kodály envoy...kodály envoy quarterly of the organization of american kodály educators vol. 44...
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Kodály EnvoyQuarterly of the Organization of American Kodály Educators Vol. 44 No. 3 • Spring 2018
Online Database Review: The Singing Classroom
The Beauty of Practice: Creating Joyful and Literate Musicians
Book Review: One, Two, Three!
A Few Conference Moments
The Kodály Envoy (ISSN# 1084-1776) is published quarterly by the Organization of American Kodály Educators. Copyright © 2018 Organization of American Kodály Educators. All rights reserved.
Send notification of change of address to OAKE National Office, 3415 S. Supulveda Blvd. Suite 1126 Los Angeles, CA 90034; Fax: 310-441-3577; Phone: 310-441-3555; [email protected]
Send requests for reprint permission to the editor.
Final decisions regarding content, revisions, scheduling, style, presentation, grammar, and artwork remain with the editor. The Kodály Envoy Editorial Policy, Advertising Policy, Guidelines for Contributors, and Style Guide may be obtained from the editor or at www.oake.org.
Statements and opinions expressed or implied in the Kodály Envoy are those of the authors and do not necessarily represent the views of the editor or publisher.
Editor Reneé Higgins12323 Almendra Dr.San Anronio, TX 78247210-710-1572 [email protected]
Advertising Editor Colleen GravesOAKE National Office3415 S. Supulveda Blvd. Suite 1126 Los Angeles, CA 90034 Fax: 310-441-3577; Phone: 310-441-3555 [email protected]
Associate Editor Ruth Boshkoff Bloomington, IN
Editorial Board Elaine BernstorfWichita, KS
Alice HammelRichmond, VA
Brian MeyersOxford, OH
Andy PaneyOxford, MS
Christopher RobertsSeattle, WA
KODÁLY ENVOY Contents Spring 2018
Volume 44 Number 3
Features 7 Online Database Review: The Singing Classroom10 Moments from the Opening Ceremonies12 The Beauty of Practice: Creating Joyful and Literate Musicians—Kathryn Bach16 Announcement: Board Transition24 Book Review: One, Two, Three!
Columns2 Message from the President: Mary Epstein—From Conference to Poetry4 Editor’s Note: Reneé Higgins18 Administrator Connections: Two Administrators, Two Perspectives21 Instrumental Connections: Steven Oare— We Are Arrangers! Collaborative Arranging
in the Band Setting
News and Information from OAKE26 National Conference Choirs Program28 2018 Kodály Summer Study Programs31 News from OAKE-Endorsed Certification Programs34 OAKE Financial Report—Katherine Hickey35 News from OAKE Divisions and Chapters39 New Members: Second Quarter 201740 2018–2019 OAKE Board of Directors and publication information
Cover: Norman Children’s Chorus at the 2018 OAKE Conference
OAKE Mission stateMent
Inspired by the vision of Zoltán Kodály, the mission of the Organization of American Kodály Educators is to support music education of the highest quality, promote universal music
literacy and lifelong music making, and preserve the musical heritage of the people of the United States of America through education, artistic performance, advocacy, and research.
OAKE is an affiliated member of the International Kodály Society.
OAKE is an associated organization of NAfME: The National Association for Music Education.
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MESSAGE FROM THE PRESIDENT: MARY A. EPSTEIN
From Conference to Poetry!
Congratulations to OAKE 2018 Conference Organizers!
Applause is in order for everyone who helped make the 44th OAKE Conference in Oklahoma City OK, This Land is Your Land: Music Made for You and Me, a resounding success. We are especially indebted to Kevin Pearson, OAKE Vice President and the Conference Program Team chaired by Katie Robertson and Amy Chaffin for their vision, planning, and attention to detail. The team comprised Elizabeth Maughan, Sandy Knudson, Rebecca Juarez, Lindsey Schroder, and Tony Flores. Hats Off !
Many thanks to all the committee chairs, committee members, and essential personnel: National Conference Choir Committee: Megan Sheridan, chair; Barb Spiri, Jenn Irlen, Maureen Haley, Kristina Waugh, Sandy Mathias, Cynthia Tickel, Judith Chan, Dianne Skrobis, Melissa Stone, Michelle Starcher, Andy Brown; Executive Committee: Paul Baumann, Mary Epstein, Ann Leffard, Kevin Pearson, Mary Neeley Stevens, Katherine Hickey; Newcomer and Administrator Program Chairs: Brenda Keen, Andy Paney; Poster Session: Brian Meyers, Brent Gault; Conference Teams for Registration, AV, Volunteers: Nick Mercier, Heidi McIlroy, Philip Montgomery, Kelly Foster Griffin, Elizabeth Maughan; OAKE Employees: Lauren Hirsh, Colleen Graves, Nancy Johnson, Reneé Higgins. Mazel Tov!
And, drum roll, please…. Two new publications
OAKE rolled out two new publications by two OAKE member authors. A DVD titled Soul-fège by Dr. Eva Floyd, Cincinnati Conservatory professor-conductor, explores the interface of two genres of choral music: Classical and Gospel. A book titled Turtle Dove: 60 Two-Part American Folk Songs arranged by Kathé Lyth, Celtic harpist living in Northern California, offers teachers and conductors a treasure trove of new repertoire. Both are affordably priced and for sale at this link: https://www.oake.org/publications.
