The Dream of School Music Educators; Do Our Students Want to Master & Keep Music-Making in Their Lives? Ann Leffard, Music Specialist Holley-Navarre Primary School Navarre, Florida Let's think of some of the National Standards or Sunshine State Standards for music education. Now think about the actual percentage of all the oldest students in your school community's population that are truly music makers and can demonstrate proficiency. For example: National Content Standard 5 (Grades K-4): Reading and notating music Achievement Standard 5b: Students use a system (that is, syllables, numbers, or letters) to read simple pitch notation in the treble clef in major keys. Proficient Level: 1. The student is able to sing 75 percent of the melodies, with no more than two errors per melody. 2. The beat is generally steady, though uncertainty may be evident from time to time. 3. The student uses syllables, numbers, or letters correctly and consistently, with only a few errors. Sunshine State Standard MU.A. 1. 2. 1.: (Grades 3-5) The student sings songs (Descants, rounds, partner songs, two- and three-part songs) maintaining own part, and using proper breathing techniques and pleasing tone, with and without accompaniments. These seem like tall orders for the average school student (future average American citizen) when the elementary music educator is often limited to around 30-45 minutes of music instruction, once per week! Middle and high school music educators have performing schedules to adhere to. Finding time for meeting the standards seems like a luxury, and what about the students not in band, orchestra, or chorus? Would we like to see our community value amateur music-making as a cherished leisure-time activity? Are these goals impossible or impractical? Not at all. Read on, if you are curious! The world of music education changed dramatically in 1950. This was the year that Márta Nemesszeghy.opened the first music primary school in Kecskemét, Hungary. Zoltán Kodály (1882-1967) was active as a composer and consultant for the program. It wasn't long before the world took note of the outstanding music makers and music educators coming from Hungary. Americans were invited to explore this phenomenal educational atmosphere in the 1960's. Gradually, the Kodály Concept, as it came to be known, was applied in the United States and spread throughout the globe. Zoltán Kodály would be the first to tell you that he did not invent a music education method. Rather, he assembled the great Hungarian musical minds of his time and sent them out into the world to find the best practices in music education, and to return to Hungary with them. While he did not actually invent a method, Kodály inspired those who met him to search for answers, and collectively implement a concept that would have a massive impact on his country and ultimately, the world. Nemesszeghy's and Kodály's achievement: The best-trained music educators the world has ever seen. A musically-literate Hungarian population, where the average citizen can read, write, inner hear and perform music. A patriotic society totally acquainted with and devoted to its musical history and an active contemporary musical life. Does implementing the Kodály Concept represent a solution for American music educators, looking for ways to meet the National Standards for Music Education? Can we inspire our communities to love and cherish life-long music-making, even as amateurs? Can we enable all of our school population to become musically literate not just the "talented few"? My belief: Absolutely. The next step after becoming interested in the Kodály concept is to become Kodály-inspired and Kodály-trained. Why would anyone be interested in becoming "Kodály-Inspired"? If you have a deep belief that experiencing music from the inside-out is a treasured, life-changing experience, then you will not need any convincing regarding the value of the Kodály concept. The Kodály approach is all about the joy of music, and what it means to humanity. Music education through the Kodály approach leads children to knowledge and mastery of musical elements through actively doing and discovering, rather than by being passive consumers. It is a dynamic and people-centered approach, rooted in the philosophy that we can all enjoy the process of making music; that human life is not complete without it. It involves the music educator deeply in the creation of a curriculum suited ideally to the unique characteristics of their student population. It inspires the music educator to take their own personal musicianship to ever higher levels throughout their career, rekindling the inquisitive learner in us all. "Music belongs to everyone." ~ Zoltán Kodály What is a Kodály-Inspired Music Educator? A Kodály-Inspired Music Educator: Believes in musical literacy for all - the ability to read, write, sing, play and hear music is a uniquely human skill and is a