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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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<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>
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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.
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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.
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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.
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Sheridan, Megan M. "The Kodály Concept in the United States: Early American Adaptations to Recent Evolutions." Journal of Historical Research in Music Education 41, no. 1 (July 6, 2018): 55–72. http://dx.doi.org/10.1177/1536600618787481.
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Zoltán Kodály, a Hungarian composer, ethnomusicologist, and music educator, is widely known for his philosophical and pedagogical contributions to music education. The purpose of this article was to trace the development of the Kodály movement in the United States from its implementation in the 1960s to present day. Questions that guided the research were (1) Who was Zoltán Kodály and what was his philosophy of music education? (2) Who were some of the American music educators who initially implemented the Kodály concept in the United States and what role did they play in the spread of the concept? and (3) How has the Kodály concept evolved in the United States? Following an overview of Kodály and his philosophy, the contributions of Mary Helen Richards, Denise Bacon, Lois Choksy, and Sr. Lorna Zemke during the early years of the Kodály movement are discussed. The evolution of the Kodály concept is discussed in relation to the work of Lois Choksy, Ann Eisen and Lamar Robertson, John Feierabend, Susan Brumfield, and Mícheál Houlahan and Philip Tacka. A conclusion includes suggestions for the advancement of the Kodály concept, including the need for research on the methods of the approach.
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Şimşek, Peyruze Rana, and Sermin Bilen. "Reaching the effective Music literacy: Kodaly methodEtkili müzikal okuryazarlığa ulaşmak: Kodaly yöntemi." Journal of Human Sciences 14, no. 4 (December 18, 2017): 4308. http://dx.doi.org/10.14687/jhs.v14i4.5050.
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Kodaly method, which did not commonly used in Turkey and known less when compared to other music methods, is important and distinctive because of being a system instead of an approach. One of the most important factors creating this difference is Kodaly’s effectiveness on solmization education. This method’s effectiveness on range thinking and perceiving harmonic structure compared to classical solmization education is being supported by findings of varied studies. Kodaly method is a whole in which every need adressed meticulously and stages edited in order to fulfil indicated needs. Kodaly, which based on assumption that every individual’s instrument is her voice, emphasized the importance of active participation in music education, aimed to develop hearing ability and musical literacy, does have an important place in early music education. In music education, it is aimed to train individuals who have musical literacy from childhood to adulthood. Music educators’ and music teacher candidates’ knowledge and adoption of practices such as Kodaly method, integration of these practices with their prior knowledge and own methods, would help next generation to approach music and life more actively and lively. Therefore, aim of this study is to present knowledge about Kodaly method, philosophy and method tools and also present a sample solmization course prepared according to Kodaly systematic.Extended English abstract is in the end of Full Text PDF (TURKISH) file. ÖzetÜlkemizde yaygın olarak kullanılmayan ve diğer müzik eğitimi yöntemleriyle kıyaslandığında daha az tanınan Kodaly yöntemi, bir yaklaşım değil, bir sistem olması nedeniyle farklılık ve önem taşır. Bu farklılığı yaratan en önemli unsurlardan biri, solfej eğitimi konusunda etkili olmasıdır. Yöntemin, aralık düşünme ve armonik yapıyı algılamada, klasik solfej eğitimine göre daha etkili olduğu çeşitli araştırma bulgularıyla da desteklenmiştir. Kodaly yöntemi, müzik öğrenimi yolunda her gereksinimin titizlikle belirlendiği ve bu gereksinimlere yanıt vermek üzere her aşamanın özenle kurgulandığı bir bütündür. Temel çalgısının her bireyin kendi sesi olduğu görüşü üzerine oturtulan, müzik eğitimine aktif katılımın öneminin her zaman vurgulandığı, işitme becerisinin geliştirilmesi ve müzikal okuryazarlığın artmasının amaçlandığı yöntemde, erken dönem müzik eğitimi önemli bir yer kaplar. Çocukluktan başlayıp yetişkinliğe kadar uzanarak müzikal anlamda okuryazar bireylerin yetiştirilmesi hedeflenir. Müzik eğitimcileri ve müzik öğretmeni adaylarının Kodaly yöntemi gibi uygulamaları tanıyarak ve benimseyerek kendi yöntemleri ve var olan bilgileriyle harmanlamaları, gelecek nesillerin müziğe, dolayısıyla yaşama daha aktif ve sevgi ile yaklaşmalarına yardımcı olabilir. Bu nedenle, bu çalışmada, Kodaly yöntemi, felsefesi ve yöntem araçları ile ilgili bilgilere yer verilmiş, solfej eğitimine katkıda bulunmak amacıyla Kodaly sistematiği gözetilerek örnek bir solfej dersi sunulmuştur.
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Türkmen, Emel Funda, and İlknur Özal Göncü. "The Challenges Encountered in the Application of Kodaly Method in Turkey." Journal of Education and Training Studies 6, no. 9 (July 9, 2018): 39. http://dx.doi.org/10.11114/jets.v6i9.3309.
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Kodaly is a method used in many countries, particularly in Hungary. The method is based upon the introduction of singing and the applied aspect of music with children at early ages, by which they are ensured with a more qualified and permanent music education.This research focuses on possible actions to be taken in order to increase the quality of music education; as well as the opportunities offered by Kodaly method within this framework. With this in mind, the question “What are the challenges encountered in the application of Kodaly method?” is tried to be answered. The aim of this study is to point out the difficulties in the application of Kodaly Method, which is effectively applied in many countries, in Turkey and provide suggestions regarding its utilization. The study is based on descriptive methods and has been conducted by means of reviewing the relevant literature. Besides, opinions of an instructor using this method for five years have been consulted and several problems have been identified in line with these opinions. The research is considered significant in terms of identifying difficulties in the application of Kodaly Method in Turkey and suggesting solutions to them. It is also believed to shed light upon those who are willing to apply this method. In that sense, this study is believed to serve as a guideline in music education.
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songeunsung and Seungwon Hwang. "Interactive Sound Glove System for deaf mutism - Mainly with Kodaly Method -." Journal of Digital Design 12, no. 4 (October 2012): 397–404. http://dx.doi.org/10.17280/jdd.2012.12.4.037.
