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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.
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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.
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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.
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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.
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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.
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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/.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Chen, Ying-Ching, and 陳穎靚. "An Action Study in the Application of Kodaly Method toThe Melodic Intervals In-tune SingingAN Action Study in the Application of Kodaly Method to The Melodic Intervals' in Tune Singing." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/02138410857585375163.
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碩士國立台北師範學院
音樂研究所
94
ABSTRACT The purpose of this study was to exam the two dimensions of the learning effects on children’s melodic intervals’ in tune singing. They were “learning emotion and confidence,” and “rote singing ability.” In order to achieve this purpose, the researcher applied an action research method through observing courses, collecting relative literatures, and then designing teaching material using Kodaly teaching concepts and strategies. The research subjects were twenty-six third-graders. During the study period, the data was collected through tests, questionnaires, observation, and non-structural interviews in order to exam the research validity. The following was the summary of the six conclusions in this study: 1. Most subjects were able to show the joyful mood and positive attitude when the teacher adopted Kodaly teaching method. 2. Most subjects had more confidence in their musical ability when trained by Kodaly method. 3. The application of Kodaly method in the training of the intonation could help subjects’ in tune singing ability in rote sing practice as well as in sight singing practice. 4. The main factors which impacted the in tune singing by rote were the aural sensibility, musical memory ability, familiarization, singing ability, and the pattern of melodic intervals. 5. The main factors which impacted the in tune singing by rote were the concepts of melodic intervals, sight-reading ability, internal imagination, pattern of melodic intervals, familiarization, and the singing ability. 6. After one year’s being trained by Kodaly method, more than eighty percent of subjects recognized every note’s solfege relative placements on the staff. In the end of this study, the research also provided few suggestions concerning the melodic interval training to the further studies for the interested researchers. Key Words : Kodaly method, melodic intervals, in tune singing, action research.
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HUNG, YU-JING, and 洪雨靜. "An Action Research of Kodaly Method Applied in Teaching Fourth-grade Recorder Duets." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/05980511158282160239.
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碩士國立臺中教育大學
音樂學系碩士班
104
Abstract The purpose of this action research was to study the application of Kodaly concept in recorder duet for fourth-grade students. Eighteen fourth-grade students were invited as research participants. Research instruments included “Recorder duet playing rating scales,” “Student learning response questionnaire,” “Teaching and reflection journal,” “Video-taping,” and “Classroom observation form.” Data were analyzed through qualitative coding and statistical analysis. According to the results, conclusions were drawn as follows: 1. Kodaly concept applied in teaching recorder duets could help students play in tune. 2. Kodaly concept applied in teaching recorder duets could help students play accurate rhythm. 3. Kodaly concept applied in teaching recorder duets could help students play expressively. 4. Kodaly concept applied in teaching recorder duets could help students play well-coordinated. Based on the conclusions, recommendations were made for the teachers who were willing to apply Kodaly concept in the classrooms. Keyword: Action Research, Kodaly concept, Recorder duets
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Tsai, Chun-Hui, and 蔡春惠. "The Case Study of a Teacher Use the Kodaly Method in Elementary School Choir." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/68596649095610457687.