basic human right. Believes musicianship skills can and should develop throughout life: birth through retirement. Plans and implements a child-centered, sequential music curriculum. Activities in music classes are skill-based (doing, discussing, discovering), developmentally appropriate and tailored to the specific learning community. (Age, skill level, cultural background) Develops and utilizes the learner's voice as the first, most natural and accessible musical instrument. Believes that singing is a powerful means of musical expression and that it is a superior tool for developing the inner musical ear. Believes only the best music is appropriate for use in educating children. Early musical experiences utilize native folk music and children's singing games, augmented by folk music of other cultures (including jazz) and composed music. "Educating children to love music can only be achieved by their experience of music. Schools must undertake to provide this experience." Zoltán Kodály, speaking at the International Society of Musical Education Conference at Interlochen, 1966.* The primary goals for the Kodály-inspired music educator: To instill the love of music in every student To enable every learner to become musically literate Can I use Kodály Coursework in my Professional Development Plan? The National Standards and Sunshine State Standards for music are skill-based; a Kodály-inspired curriculum leads students to discovering musical elements through the development of personal musical skills. Teachers who are students in a Kodály teacher training course will develop their own musicianship in much the same way as their future students, yet at a much more advanced level. Course material in a Kodály teacher training course will be applicable on a Professional Development Plan as 1) knowledge the teacher acquires, as well as 2) methods and materials for increasing student achievement. The ability to inner hear, read, and write music strengthens other academic areas. (Eg: Language development, reading, writing, memory, mathematics, spatial-temporal skills, etc.) Research has documented that students immersed in a Kodály-inspired music curriculum show increased test scores in other academic areas. On Becoming A Kodály -Trained Music Educator Ultimate goals of Kodály Certificate Coursework for Music Educators: Outstanding Music Teaching Strategies for Birth through Adulthood Ongoing Improvement of Personal Musicianship OAKE Kodály Certificate: Certifies the student's ability to teach OAKE-endorsed Kodály coursework. (OAKE: Organization of American Kodály Educators - Website: http://www.oake.org/) Song Collection/Retrieval System for Use in Teaching ***** Generally there are three levels for a music educator to complete; some programs have four levels. Coursework most often takes place as a 9:00 a.m. - 5:00 p.m. schedule over the span of two to three weeks, but there is much variation. OAKE sets forth a curriculum guideline for the number of hours in each subject level; these teacher training courses can become "OAKE-Endorsed". See the OAKE website for complete listings of Kodály coursework. OAKE Guidelines for Endorsement of Teacher Training Courses: Subject & number of contact hours needed: Solfege/Musicianship - 50-70 Methodology - 50-70 Materials/Folk Song Analysis - 30-45 Conducting - 25-30 Ensemble - 10-15 Special Topics - 10-15 Total - at least 225 Typical Curriculum Layout for Kodály Teacher Training Courses (example based loosely on OAKE guidelines; programs vary) Level One Introduction to Kodály History and Philosophy Musicianship/Solfege Pedagogy/Methodology (Sometimes organized as pertaining to birth - grade 2, plus older beginners of any age) Materials/Folk Music Special Topics Choral Ensemble Experience Level Two: Conducting Musicianship/Solfege Pedagogy/Methodology (Grades 2-4 or Intermediate Level) Materials/Folk Music Videotape Project: This often consists of the student videotaping their own teaching for the class to review and the instructor to critique. Students typically videotape themselves during the academic year following Level One so that the tapes can be evaluated during Level Two. Special Topics Choral Ensemble Experience Level Three: Folk Song Research Pedagogy/Methodology (Grades 4- College Level) Conducting Musicianship/Solfege Chamber Music Special Topics Choral Ensemble Experience For information on the Pensacola Kodály Institute: June 2007, Levels One and Two The choice of music used by the music educator in music classes determines the sequence of musical elements taught. Sequences are not identical in different teaching situations: For example, a suburban or rural middle school as compared to heavily African-American elementary or a high school in an Hispanic neighborhood. A Kodály-inspired music educator has the knowledge and freedom to create a music curriculum that is uniquely tailored to the characteristics of