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Benedict, Cathy. "Processes of alienation: Marx, Orff and Kodaly." British Journal of Music Education 26, no. 2 (June 3, 2009): 213–24. http://dx.doi.org/10.1017/s0265051709008444.
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Using Marx as a lens through which to interrogate music methodology, in particular those espoused by Orff and Kodaly, this article suggests that rather than the free play and creativity Orff and Kodaly intended, the implementation of these methods in a strict and unmindful manner, often alienates both teacher and student from musicking. Thus these methods have become more real than the music itself and as such, music making within them is abstracted from the use-value of musicking and consequently exchanged as a commodity. The article explains how methods become a form of production that serves to reproduce systems of domination as well as a very particular form of cultural capital. This lens also allows us to realise that, as we move farther away from the process of inquiry originally embedded in the conception and construction of these musical engagements, the educative process becomes more and more myopic. This, in turn, determines, delineates and narrows possibilities of and for meaningful learning.
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Székely, Csilla Imola. "A Comparison of the Educational Methods of Zoltán Kodály and his Student, Klára Kokas." Central European Journal of Educational Research 3, no. 1 (April 30, 2021): 47–52. http://dx.doi.org/10.37441/cejer/2021/3/1/9350.
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After the presentation of Klára Kokas’ pedagogical methods and her own invented musical activities with children, I shall try to compare these methods with Zoltán Kodály’s music educational practices and innovations to emphasize the continuity and discontinuity of Hungarian music educational practice. Kokas centered her pedagogical concept on children’s creativity, human relations, acceptance of and complete attention paid to others. This world view and ideology was constructed around a child-centered sensitivity, music being her primary pedagogical resource. The goal of this paper is to explore the main elements and characteristics of Klára Kokas’s pedagogy, which were revolutionary and new in the fields of personality development, music and complex art education. I will draw out those elements, which show similarity between his work and Kokas’s, then I will point out those components in which Kokas offered excess for personality development. The main elements of this concept is music, dance improvisation, motions, imaginative stories, visual arts, painting and drawing, but it’s most important component is that very specific and intimate relation, which connected her to the children. My purpose is to highlight the contours of the Kokas’ pedagogy. In my comparative research I mention the reform pedagogical elements of the Zoltán Kodály’s concept, and I seek the common and different elements of their music educational ideas and innovations. The importance of her beliefs and moral convictions in the art of education will be outlined then.
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Kim, Seon Jeong. "The Effects of Group Music Activities Based on Kodaly Teaching Method on the Creativity and Social Skills of Children." Korean Academy Welfare Counseling 5, no. 2 (October 30, 2016): 91–117. http://dx.doi.org/10.20497/jwce.2016.5.2.91.
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Vilchkovska, Anastasia. "The state of musical education of schoolchildren in Poland in the post-war period (40-60 years of the XX century)." Pedagogìčnij časopis Volinì 1(16), no. 2020 (2020): 14–21. http://dx.doi.org/10.29038/2415-8143-2020-01-14-21.
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Relevance of research. The nearest Ukraine in terms of geographical location, culture, centuries-old historical ties and Slavic mentality is Poland. For the history of pedagogy in particular, the system of music education of schoolchildren is interesting to explore and analyze the difficult time of reconstruction of school education in Poland after the Second Word War, which killed 17% of the population. The purpose of the study is to analyze form and content of music education of Polish schoolchildren in the postwar (40-60 years of the 20th century). Research methods. Analysis and synthesis of Polish scientific and pedagogical literature on music education of schoolchildren, regulations, school curricula and program, materials of scientific and practical conferences empirical and independent data. Research results. After the end of the Second World War and the liberation of Poland from German occupation, the reconstruction of the virtually completely destroyed school system and the creation of new education system based on different ideological, political and economic principles before the pre-war period began. The restructuring of the school education system involved, firs of all, the definition of the new educational goal, which was set before the school. It was based on the idea of harmonious development of personality. A significant role in this process was given to the musical education of schoolchildren. The subject of “Singing” was introduced into the curricula of primary schools (grades 1-7), which had two hours in grades 1-5 and one hour in grades 6-7, as well as two hours for school choir classes pre week. A significant role in the development of the system of music education of foreign teachers-musicologists: E.Jagues-Dalcroze, Z. Kodály, James L. Mursell, C. Orff and others. They adapted to the conditions and Polish educational traditions. In the 1962, the name of the subject “Singing” was changed to “Music Education”, which was in line with pedagogical functions. Conclusions. In the postwar (40-60's) the modernization of the system of music education of schoolchildren was carried out. The organization content and forms of music education in secondary schools were based on the concepts of well-known in Europe scientists, teachers, musicologists, composers [É.Jagues. Dalkroze, Z. Kodály, J. Mursell, C. Orff], who adapted in accordance with the conditions and national Polish educational traditions. The musical education of the younger generation was greatly influenced by ideological and sociopolitical factors that determined the functioning of the socialist society of the Polish People's Republic.
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Micha, Paraskevi. "Comparative study of the performances of greek adolescents in dictée." DEDiCA Revista de Educação e Humanidades (dreh), no. 2 (March 1, 2012): 103–22. http://dx.doi.org/10.30827/dreh.v0i2.7123.
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Music dictation (dictée) constitutes one of the most difficult challenges in the teaching of music and a source of disappointment for the students. Their errors, during this lesson, may be fundamental to our research. The goal of this paper is to observe, describe and analyse the errors made during the recording of melodies of western European and tropical Greek demotic music (traditional cosmopolitan melodies). These errors indicate proof and a means of analysis of the mental procedures which are inextricably connected to the teaching of music. By analysing these errors we will attempt to discover the causes which provoke difficulties and are inextricably connected to notes, intervals, scales, drops and rhythmic values. The statistical sample of the students (36 students) is a representative of the two different teaching methods (traditional and Kodaly) in an environment of a specific musical culture (Greek).
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Sudaryatno, N. Rahardjo, Winanda, and S. Y. Saputri. "Estimation of peak discharge using a rational method in Kodil Sub-Watershed, Purworejo Regency, Central Java." IOP Conference Series: Earth and Environmental Science 686, no. 1 (March 1, 2021): 012025. http://dx.doi.org/10.1088/1755-1315/686/1/012025.