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碩士臺北市立教育大學
音樂藝術研究所
95
This study discusses the topic of how a chorus music teacher, trained by the Kodaly Method, applies the pedagogical skills to teach elementary school choir. In order to grasp the teaching content of the choir education, application of the Kodaly Method in teaching the choir, and whole culture context of the teacher, the study also treat the views of individual teacher on necessary abilities to conduct a choir class. This research adopted the case study method. From February to November, 2006, field observations of teachers were conducted and supplemented with interviews, documentary compilation, class videotaping, all of which were recorded into transcript to be arranged, organized and analyzed. The research aims to provide the framework of how the Kodaly Method can be applied to choir education in elementary school. Furthermore, the results can offer all elementary school choir teachers as a reference to help their teaching and self-development. According to references and results of the data, it can be concluded that: A) The content of choral teaching including the exercises of breathing, resonance, phonation and madrigal. a. Breathing: The practicing of breathing focuses on the training of abdominal breathing – a gradual inspiration and a slow and rhythmic exhalation. b. Head resonance: The practicing demands students to project the voice from the head. The explanation is complemented by oral explanation and gesture. c. Phonation: The voice projection strategies include the straight sitting posture, correct mouth shape, relaxed face muscle, and using abdominal muscles instead of singing from throat. d. Madrigal: Children’s songs are the main musical materials. The new and old songs are taught simultaneously in a class. B) The teacher applied the Kodaly Method to ear training, inner hearing training and part work, association with tonic solfa, and handsigns. a. Ear training is to train students the habit of aural discrimination and melody memorizing. Students are trained to recognize different tonality, pitch and rhythm to develop the vocal producing skills. b. The inner hearing training is to construct the concepts of pitch and chords and music composition to equip them the fundamental music ability. c. Part work training is to discriminate the sounds, and chords. C) The teacher has multi-characteristics, pedagogical skills and classroom management. He suggested that a choral teacher should equip the skills of model singing and teaching strategies. Moreover, a teacher should also actively take part in the in-service training. a. The characteristics of the teacher include persistence, confidence, humor, friendliness, sharing, and independence. b. The teacher applied the method of model singing and accompanying singing to teaching the chorus. The teaching content is comprehensible with the teacher’s various gestures and experiences sharing. c. The teacher should have professional ability to sing in the classes. He should also know the theory of the production of voice, the strategies of teaching chorus. He should actively collect the teaching materials, extend the teaching resources, and take part in various training.
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趙蘭珠. "The Research of the Singing Outcomes in the 2nd Grade Music Classes Applied The Kodaly Method." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/57305626238908913409.
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碩士臺北市立教育大學
音樂藝術研究所
94
The purpose of the thesis is to explore the application of “The Kodaly Method” on 2nd grade students with respect to their singing outcomes. Action research was adopted as the approach of the project. A class of 2nd graders, 16 boys and 12 girls were selected as the sample in the experiment. The research started from the first semester of their 2nd grade, examining how “The Kodaly Method” can improve their singing outcomes.Based on the results of the documents, the researcher concluded the characteristics of 2nd grade musical abilities and designed educational activities. The research instruments included “music background survey,”“evaluation of singing abilities,” “self-evaluation for music class,”“learning behavior records” and “teaching diary.” as the research tools. All the materials obtained during the research were described under qualitative records as well as quantitative statistics. The quantitative data were analyzed through “SPSS 12 .0 for Windows” software. After the data analyzing, researcher concluded the followings: 1. Students have made obvious progress in their singing outcomes after receiving the “The Kodaly Method.” 2. Students increase their interests generally, when the “The Kodaly Method” is applied in the music learning process. 3. Students have positive attitude toward music learning when the “The Kodaly Method” is adopted in class. 4. Neither the students’ nor their guardians’ music background influences the students’ singing outcomes. 5. Most of the 2nd grade students are used to sing nursery rhymes. 6. The teacher gained professional improvement through action research. Finally, the conclusion of this thesis may provide the music teachers and the other researchers to promote “The Kodaly Method” in music learning.
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MA, CHIA-LING, and 馬嘉伶. "Kodaly Method to Increase Singing Skills of Primary Grade Pupils and Their Interest in Learning Singing." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/89970382144696963657.
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碩士國立屏東教育大學
教育視導與評鑑碩士學位學程
102
The study purports to investigate the action research based on “Kodaly method” to increase singing skills of primary grade pupils and their interest in learning singing – a case study of music class in life curriculum for second grade students. The researcher chooses 23 second grade pupils of an elementary school in Pingtung as the subject and personally designs courses for study which emphasize basic singing lessons in combination with the element of Kodaly method for teaching through “hand signal”, “movable Do system” and “rhythm-based numbered musical notation” that enable “singing-related music game” activity to blend with “life” music courses. A team of teaching research comprises the researcher as a teacher during the research, a co-teacher in school, a consulting teacher of arts and humanities from other school, and scholars and experts in the relevant fields. In addition to the relevant literature gathered in advance, teacher’s teaching journal, record of interview with pupils and co-researchers, learning worksheet are the main source of material gathered in teaching. Later, suggestions from experts and scholars are considered. The result of the study after analysis and conclusion shows below: 1. The “Kodaly makes you a singing star” teaching program is suitable for the design of “Singing Teaching” course taken by primary grade pupils. (1) “Singing supported by game” enhances teaching quality. (2) “The spirit of Kodaly based on local culture” activates the content of course. (3) “Kodaly method of music teaching” stimulates learning potential. 2. “Kodaly method” has a beneficial effect on advancement in “singing skills” and “interest in learning singing”. (1) Singing skills of pupils remarkably increase. (2) The variety and diversification of “singing game” increase interest in learning singing. (3) The target of course is achieved. Finally, in accordance with the above conclusions, concrete suggestions for teachers, school administration, subsequent researchers and future research direction are separately provided as reference.
