacy. 1.Students had obtained in their singing pitch accuracy during the Kodály Method instruction. 2.Students had mastered their music knowledge during the Kodály Method instruction. 3.Students had improved their sight-reading abilities during the Kodály Method instruction. II.The instructor could overcome the problems with some adjustments during the Kodály Method instruction. 1.The instructor confirmed students’ learning difficulties and problems, and found solutions to the students. 2.The instructor flexibly adjusted the curriculum based on students' learning conditions. 3.The instruction should be combined with students’ life experiences in order to reinforce their learning. 4.The instructor used icons and hands on experiences to assist students’ cognition learning. Finally, based on the findings, some implications were make and provided for the Kodály Method instructions and future studies.
9
Huang, Tsui-Hsuan, and 黃翠瑄. "The Action Research of Utilizing the Kodály Music Method to Improve the Singing Ability of the Fourth-Grade Student in Elementary School." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/5gbhmp.
Full textAbstract:
碩士國立臺南大學
教育學系課程與教學教學碩士班
103
In this study, a singing program was designed mainly through the action research planning of singing and rhythm by using Kodály method to enhance the singing ability of the fourth-grade students in an elementary school. The subjects were 22 students in an elementary school in Tainan, and 20 lessons were performed with the duration of 10 weeks. Through 3 different teaching plans based on the Kodály method, the result shows that the singing abilities regarding rhythm, pitch, pronunciation, the time of inhale and exhale, musical sentence and phrase, response to the director, memorization of songs, feeling expressions, and the stability of singing speed of those students were highly improved. The detailed discussions with suggestions are also made for the music teachers and further studies.
10
Sanders, Ronald Byron. "The teaching of choral sight singing: analyzing and understanding experienced choral directors' perceptions and beliefs." Thesis, 2015. https://hdl.handle.net/2144/16339.
Full textAbstract:
The purpose of this study was to analyze and understand experienced choral directors' perceptions and beliefs on a variety of topics surrounding the teaching and learning of secondary choral music sight singing or sight reading. A focus group of eight highly successful college, high school and middle school choral music educators addressed seven questions. The investigation gathered qualitative data that covered the purposes of teaching sight singing, the positive or negative attributes of movable Do, fixed Do and numbers, and a review of sight-singing curricula. Further, the investigation gathered data on the effect, if any, of an instrumental student's sight-singing ability and the use and effectiveness of Curwen or Kodály hand signs and sight-singing assessment for students. Additional data was gathered concerning how secondary music educators were evaluated. Results suggested that the focus group's purpose in teaching sight singing was to produce independent, self-reliant musicians. Individual sight-singing assessment was deemed important and should focus on how singers progressed. Music composed specifically for sight-singing contests or festivals should contain challenging notes and rhythms, dynamic changes, phrase markings and at least one tempo or meter change. Further, music teacher evaluations were discussed, coded and analyzed. Twenty-nine recommendations are offered that are designed to make sight singing more efficient and more effective in today's choral music classrooms. While there are some very good sight-singing materials in print, music publishers who contemplate printing new instructional material should offer a holistic approach to musicianship. Adjudicators for choral sight-singing festivals and contests should be trained. Choirs entering a sight-singing performance should be adjudicated on musical elements such as meter changes, correct tempi, phrasing, tone, articulation and dynamics, not merely on performing the correct notes and rhythms. Many more recommendations were offered to secondary and college choir teachers, supervisors, contest chairmen, adjudicators, composers, music publishers and students. The investigation was not intended to determine a recommended method for sight-singing instruction nor assessment. The purpose of this study was to understand and analyze experienced choral directors' perceptions and beliefs concerning sight singing on secondary campuses.
Books on the topic "The Kodály Method"
1
Willmann, Melanie Marie. An investigation of conceptual congruencies between the Kodaly method and Jerome Bruner's instructional theory. Ann Arbor, Mich: U.M.I., 1989.
Find full text
2
The Kodály method I: Comprehensive music education. 3rd ed. Upper Saddle River, N.J: Prentice Hall, 1999.
Find full text
3
Choksy, Lois. The Kodály method II: Folksong to masterwork. Upper Saddle River, N.J: Prentice Hall, 1999.
Find full text
4
Choksy, Lois. The Kodály method: Comprehensive music education from infant to adult. 2nd ed. Englewood Cliffs, N.J: Prentice Hall, 1988.
Find full text
6
Erzsébet, Szőnyi. Kodály's principles in practice: An approach to music education through the Kodály method. 5th ed. Budapest: Corvina, 1990.
Find full text
7
Culbertson, Robert. The basics of music: With an introduction to the Kodály method and its materials. Dubuque, Iowa: Kendall/Hunt Pub. Co., 1991.
Find full text
8
Burtenshaw, Leonard John. The construction and validation of a criterion-referenced test to measure the musical outcomes of the upperelementary school pupils instructed in the Kodaly method in the U.S.A. Ann Arbor, Michigan: University Microfilms International, 1985.
Find full text
10
Daniel, Katinka S. Kodaly Approach: Method Book 2. Mark Foster Music Company, 1985.
Find full textBook chapters on the topic "The Kodály Method"
1
Harrison, Robin. "An Introduction to the Kodály Method." In The Routledge Companion to Aural Skills Pedagogy, 298–305. Routledge, 2021. http://dx.doi.org/10.4324/9780429276392-25.
Full text
2
Upitis, Rena. "Coda." In This Too is Music, 243–50. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884956.003.0016.
Full textAbstract:
The epilogue to the book discusses the value of adapting one’s methods and approaches to educational contexts and situates the approach taken in this book with other successful approaches to music in the early years, such as Orff- and Kodály-based methods. A retrospective view is also taken in this chapter, describing some of the ways other teachers adapted activities outlined in the original version of the book into their own teaching practices. The ways children come to view music in a setting where they are encouraged and inspired to improvise and compose are revisited, and the nature and scope of learning that ensues are described. The value of learning by doing is the final piece described in this section.