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Kumar, Sanjay, and K. Singh. "Bleached Holograms Produced by Fixation-free Method; Recording and Reconstruction at 442 nm Using Kodal 649F Plates." Journal of Optics 19, no. 4 (December 1990): 108–13. http://dx.doi.org/10.1007/bf03549222.
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Staines, Richard. "Transfer revisited: re-evaluating the non-musical potential of learning and listening to music. An overview of selected literature." British Journal of Music Education 16, no. 2 (July 1999): 123–38. http://dx.doi.org/10.1017/s0265051799000224.
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The claims of certain reports increasingly appearing in the media suggesting that ‘music makes kids smarter’ invite critical evaluation. Several other recent studies have been re-examining the hypothesis that musical listening and learning it using methods like Kodály's may enhance spatial reasoning and social and cognitive growth. In weaving together these interrelated themes, the intention of this article is not only to sensitise music educators to an awareness of transfer's significance and singular character, but to advise discretion in the interpretation of research results. Since the mechanisms of transfer are still not fully understood, future enquiry will have to accommodate many problems facing researchers in the field for whom the formulation of a comprehensive theory of transfer is, as yet, a distant prospect.
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Hejja, Bella, and Tamas Szalai. "Investigating attitudes and musical taste related to music lessons of primary school students in Debrecen." Hungarian Educational Research Journal 9, no. 2 (September 2019): 318–31. http://dx.doi.org/10.1556/063.9.2019.1.27.
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Nowadays, Hungary is famous for its musical pedagogical method, the Kodaly concept, many foreign music lovers, and music teachers travel to our country to get to know and master it. But what do we experience in practice, what are the benefits for the musical tastes of young people? The aim of the study is to provide an insight into the attitudes of music and music in primary school youth and the surrounding social environment. We present a small slice of international research led by Dr. Judit Varadi, in which we examined the results of 4th and 6th grade pupils of five primary schools in Debrecen, 221 students in all. In the course of our research, we used a questionnaire consisting of 46 questions, which examined the family background of young people, the process of singing and music classes, listening habits, attitudes related to music classes, and music itself. Results were analyzed using SPSS 22.0 for Windows. In our observations, we found that parents’ previous music studies have a great influence on teaching their children to music. The attitudes toward class music and music and the number of classical music records in the children’s home are also positive. In our changing world, the genres of light music have gained a lot of space, the effect of which is reflected in the musical tastes of young people. How to get a full picture of the subject, and then the entire material will be processed.
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Lipták, Dániel. "Hungarian Ethnomusicologist Oszkár Dincsér (1911–1977) as a Pioneer of Musical Anthropology." Studia Musicologica 59, no. 1-2 (June 2018): 79–97. http://dx.doi.org/10.1556/6.2018.59.1-2.7.
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There are marked differences between Hungarian and American ethnomusicology in incentives, aims, interests, and methods. Hungarian research was based in the early twentieth century on study of musical form, while the Americans approached music in terms of social context and functions. However, Hungarians from the mid-1930s onward moved toward an increasing interest in the social aspects of folk music. Oszkár Dincsér, a lesser known researcher of Kodály's school, exemplifies this trend in his 1943 study of chordophone instruments in the Csík (in Romanian: Ciuc) County region of Transylvania Két csíki hangszer. Mozsika és gardon (Two instruments from Csík. Fiddle and gardon). A comparison with Alan P. Merriam's fundamental work The Anthropology of Music (1964) reveals that Dincsér's study includes almost every topic and approach set out by Merriam twenty years later. Although Dincsér's scholarly career ended with his emigration in 1944, he remains an important forerunner of musical anthropology.
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Kulikauskaitė, Dovilė, and Dainius Paliulis. "FORMALDEHYDE REMOVAL FROM WASTEWATER APPLYING NATURAL ZEOLITE / FORMALDEHIDO ŠALINIMAS IŠ NUOTEKŲ PANAUDOJANT GAMTINĮ CEOLITĄ." Mokslas – Lietuvos ateitis 7, no. 4 (September 29, 2015): 443–48. http://dx.doi.org/10.3846/mla.2015.808.
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Formaldehyde is one of the most chemically active compounds which is discharged with untreated or just partially treated industrial wastewater. It is hazardous for environment and humans. Formaldehyde vapors can strongly irritate skin, can cause damage to eyes and harm respiratory tract. As long as formaldehyde causes a toxic effect on environment and living organisms, it is necessary to remove it from wastewater which is directed to natural water. There are many methods used for formaldehyde removal from wastewater: biological method, evaporation, membrane separation method. Most of them have disadvantages. Adsorption method has many advantages: it is fast, cheap, and universal, and can be widely used, therefore it was chosen for this research. Experiment was carried out with natural zeolite in different contact time with different concentration formaldehyde solutions. Concentration of formaldehyde was determined applying the Photocolorimetric Method. Method is based on reaction of formaldehyde with chromotropic acid and determination of formaldehyde concentration. Determined average sorption efficiency was highest when formaldehyde concentration was lowest, e. g. 2 mg/l (45.94%) after eight hours of contact time with adsorbent. Sorption efficiency was increasing when the contact time increased, but when the contact time increased to 12 hours, sorption efficiency stayed the same because of the saturation of zeolite. Formaldehidas yra vienas iš aktyviausių junginių, kuris išleidžiamas į aplinką kartu su nevalytomis ar iš dalies išvalytomis gamybinėmis nuotekomis. Jis yra pavojingas tiek aplinkai, tiek žmonėms. Formaldehido garai stipriai dirgina akis ir kvėpavimo sistemą. Kadangi formaldehidas yra pavojingas žmonėms ir visiems gyviems organizmams, jis turi būti šalinamas iš gamybinių nuotekų. Sorbcijos metodas turi daug privalumų: jis yra greitas, pigus ir universalus, todėl vienas iš labiausiai perspektyvių vandens valymo metodų – sorbcija. Tai pagrindinė priežastis, kodėl sorbcinis metodas buvo pasirinktas eksperimentiniams tyrimams. Eksperimentiniai tyrimai buvo atlikti naudojat gamtinį ceolitą, buvo parinktas skirtingas formaldehido tirpalo kontakto laikas su adsorbentu ir matuojama teršalų koncentracija po kontakto su adsorbentu. Šis metodas yra paremtas formaldehido reakcija su chromotropine rūgštimi. Sorbcijos efektyvumas augo ilgėjant kontakto su ceolitu laikui, tačiau po 12 valandų efektyvumas nebedidėjo dėl to, kad sorbentas įsisotino.