their school population. Kodály training will enable a music educator to create a solid framework for a comprehensive music curriculum that is totally relevant to their students. Developmentally, older beginners in middle school, high school and beyond will process information in a much different manner than 6-year-olds. In addition, music that appeals to first graders is different than music that adolescents and adults relate to. The Kodály-inspired music educator will choose quality literature that their students will enjoy, and create their sequence based on this music and the skill level of their students. Therefore, it is common to see the sequential order of musical elements varied between music programs. The music reflects the student population, and will ultimately affect the music curriculum sequence. "The Music Drives the Sequence" ~ Donald Garrett, SECKE President "The compositions of every country, if original, are based on the songs of its own people. That is why their folk songs must be constantly sung, observed and studied" (Kodály 1964) More than anything, the beauty of Kodály-inspired teaching is exhibited by the students themselves. A successful music program of any sort should show the following results: Students who love music; making music, listening to music, creating music. Students who are open to new music and look for beauty of all types of music. Students who feel comfortable expressing the feelings of humanity through the language of music. Students who value good music as a integral part of human life. Students who are interested in and acquainted with their musical heritage and have an interest in keeping it alive. Students who are musically literate and proficient in musical skills. *Source: Zoltán Kodály, his life in pictures and documents. László Eösze; [trans. Barna Balogh and Gyula Gulyás; translation revised by John R. Thompson], 1982. |
The Dream of School Music Educators; Do Our Students Want to Master & Keep Music-Making in Their Lives? Ann Leffard, Music Specialist Holley-Navarre Primary School Navarre, Florida Let's think of some of the National Standards or Sunshine State Standards for music education. Now think about the actual percentage of all the oldest students in your school community's population that are truly music makers and can demonstrate proficiency. For example: National Content Standard 5 (Grades K-4): Reading and notating music Achievement Standard 5b: Students use a system (that is, syllables, numbers, or letters) to read simple pitch notation in the treble clef in major keys. Proficient Level: 1. The student is able to sing 75 percent of the melodies, with no more than two errors per melody. 2. The beat is generally steady, though uncertainty may be evident from time to time. 3. The student uses syllables, numbers, or letters correctly and consistently, with only a few errors. Sunshine State Standard MU.A. 1. 2. 1.: (Grades 3-5) The student sings songs (Descants, rounds, partner songs, two- and three-part songs) maintaining own part, and using proper breathing techniques and pleasing tone, with and without accompaniments. These seem like tall orders for the average school student (future average American citizen) when the elementary music educator is often limited to around 30-45 minutes of music instruction, once per week! Middle and high school music educators have performing schedules to adhere to. Finding time for meeting the standards seems like a luxury, and what about the students not in band, orchestra, or chorus? Would we like to see our community value amateur music-making as a cherished leisure-time activity? Are these goals impossible or impractical? Not at all. Read on, if you are curious! The world of music education changed dramatically in 1950. This was the year that Márta Nemesszeghy.opened the first music primary school in Kecskemét, Hungary. Zoltán Kodály (1882-1967) was active as a composer and consultant for the program. It wasn't long before the world took note of the outstanding music makers and music educators coming from Hungary. Americans were invited to explore this phenomenal educational atmosphere in the 1960's. Gradually, the Kodály Concept, as it came to be known, was applied in the United States and spread throughout the globe. Zoltán Kodály would be the first to tell you that he did not invent a music education method. Rather, he assembled the great Hungarian musical minds of his time and sent them out into the world to find the best practices in music education, and to return to Hungary with them. While he did not actually invent a method, Kodály inspired those who met him to search for answers, and collectively implement a concept that would have a massive impact on his country and ultimately, the world. Nemesszeghy's and Kodály's achievement: The best-trained music educators the world has ever seen. A musically-literate Hungarian population, where the average