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KUO, HUI-JU, and 郭惠如. "A Study of Kodaly Method Applied on Grade Three Student’s Sense of Tonality of Pentatonic Scale Research." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/6v648c.
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碩士國立臺北教育大學
音樂學系碩士班
105
The purpose of this study aimed to explore the effectiveness of promoting students’ sense of tonality while applying Kodaly Method to teach third-grade music lessons in Art and Humanities learning area. In this study, a class of third graders in Taichung City were selected as the research participants. The study period was lasted 12 weeks. Based on literature review, the researcher designed a series of teaching activities, and, by using pentatonic scale to cultivate children’s sense of tonality nevertheless, formulated teaching diary, teacher’s teaching observation checklist, and learning evaluation assessmentwere as the tools for this research. The qualitative description, accompanied by quantitative data, were recorded and collected. Based on the results of the study, the researchers put forward the following conclusions: First, Kodaly Method had good results on enhancing the third-grade students’ abilities to listen and recognize the composition of the tone set of Tonic Sol-fa on pentatonic scale. Second, Kodaly Method had excellent results on enhancing the third-grade students’ abilities to listen and recognize the main tonic as well as their sense of tonality on pentatonic scale. Finally, according to the conclusions above, suggestions and recommendations were provided for music educators and prospective researchers, respectively, to use as references for applying Kodaly Method in music teaching and follow-up studies.
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Jung-Chi, Lin, and 林榮吉. "An Application of the Rhythmic Syllables of Kodaly Method to Teaching Music to the Second Grade Elementary Studemts: A Field Study." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/17286951298407380304.
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碩士中國文化大學
音樂研究所
90
Abstract This study based on Rhythmic Syllables of the Kodaly Method as teaching material design to try test and find out the results.Before I proceed in the experimental research, I will stress on the importance of rhythmic ability in learning music system with history music documents.Furthermore, I explain the rhythmic teaching method of five music teaching method system which concentrates on an essential and necessary role in music learning system, especially a progressive strategy of intesting and playing game factors to motivate the pupils’intention on music learning system.Kodaly Method’s opinion is that “Learning music begins as earlier as you can”.and thus I develop these two methods in pupils of the seond grade of elementary school to test. This research focused on pupils of the second grade in the Wan-Da Elementary School in Taipei City, Taiwan. Firstly I made a pre-test before I use Kodaly Method, after ten weeks learning period, I made a post-test. There were all totally sixty-seven pupils of two classes in the second grade. They are divided into two sections, one is the “Experimental Section” with Kodaly Method and the other is the “General Section” with traditional rhythmic method. They learned different rhythmic learning system and all the other music courses are completely the same. With experimental learning system, to realize the difference between these two learning sections. I obtained the results of above mentioned experiment: 1 I got the results of pre-test of Kodaly Method and Traditional Rhythmic Learning Method are almost the same. 2 Ten weeks later, pupils who learned these two systems obtained following consequences: Kodaly Method are superior to the Traditional Rhythmic Method. it is, the former team got wrong questions less than the later team.I found out:the difference between them. My conclusion of “An Application of the Rhythmic Syllables of Kodaly Method to Teaching Music to the Second Grade Elementary Students: A Field Study ” is follows: 1.Rhythmic Syllables plays a key role in music learning system. As early as pupils can, rhythmic syllables learning system gives pupisl a useful basis to advance learning. 2.Kodaly Method benefits pupils their controlling rhythmic abilty and raises their music learning intersting which differs from the traditional music learning method. 3.Learning music rhythmic syllables with lively, interesting and playing games happiness for pupils is an innovative system to strengthen their learning music motivation and to make powerful interaction between teachers and pupils than before. This researcher have made an above experiemt, analysed, discussed and suggested constructively for all to the music rhythmic learning system and for relevant research field continuously.
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Kodali, Vamsi Krishna [Verfasser]. "New materials and methods for studying macrophages at interfaces / presented by Vamsi Krishna Kodali." 2010. http://d-nb.info/1004275897/34.
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