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Tamanis, E., E. Sledevskis, A. Ogurcovs, V. Gerbreders, and V. Paskevics. "Synthesis of Core/Shell CuO-Zno Nanoparticles and Their Second-Harmonic Generation Performance / Kodols/Čaula Cuo-Zno Nanodaļiņu Sintēze Un To Spēja Ģenerēt Otrās Harmonikas Signālu." Latvian Journal of Physics and Technical Sciences 52, no. 5 (October 1, 2015): 41–46. http://dx.doi.org/10.1515/lpts-2015-0027.
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Abstract The present paper presents the method for obtaining core/shell CuO-ZnO nanoparticles and nanocoatings by using a commercially available vacuum coating system. Initially generated Cu-Zn core/shell nanoparticles have been oxidised with a highly reactive atomic oxygen beam. Second-harmonic generation has been observed in the obtained samples. The dependence of second- harmonic intensity on the wavelength of the exciting radiation is shown in the paper.
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Usmonov, Botir. "A Numerical Solution of Hereditary Equations with a Weakly Singular Kernel for Vibration Analysis of Viscoelastic Systems / Vienâdojumu Ar Vâjo Singulâro Kodolu Skaitliskais Risinâjums Iedzimto Viskoelastîgo Sistçmu Vibrâciju Analîzei." Proceedings of the Latvian Academy of Sciences. Section B. Natural, Exact, and Applied Sciences. 69, no. 6 (December 1, 2015): 326–30. http://dx.doi.org/10.1515/prolas-2015-0048.
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Abstract Viscoelastic, or composite materials that are hereditary deformable, have been characterised by exponential and weakly singular kernels in a hereditary equation. An exponential kernel is easy to be numerically implemented, but does not well describe complex vibratory behaviour of a hereditary deformable system. On the other hand, a weakly singular kernel is known to describe the complex vibratory behaviour, but is nontrivial to be numerically implemented. This study presents a numerical formulation for solving a hereditary equation with a weakly singular kernel. Recursive algebraic equations, which are numerically solvable, are formulated by using the Galerkin method enhanced by a numerical integration and elimination of weak singularity. Numerical experiments showed that the present approach with a weakly singular kernel is well fitted into a realistic vibratory behaviour of a hereditary deformable system under dynamic loads, as compared to the same approach with an exponential kernel.
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Panahifar, Farhad, Cathal Heavey, PJ Byrne, and Hamed Fazlollahtabar. "A framework for Collaborative Planning, Forecasting and Replenishment (CPFR)." Journal of Enterprise Information Management 28, no. 6 (October 12, 2015): 838–71. http://dx.doi.org/10.1108/jeim-09-2014-0092.
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Purpose – Although many papers purport the significant value attributable to supply chain performance from the use of Collaborative Planning, Forecasting and Replenishment (CPFR), the question of “what are the main constructs and efficient framework for successful implementation of CPFR?” remains largely unanswered. This question will be addressed by identifying and analysing the main constructs for successful implementation of CPFR. The purpose of this paper is to attempt first to seek answers to this question. Second, to review the scope and value of CPFR using a devised state-of-the-art taxonomy for the classification of selected bibliographical references and third, to develop a conceptual framework by identifying areas which need more research. Design/methodology/approach – The method underlying this paper followed the steps of a systematic literature review process outlined by Soni and Kodali (2011). The review is based on a total of 93 papers published from 1998 to 2013 on CPFR. Findings – Four main constructs for successful implementation of CPFR have been identified: CPFR enablers, CPFR barriers, trading partner selection and IA. The findings indicate that there is a need for better understanding of the amount and level of information sharing as an important function of CPFR implementation. The paper also illustrates a number of shortcomings in the current literature and provides suggestions to guide future research on implementing CPFR in different industries. Practical implications – This paper is of interest to both academicians and practitioners as it helps to better understand the concept and role of CPFR in supply chain integration and its implementation results, enablers and inhibitors. The proposed framework in this paper can be used to give insight for future research and practice. Originality/value – The paper offers a framework for the review of previous research on CPFR and identifies the most important shortcomings that need to be addressed in future research. In addition, this review is both greater in scope than previous reviews and is broader in its subject focus.
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Andrejaitienė, Judita. "Pooperacinio skausmo malšinimo aktualijos širdies chirurgijoje." Lietuvos chirurgija 8, no. 1 (January 1, 2010): 0. http://dx.doi.org/10.15388/lietchirur.2010.1.2121.