citizen can read, write, inner hear and perform music. A patriotic society totally acquainted with and devoted to its musical history and an active contemporary musical life. Does implementing the Kodály Concept represent a solution for American music educators, looking for ways to meet the National Standards for Music Education? Can we inspire our communities to love and cherish life-long music-making, even as amateurs? Can we enable all of our school population to become musically literate not just the "talented few"? My belief: Absolutely. The next step after becoming interested in the Kodály concept is to become Kodály-inspired and Kodály-trained. Why would anyone be interested in becoming "Kodály-Inspired"? If you have a deep belief that experiencing music from the inside-out is a treasured, life-changing experience, then you will not need any convincing regarding the value of the Kodály concept. The Kodály approach is all about the joy of music, and what it means to humanity. Music education through the Kodály approach leads children to knowledge and mastery of musical elements through actively doing and discovering, rather than by being passive consumers. It is a dynamic and people-centered approach, rooted in the philosophy that we can all enjoy the process of making music; that human life is not complete without it. It involves the music educator deeply in the creation of a curriculum suited ideally to the unique characteristics of their student population. It inspires the music educator to take their own personal musicianship to ever higher levels throughout their career, rekindling the inquisitive learner in us all. "Music belongs to everyone." ~ Zoltán Kodály What is a Kodály-Inspired Music Educator? A Kodály-Inspired Music Educator: Believes in musical literacy for all - the ability to read, write, sing, play and hear music is a uniquely human skill and is a basic human right. Believes musicianship skills can and should develop throughout life: birth through retirement. Plans and implements a child-centered, sequential music curriculum. Activities in music classes are skill-based (doing, discussing, discovering), developmentally appropriate and tailored to the specific learning community. (Age, skill level, cultural background) Develops and utilizes the learner's voice as the first, most natural and accessible musical instrument. Believes that singing is a powerful means of musical expression and that it is a superior tool for developing the inner musical ear. Believes only the best music is appropriate for use in educating children. Early musical experiences utilize native folk music and children's singing games, augmented by folk music of other cultures (including jazz) and composed music. "Educating children to love music can only be achieved by their experience of music. Schools must undertake to provide this experience." Zoltán Kodály, speaking at the International Society of Musical Education Conference at Interlochen, 1966.* The primary goals for the Kodály-inspired music educator: To instill the love of music in every student To enable every learner to become musically literate Can I use Kodály Coursework in my Professional Development Plan? The National Standards and Sunshine State Standards for music are skill-based; a Kodály-inspired curriculum leads students to discovering musical elements through the development of personal musical skills. Teachers who are students in a Kodály teacher training course will develop their own musicianship in much the same way as their future students, yet at a much more advanced level. Course material in a Kodály teacher training course will be applicable on a Professional Development Plan as 1) knowledge the teacher acquires, as well as 2) methods and materials for increasing student achievement. The ability to inner hear, read, and write music strengthens other academic areas. (Eg: Language development, reading, writing, memory, mathematics, spatial-temporal skills, etc.) Research has documented that students immersed in a Kodály-inspired music curriculum show increased test scores in other academic areas. On Becoming A Kodály -Trained Music Educator Ultimate goals of Kodály Certificate Coursework for Music Educators: Outstanding Music Teaching Strategies for Birth through Adulthood Ongoing Improvement of Personal Musicianship OAKE Kodály Certificate: Certifies the student's ability to teach OAKE-endorsed Kodály coursework. (OAKE: Organization of American Kodály Educators - Website: http://www.oake.org/) Song Collection/Retrieval System for Use in Teaching ***** Generally there are three levels for a music educator to complete; some programs have four levels. Coursework most often takes place as a 9:00 a.m. - 5:00 p.m. schedule over the span of two to three weeks, but there is much variation. OAKE sets forth a curriculum guideline for the number of hours in each subject level; these teacher