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Judita AndrejaitienėKauno medicinos universiteto Biomedicininių tyrimų instituto Intensyviosios terapijos ir kraujotakos tyrimų laboratorija,Eivenių g. 4, LT-50009 KaunasEl paštas: andrejaitiene@yahoo.com Veiksmingas pooperacinio skausmo valdymas yra šiuolaikinio chirurginio gydymo sudedamoji dalis. Neadekvatus skausmo gydymas po širdies operacijų lemia sumažėjusį ligonių aktyvumą, sukelia emocinį diskomfortą, nerimą, sutrikdo miegą, neigiamai veikia kvėpavimo funkciją, padidina miokardo infarkto, širdies nepakankamumo, tromboembolinių komplikacijų riziką. Tinkamas pooperacinio skausmo malšinimas ne tik gerina ligonio gyvenimo kokybę, pagreitina sveikimą ir visišką funkcijų atsitaisymą, bet ir glaudžiai susijęs su ligonio gydymo stacionare trukme, sumažina gydymo išlaidas. Pooperacinio skausmo gydymo svarba jau seniai neabejojama. Nors informacijos apie ūminio skausmo patogenezę ir jo gydymo patirties sukaupta nemažai, deja, nėra priimto skausmo malšinimo po širdies operacijų „aukso standarto“, o taikomų metodų efektyvumas nėra pakankamai aiškus. Pagrindinis straipsnio tikslas – padėti suprasti gydytojui praktikui, kodėl kyla skausmo problema pooperaciniu laikotarpiu ir ką gali medicinos personalas padaryti, kad šis laikotarpis pacientui būtų kuo sklandesnis. Straipsnyje aptariami ir nauji po širdies operacijų taikomi veiksmingi skausmo malšinimo metodai. Reikšminiai žodžiai: skausmas, širdies operacija, ūminio pooperacinio skausmo malšinimas New trends in the treatment of postoperative pain in cardiac surgery Judita AndrejaitienėInstitute for Biomedical Research, Kaunas University of Medicine, Laboratory of Intensive Care and Blood Circulation Research,Eivenių Str. 4, LT-50009 Kaunas, LithuaniaE-mail: andrejaitiene@yahoo.com Effective post-operative pain management is a constituent of contemporary surgical treatment. Inadequate acute pain treatment after cardiac surgery can keep patients from the activities that prevent postoperative complications, especially respiratory complications, determine reduced patients’ emotional discomfort, anxiety, sleep disorders. The appropriate postoperative analgesia prevents patients’ discomfort, may decrease morbidity, postoperative ICU and in-hospital stay, and thus may decrease cost. The importance of post-operative pain management has been known for a long time. However, regardless of scientific progress in the studies of acute pain pathogenesis and the accumulated treatment experience, there is no acknowledged “golden standard” for the periods following cardiac surgery, while the effectiveness of the applied methods has not yet been fully explained. In the current era of early tracheal extubation, achieving optimal pain relief after cardiac surgery can be challenging. Adequate postoperative analgesia after cardiac surgery may be attained via a wide variety of techniques. The main purpose of this article is to help a practicing doctor understand the reasons related to the problem of pain during the postoperative period and also what the medical personnel can do in order to make this period as smooth as possible for the patient. The article also covers the most recently adapted effective methods of post-operative analgesia. Key words: pain, cardiac surgery, acute postoperative pain management
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Bourgeois-Bougrine, Samira, Souad Latorre, and Florence Mourey. "PROMOTING CREATIVE IMAGINATION OF NON-EXPRESSED NEEDS: EXPLORING A COMBINED APPROACH TO ENHANCE DESIGN THINKING." Creativity Studies 11, no. 2 (December 21, 2018): 377–94. http://dx.doi.org/10.3846/cs.2018.7184.
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Creativity is vital to radical innovation for the generation of new and disruptive ideas. Managers, practitioners and teachers are increasingly integrating design thinking approach to stimulate creativity and innovation. Design thinking implies empathy as an innovation mind-set to understand the latent needs of users observed in real settings. However, it has been suggested that radical innovations do not come from a user-centred approach such as design thinking and that design thinking is often based on anecdotes than data and that its value is difficult to prove. The aims of this paper is to propose an approach to enhance design thinking in educational setting in order to promote radical innovation mindset. Drawing on the benefits of prospective ergonomics, digital mock-up and virtual environment to promote ideation and empathy, the proposed approach takes as a starting point the imagination of future needs using prospective scenarios approach, instead of users’ latent and unmet needs, for the development of artefacts and services that would change social practices. The paper a) discusses why and how this combined approach would foster students’ radical innovations skills by not just satisfying actual users’ needs but by imagining and anticipating new needs and b) propose a method to evaluate the effectiveness and the efficacy of design thinking enhancement. Santrauka Kūrybiškumas – iš esmės svarbus radikalioms inovacijoms, generuojant naujas ir griaunančias idėjas. Vadovai, praktikuojantys specialistai ir dėstytojai vis labiau integruoja dizaineriškos mąstysenos metodą, siekdami sužadinti kūrybiškumą ir inovacijas. Dizaineriška mąstysena reiškia empatiją kaip inovacija grindžiamą požiūrį, kuriuo siekiama suprasti slaptus vartotojų, stebėtų realiomis aplinkybėmis, poreikius. Vis dėlto buvo teigiama, kad radikalios inovacijos nekyla iš požiūrio, sutelkto į vartotojus, tokio kaip dizaineriška mąstysena, ir kad tokia mąstysena dažnai grindžiama pavieniais atvejais, o ne duomenimis bei tuo, kad jos vertę sunku įrodyti. Šio straipsnio tikslai – pateikti požiūrį, kuris padidintų dizaineriškos mąstysenos vertę lavinimo aplinkoje, siekiant palaikyti radikaliomis inovacijomis grindžiamą mąstymo būdą. Atsižvelgiant į ateities ergonomikos nešamą naudą, skaitmeninį modelį ir virtualią aplinką, skirtą idėjizavimui ir empatizavimui paskatinti, siūlomas požiūris yra it pradinis taškas, įsivaizduojant ateities poreikius, pasitelkiant ateities scenarijų atvejus, o ne slaptus ir nepatenkintus vartotojų poreikius, siekiant žmogaus darbo produktų ir paslaugų, kurios pakeistų socialines praktikas, plėtros. Straipsnyje svarstoma, kodėl ir kaip šis mišrus požiūris paskatintų studentų radikalių inovacijų įgūdžius, ne tik patenkinant tikruosius vartotojų poreikius, bet įsivaizduojant ir numatant naujus, taip pat pateikiamas metodas, skirtas dizaineriškos mąstysenos tobulinimo veiksmingumui įvertinti.
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Samalavičius, Almantas. "URBANISTINĖ PLĖTRA IR RACIONALUMO RETORIKA: C. A. DOXIADIS’O KONCEPCIJŲ LIKIMAS/URBAN DEVELOPMENT AND RHETORIC OF RATIONALITY: THE FATE OF C. A. DOXIADIS’ CONCEPTS." JOURNAL OF ARCHITECTURE AND URBANISM 32, no. 1 (March 31, 2008): 28–33. http://dx.doi.org/10.3846/13921630.2008.32.28-33.
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The prospects of a new century urge us to reconsider the mental legacy of the past century: theories and practices of urban planning that came into existence in a certain intellectual climate and circumstances. The paper is an attempt to reconsider the rhetoric of rationality that manifested in urban design in the second half of the 20th century. Focusing on the legacy of the Greek architect, theorist and urban planner Constantinos A. Doxiadis as well as his relationship with the dominating ideas of his time, the author examines what were the sources of his concepts of entopia and ecumenopolis and in what aspects they are different from cyclical theory of city’s growth, articulated by Lewis Mumford. The contexts in which ideology of progress gained strength resulted in the rise of belief of rational and globalising urban planning, introduced by Doxiadis’ ekistics. It is shown that despite highly rational rhetoric and the use of scientific data, methods and procedures of research in planning the future global city, the final results were rather modest and limited, despite of the fact that the Greek urban planner succeeded in carrying a vast number of projects in several continents: the belief in the concept of progress faded away and attempts to “export” values of Western liberal democracy with the help of urban planning proved to be far less succesful than was initially intended. Santrauka Naujo amžiaus urbanistinės raidos perspektyvos akina įvertinti praėjusiame šimtmetyje klestėjusias urbanistines koncepcijas ir jų įtaką miesto raidai. Graikų architektas, urbanistikos teoretikas ir miestų planuotojas Constantinos A. Doxiadis paliko ryškų pėdsaką urbanistinės minties ir miestų planavimo istorijoje, kuris iki šiol nėra adekvačiai aptartas ir įvertintas. Sukūręs originalų, daugiadiciplinį ekistikos mokslą, jis sukūrė ateities miesto – ekumenopolio projektavimo sistemą, o kartu atliko urbanistinius tyrimus ir rengė projektus daugelyje pasaulio šalių. Analizuojama, kokią įtaką graikų urbanisto idėjų recepcijai padarė jo paties scientistinės ir racionalistinės premisos bei kompleksinių tyrimų metodologija ir kokios buvo jo koncepcijų sąsajos su bendra laikotarpio atmosfera, kurioje stiprėjo pažangos ideologija, racionalizmas, persmelkęs ne tik ekonomiką, bet ir kitas Vakarų visuomenės sferas. Taip pat aiškinamasi, kodėl bandymai globalią urbanistinę plėtrą derinti su Vakarų liberaliosios demokratijos vertybių ekspansija nebuvo itin sėkmingi. Urbanisto projektų likimas Azijos šalyse pademonstravo, kad racionalizmo doktrinomis pagrįstas planavimas nėra pajėgus pakeisti vietos bendruomenių gyvensenos ir mentaliteto. Parodoma, kad kartu su nesėkmėmis „eksportuojant“ vakarietiškas urbanistines schemas pasikeitė požiūris į realias architektūros bei planavimo galias, su kuriomis XX amžiaus modernistai siejo ypatingas viltis.
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Morkevičius, Vaidas, and Zenonas Norkus. "Šiuolaikinės Lietuvos klasinė struktūra: neovėberiška analizė." Sociologija. Mintis ir veiksmas 31, no. 2 (January 1, 2012): 75–152. http://dx.doi.org/10.15388/socmintvei.2012.2.393.
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Santrauka. Straipsnio tikslas – pritaikyti socialinės nelygybės ir politinių procesų pokomunistinėje Lietuvoje analizei Roberto Eriksono, Johno Goldthorpe’o ir Lucienne Portocarero (EGP) klasių teoriją, kuri tęsia Maxo Weberio socialinės struktūros analizės tradiciją. Pirmame skirsnyje analizuojamos priežastys, kodėl atkūrus Lietuvos nepriklausomybę Lietuvos sociologai beveik visiškai apleido tyrimų barą, kurį sociologijos klasikai laikė pagrindiniu, – visuomenės socialinės struktūros analizę. Aptariami dviejų tyrimų, skirtų pokomunistinės Lietuvos socialinės struktūros analizei (Rūtos Brazienės disertacijos ir Arvydo Matulionio vadovaujamo autorių kolektyvo parašytos monografijos) rezultatai, palyginama indukcinė ir dedukcinė socialinės struktūros analizės metodologija, išryškinami dedukcinės metodologijos privalumai. Antrame skirsnyje išdėstoma EGP klasių teorija, pateikiant ją kaip kūrybišką klasikinių Maxo Weberio socialinės struktūros idėjų tąsą. Išryškinami Maxo Weberio ir Karlo Marxo klasių sampratų skirtumai, o EGP klasių teorija palyginama su jos pagrindinėmis šiuolaikinėmis alternatyvomis: neomarksistine Eriko Wrighto klasių teorija, orientuota į išnaudojimo santykių analizę, ir amerikietiškąja socialinės stratifikacijos analizės koncepcija, orientuota į individualaus socialinio ekonominio statuso (SES) matavimus. Trečiame skirsnyje neovėberiškai analizuojama pokomunistinės Lietuvos klasinė struktūra, pateikiant jos 11, 7, 5 ir 3 EGP klasių modelius. Šiam tikslui panaudojami 2009 m. pabaigoje atliktos reprezentatyvios Europos socialinio tyrimo (EST) Lietuvos gyventojų apklausos duomenys. Remiantis diachroniniais ir sinchroniniais palyginimais bei istorine analize išryškinami šios struktūros bendrieji (lyginant su panašiomis į Lietuvą šalimis) ir saviti nacionaliniai bruožai. Paskutiniajame skirsnyje modifikuotas 7 EGP klasių modelis pritaikomas statistiškai nagrinėjant vėberiškai apibrėžiamą (kaip „gero gyvenimo šansų“ nelygaus pasiskirstymo) socialinę nelygybę Lietuvoje, o taip pat bandant nustatyti (pasitelkiant statistinę atitikties analizę) klasinės priklausomybės įtaką politinėms orientacijoms bei elgsenai.Pagrindiniai žodžiai: Eriksono-Goldthorpe-Portocarero (EGP) klasių teorija, pokomunistinės Lietuvos socialinė struktūra ir politika, gero gyvenimo šansų nelygybė, atitikties analizė.Key words: Erikson-Goldthorpe-Portocarero (EGP) class theory, ABSTRACTTHE CLASS STRUCTURE OF CONTEMPORARY LITHUANIA: A NEO-WEBERIAN ANALYSISThis article analyses social inequality and political processes in post-Communist Lithuania, using the neo-Weberian class theory of Robert Erikson, John Goldthorpe and Lucienne Portocarero (EGP). The opening section considers why the analysis of social structure, which was a central concern in classical sociology, has been so neglected in Lithuanian sociology since the restoration of independence. There are just two exceptions to this trend, discussed in the same section – Rūta Brazienė’s 2002 thesis and the 2005 volume edited by Arvydas Matulionis. The first part also compares inductive (data-driven) and deductive (theory-driven) methodologies of social structure analysis to substantiate the advantages of the latter for this article’s empirical analysis. The second part outlines EGP class theory, considered as a creative continuation of Weber’s classical analysis of social structure, and as a genuine alternative to Marx’s theory of classes and class struggle. EGP class theory is compared with two other approaches – Erik Olin Wright’s neo-Marxist class theory, which emphasises exploitation relations between classes, and American social stratification analysis, which focuses on the measurement of socio-economic status (SES). The third section offers a neo-Weberian examination of post-Communist Lithuania’s class structure, represented by four different EGP class types. Diachronic and synchronic comparisons and historical analysis are used to point out the features of Lithuanian class structure that are shared with other similar countries and those features that are nationally specific. To this end, data from Round 4 of the European Social Survey in Lithuania (conducted at the end of 2009) is used. In the last section, which applies statistical methods of correspondence analysis, a slightly modified EGP class model is used to explore manifestations of social inequality (conceived in Weberian terms as an unequal distribution of ‘life chances’), as well as the voting and ideological orientations of the Lithuanian electorate.