training courses can become "OAKE-Endorsed". See the OAKE website for complete listings of Kodály coursework. OAKE Guidelines for Endorsement of Teacher Training Courses: Subject & number of contact hours needed: Solfege/Musicianship - 50-70 Methodology - 50-70 Materials/Folk Song Analysis - 30-45 Conducting - 25-30 Ensemble - 10-15 Special Topics - 10-15 Total - at least 225 Typical Curriculum Layout for Kodály Teacher Training Courses (example based loosely on OAKE guidelines; programs vary) Level One Introduction to Kodály History and Philosophy Musicianship/Solfege Pedagogy/Methodology (Sometimes organized as pertaining to birth - grade 2, plus older beginners of any age) Materials/Folk Music Special Topics Choral Ensemble Experience Level Two: Conducting Musicianship/Solfege Pedagogy/Methodology (Grades 2-4 or Intermediate Level) Materials/Folk Music Videotape Project: This often consists of the student videotaping their own teaching for the class to review and the instructor to critique. Students typically videotape themselves during the academic year following Level One so that the tapes can be evaluated during Level Two. Special Topics Choral Ensemble Experience Level Three: Folk Song Research Pedagogy/Methodology (Grades 4- College Level) Conducting Musicianship/Solfege Chamber Music Special Topics Choral Ensemble Experience For information on the Pensacola Kodály Institute: June 2007, Levels One and Two The choice of music used by the music educator in music classes determines the sequence of musical elements taught. Sequences are not identical in different teaching situations: For example, a suburban or rural middle school as compared to heavily African-American elementary or a high school in an Hispanic neighborhood. A Kodály-inspired music educator has the knowledge and freedom to create a music curriculum that is uniquely tailored to the characteristics of their school population. Kodály training will enable a music educator to create a solid framework for a comprehensive music curriculum that is totally relevant to their students. Developmentally, older beginners in middle school, high school and beyond will process information in a much different manner than 6-year-olds. In addition, music that appeals to first graders is different than music that adolescents and adults relate to. The Kodály-inspired music educator will choose quality literature that their students will enjoy, and create their sequence based on this music and the skill level of their students. Therefore, it is common to see the sequential order of musical elements varied between music programs. The music reflects the student population, and will ultimately affect the music curriculum sequence. "The Music Drives the Sequence" ~ Donald Garrett, SECKE President "The compositions of every country, if original, are based on the songs of its own people. That is why their folk songs must be constantly sung, observed and studied" (Kodály 1964) More than anything, the beauty of Kodály-inspired teaching is exhibited by the students themselves. A successful music program of any sort should show the following results: Students who love music; making music, listening to music, creating music. Students who are open to new music and look for beauty of all types of music. Students who feel comfortable expressing the feelings of humanity through the language of music. Students who value good music as a integral part of human life. Students who are interested in and acquainted with their musical heritage and have an interest in keeping it alive. Students who are musically literate and proficient in musical skills. *Source: Zoltán Kodály, his life in pictures and documents. László Eösze; [trans. Barna Balogh and Gyula Gulyás; translation revised by John R. Thompson], 1982. |
In addition, the Kodály-inspired music educator will take the students'cultural heritage into account. In America, we have a very multicultural society, so therefore, "native" folk music for my particular current teaching situation would be primarily Anglo-American with the addition of some African-American, Native American, Hispanic and Asian music. A teacher in a different location may have such a high percentage of African-American students at their school that this would be an inappropriate starting point. A teacher at a school with a high percentage of African-Americans would choose a nucleus of African-American songs and games, augmented by the other cultures in lesser amounts. Since African-American music will often have more syncopation than Anglo-American music, it is highly probable that the element sequence would be varied to include that element at an earlier level than a sequence at a school such as mine. The same principal is true for the melodic elements. Composed art music supplements the core of folk music to create a curriculum based on music of the most long-lasting and therefore, highest quality. |