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Tiszai, Luca. "Kodály Approach in the Crossroad of Education and Therapy." Voices: A World Forum for Music Therapy 15, no. 2 (June 22, 2015). http://dx.doi.org/10.15845/voices.v15i2.804.
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Kodály's concept about music education is worldwide adapted to different cultures. However, the significance of his theoretical framework is almost undiscovered by music therapy. The aim of the present paper is to shed light on the common elements of Commuity Music Therapy and the Kodály Approach by literature-based Research. Kodály was a pioneer establishing a multidisciplinary dialog between musicology, philosophy, sociology and education. The practice and theory he established was a powerful response to his time’s social needs and problems. As a musician an educator he devoted himself to the popularization community music, choral singing and thus building up a better society. As a researcher he studied the therapeutic effects of his method, especially transfer effect with intellectual and social skills. His overall goal to make music accessible to everyone highly resemble with Community Music Therapy. Many of his ideas such us choral singing for social connectedness or agency and empowerment through musical education are a part of the practice of Community Music Therapy. His concept is a fundamental part of music education but music therapy also could profit more from his ideas.
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Tiszai, Luca. "Music Belongs to Everyone: Moments of Progress in Community Music Therapy with Musicians with Severe Disabilities." Voices: A World Forum for Music Therapy 16, no. 3 (September 9, 2016). http://dx.doi.org/10.15845/voices.v16i3.853.
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The article describes novel and successful projects involving musicians with severe disabilities and adolescent music students. The Nádizumzuzum Orchestra consists of adult members of a nursing home. They are able to play music with a newly developed method called Consonate. The young musicians are students of the Zoltán Kodály Hungarian Choir School. This article presents the historical and socio-political background of the project to illustrate how music therapy grows from particular cultural and political circumstances of Hungary, and therefore takes a particular Hungarian form and flavour. The article also reflects on the wider context of the international research and practice of Community Music Therapy.
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Gülle, Alican, Cenk Akay, and Nezaket Bilge Uzun. "Zoltán Kodály gives a hand to secondary school students in recorder performance and attitudes toward music in Turkey." International Journal of Music Education, March 30, 2021, 025576142110059. http://dx.doi.org/10.1177/02557614211005904.
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Kodály-inspired pedagogy enables students to participate effectively in a music course by engaging in active musical interactions with folk songs and melodies. The purpose of this study was to explore the effects of Kodály-inspired pedagogy on recorder performance and attitudes toward music of secondary school students. A quasi-experimental design was used in the study. The experimental group was taught using Kodály-inspired pedagogy and the control group using the general music teaching methods for 9 weeks. A two-way mixed-design analysis of variance (ANOVA) and content analysis were used to analyze the data. A Recorder Performance Grading Key, music course attitude scale, and open-ended questions were used to collect the data. Consequently, the findings indicated that Kodály-inspired pedagogy had a significant effect on the students’ recorder performance but the researchers could not find a significant effect on students’ attitudes toward the music course. Moreover, students in the experimental group reported improvement in their recorder performance and attitudes toward music education. The researchers recommended including information about the implementation of Kodály-inspired pedagogy in music teacher textbooks, providing in-service training for teachers to enable them to use Kodály-inspired pedagogy.
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METE, Meral, and Mehlika DÜNDAR. "The Effect of Kodaly method on the musical knowledge and skills of preservice teachers." İlköğretim Online, September 15, 2020, 2053–73. http://dx.doi.org/10.17051/ilkonline.2020.763316.
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Luen, Loy Chee, Aminah Ayob, Christine Augustine, and Colleen Wong. "The Solfege Singing with Body Movement Skills of Preschool Children in Kodaly is Teaching Method." International Journal of Academic Research in Business and Social Sciences 9, no. 1 (January 21, 2019). http://dx.doi.org/10.6007/ijarbss/v9-i1/5893.
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"The experiment of beginning of violin training with “Colourstrings”, a string instrument teaching method based on Kodaly child music education approach." İlköğretim Online 20, no. 1 (January 1, 2021). http://dx.doi.org/10.17051/ilkonline.2021.01.034.
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Gawlick, Natasza. "Thank You for the Music: Musical Activities as Therapy for Autistic Children." Elements 12, no. 2 (November 13, 2016). http://dx.doi.org/10.6017/eurj.v12i2.9353.
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Music therapy, developed over the years by numerous musicians and educators, such as Carl Orff, Jacques-Dalcroze, and Kodaly, have proven to stimulate social interaction, improve selective attention and aid in numerous other developmental milestones. These findings are not only important for parents and school curricula, but also have profound meaning for children with autism. Numerous studies, including work done by Koelsch, as well as Winsler, Ducenne, and Koury, found that children who participated in a music and movement program developed greater self-regulation skills, such as private speech, showed greater improvement in coordination, and fostered positive social interaction between researcher and subject. Autistic children who were exposed to music therapy held eye contact longer, engaged in dialogue, and reduced negative behaviors such as head-banging, avoidance, or self-stimulatory behaviors. Diverse methods of music therapy, including playing instruments, listening to sounds, and other musical activities, could greatly improve the social, emotional, and educational development of autistic children.
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Kepule, Iveta. "The possibilities of using the playing of recorder in the music teaching for the first grade pupils." Arts and Music in Cultural Discourse. Proceedings of the International Scientific and Practical Conference, September 28, 2013, 90. http://dx.doi.org/10.17770/amcd2013.1256.
Full textAbstract:
The goal of the paper is to evaluate and propose methodological techniques for the introduction of the playing of recorder in the music teaching for the first grade pupils, in order to more successfully develop the basic singing skills. Methods: analysis of the teaching and psychological literature regarding the possibilities of playing the recorder in the music teaching, observation and analysis of the process of music teaching and the reflection on the personal experience in connection with the standard of the General education of Latvia in the music teaching. Analysis of the informal discussion based on the use of playing of recorder in the music lesson. Modeling of the pupils’ practical activities in music teaching in the primary school. Results: Methodological techniques are proposed for the development of the basic singing skills using the playing of recorder, and the creation of the cooperation among the students and their self-expression skills in the music lessons is encouraged. A teacher starting the formation of the basic singing skills often in the teaching process faces the situation, when the majority of the pupils in the class have an insufficiently developed ability to listen and reproduce the sound using their voice. One of the goals of the music teaching is to create correct vocal skills of the pupils, placing an emphasis on proper inhalation, creation of sound and also on a posture. Correct breathing is important both for singing and playing the recorder, but the tune culture is formed by the interaction of the breathing and posture. These singing aspects have the common characteristics with the basics of playing the recorder: interaction of breathing and posture forms the timbre of the recorder’s sound. The pupils initially cannot physically sing a certain pitch, but playing of recorder helps them to obtain a certain pitch of the sound using their hands, thereby allowing hearing and reproducing the sound, while simultaneously developing preconditions for the composition of stable melody in the playing of recorder. The pupils acquire the note reading skills simultaneously with the learning of proper breathing and blowing in. In order for the pupils to easier comprehend the recording of the note rhythm, they are offered to play simple rhythm examples, gradually increasing the number of ledger lines until a full staff is reached. Such method of learning to read the notes allows comprehending that the same melody can be played at different pitches. Any sound is always perceived and processed together with its duration and timbre (Griffin, 2007), so the combination of the sound of playing the recorder and singing gives an additional impulse to the pupils’ auricular centre. The timbral differences of the sounds of recorder and human voice are processed in different areas of the brain – the secondary and associative; therefore it is reasonable to assume that the combination of playing the recorder and singing stimulates the brain activity, based on the research of M. Tervaniemi and I. Winklera (Tervaniemi & Winklera, 1997). The use of the playing of recorder in teaching music is not new in the music education. In the middle of 20th century, it was popularized in their philosophies of teaching music by Karl Orff, Schinichi Suzuki and Zoltan Kodaly. The playing of recorder is not difficult, it does not create problems for the pupils, but brings them joy and satisfaction about their playing skills. This factor is therefore one of the most important for the creation of positive self-expression skills and motivation during the music lesson. Based on the opinion of B. Teplov (Теплов, 1947), the musical talent is formed in the childhood and it manifests itself in the pupil’s attitude towards the music: he or she likes or dislikes it. Combining the singing skills with the playing of recorder in the music lesson brings the joy to the pupils about their ability to play and creates the positive motivation. A teacher develops a vocal and instrumental musical score, encouraging all pupils to participate in playing music, thereby creating a situation, when each pupil achieves a positive result in accordance with his or her specific playing skills. The creation of skills to play in the group is equally important. Learning to read the notes in the staff is the beginning for the creation of polyphony in the music teaching. The teacher using the singing and playing of recorder skills may form the vocal, vocal and instrumental or instrumental groups. The pupils during the playing of recorder listen to the pitch of the sound and form a precise musical sound of the recorder.The goal of the study: to find out the opinion of the teachers of music regarding the possibilities to use the playing of recorder in teaching music. The methods used in the study: informal discussion of the target group. The group at the beginning of the discussion is asked to share its experience and provide the comments regarding the use of playing of recorder in teaching music. The following results were gathered after summarizing the opinions and arguments expressed during the discussion of the group: all members of the target group are familiar with the playing of recorder; 5 respondents admit that they play the recorder, 2 respondents have the basic skills of playing the recorder, and 1 respondent does not know how to play the recorder; 4 respondents use the playing of recorder in music teaching, but only one respondent has used the elements of playing the recorder in teaching of the singing skills; 1 respondent has decided to use the playing of recorder in music teaching during the next school year; all respondents consider the playing of recorder as a supplemental method, which can be used in music teaching; all respondents admit that the playing of recorder facilitates the development of pupils’ musical hearing; 6 respondents believe that the learning to play the recorder in a music lesson is a time – consuming learning method, because there is already limited time for teaching the curriculum; 3 respondents using the recorder in the teaching process believe that the introduction of playing the recorder in the music teaching is not useful, because the recorders available to the pupils do not allow playing in unison; 1 respondent expressed an opinion that the playing of recorder can be used in the music lesson only by working with a previously prepared selection of pupils. The following negative and positive arguments were gathered after summarizing the opinions and arguments provided during the group discussions: the pupils buy the recorders manufactured by different companies, therefore their timbral sound may differ, and the pitches of the sounds, which are not always identical, do not allow reaching a perfect unison; different fingering of the recorders (German recorders and baroque recorders) makes the learning process difficult. The pupils observing each other’s finger movements often learn to play incorrect pitches of the sounds, which are difficult for the teacher to control during the beginning stage of learning to play the recorder. traditional teaching methods are more useful and easier to apply in music teaching. The teachers of music relying on their personal experience, however, confirm the positive aspects of using the playing of recorder in teaching music for the first grade pupils: playing of recorder facilitates the development of the pupils’ musical achievements, especially the development of musical hearing of the pupils; facilitates the development of the pupils’ self-expression skills, because playing of recorder allows each pupil accomplishing his/her individual artistic potential. the playing of recorder in teaching music facilitates the development of the pupils both from the teaching and psychological point of view. It can be concluded by comparing the musical development of the pupils from 3 different classes that the musical development is the highest in the classes using the playing of recorder in their music lessons. This conclusion is also affirmed by the number of pupils in each class participating in the groups of amateur performance. The number of such pupils is the highest in the classes with the elements of playing the recorder in teaching music. Therefore it can be concluded that the process of teaching music creates a positive motivation, which facilitates the necessity for an emotional musical experience for pupils, as well as the tendencies of creation of a collective body of the class and the cooperation skills among the pupils.