OAKE Leaf Fund Grant New OAKE publications have recently been funded in part by the OAKE Leaf Fund. If you are an OAKE member possessing a longing desire to launch a musical project, this fund might be for you. The OAKE Leaf Fund provides funding to support educational and charitable activities in accordance with the purpose of the organization. Awards may be granted to the organization itself, Divisions or affiliated Chapters of the organization, or to members for special projects or research. Chapter workshops are ineligible for funding. The committee welcomes potential project inquiries of interest to the chair, Lisa Simmelink (you may find her email address in the member directory).
New Ideas - New Faces
Meeting young members is part of life as an OAKE president. Here are two. Logan McKinney in Utah possesses an unquenchable thirst for classical masterworks and is bringing them into the classroom – he shares his findings at OAKE Conference sessions. James McKinney in Texas developed a unit for deaf students and hearing students to participate in music class on an equal footing. These young faces seem undeterred about learning and supplementing ideas of their own transmuting existing knowledge into original ideas. Their actions line up with Sr. Isaace Newton’s famous metaphor for how knowledge progresses. Knowledge building upon itself can incrementally improve upon existing ideas until the cumulative adds up to the revolutionary. No one can predict the future, but these new faces bring hope for a bright one.
Passing the gavel
Ann Leffard stepped up to the presidency at the 2018 Conference. Donna Menhart will follow in 2020. We wish them both God speed. As I step away from the OAKE presidency and embrace the role of past president, I acknowledge those who banged the gavel starting 1974. Listed in reverse chronological order from 2018 are:
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Paul BaumannKelly Foster Griffin
Joy NelsonGeorgia Newlin
Brent Gault Katherine HickeySandra Mathias
Jill TrinkaAnn Kay
John FeierabendPat Teske
Pamela WadeBetsy Moll
Virginia IrvinLauren AbernathyLaurdella Foulkes
Jean Sinor (†)Christine Jordanoff
Sr. Lorna ZemkeHelen Wyzga
David Buttolph (†)Mark Williams (†)
Stephen Jay
Closing with Tennyson
The Oak
Live thy life, Young and old,
Like yon oak,Bright in spring, Living gold;
Summer-rich
Then; and thenAutumn-changed,
Soberer-hued Gold again.
All his leaves
Fall’n at length,Look he stands,
Trunk and bough, Naked strength.
Lord Alfred Tennyson
(1809 – 1892)Poet Laureate of Great Britain
and Ireland during Queen Victoria’s reign
It’s been an honor to serve as your president.Sincerely yours,Mary Epstein
Image of the print below is the Angel Oak
used by the kind permission of the artist Joy Hoitt
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MESSAGE FROM THE EDITOR: RENEE HIGGINS
Spring brings renewal and the chance to recharge during the OAKE annual conference. Attending the thoughtfully prepared workshops and the sessions are sure to bring you back to your classrooms with renewed energy and ideas for your students and colleagues.
This issue will provide a few glimpses into the conference and our coming summer issue will provide a broader look into the meeting including a wonderful keynote delivered at the opening ceremonies. The OAKE
annual conference has become quite a diverse and even an international affair where many Kodály organizations can come together to celebrate and share information with those committed to the philosophy and principles Zoltan Kodály taught and brought to many. This is quite a testament to the efforts of the OAKE board, volunteers, and members who work tirelessly to put forth an excellent few days of sessions and concerts for many to enjoy. Several members of the national honor choirs can boast being multiple year members which speaks to the commitment of their excellent teachers and parents at home. As teachers, you might keep the International Kodály Society (IKS) in mind for other opportunities to gather with those like-minded educators around the globe as you continue your work.
Many opportunities for study in OAKE endorsed summer study
programs are coming up as well. Peruse the listings in this issue and make your plans now to take advantage of those excellent programs offered across the map. Wherever you are, there is likely a program near you this coming summer. Or, perhaps you would like to plan travel to the offering that speaks to you most or offers just the certification you are looking for during your summer break.
You will find a review in this issue on OAKE’s latest publication: One, Two, Three as well as a review on a online database which could easily become a useful tool for many of you. We also provide your regular chapter news and columns for instrumentalists and areas of interest to administrators and teachers in various points of their careers. Have a wonderful wrap up to the spring semester and look for more coverage from the recent conference in the next issue.
CALL FOR PROPOSALSSESSION PROPOSALS ARE DUE MAY 15, 2018
Proposal submission forms are found on the Sessions and Presenters page on the OAKE website:
oake.org/conferences/sessions-and-presenters
KodályNATIONALCONFERENCE
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PEDAGOGY AND SONG LITERATURE: Levels I, II and IIIMUSICIANSHIP: Levels I, II and IIICONDUCTING: Levels I, II and III
Faculty: Amy Carter, Ken Carter, Patricia Joyce, Fred Meads, Christopher Roberts, Tom T. Shelton, Jr., Kristen VanOllefen
Each summer, singers, teachers, and vocal coaches from across the nation attend Westminster’s Adult Programs for an extraordinary life-changing, learning experience. Integrate traditional Kodály pedagogy with 21st century educational approaches that are student-centered and promote musical engagement and thinking outside of the classroom. Experience a range of music including folk music from various cultures, popular music, singing games, and choral repertoire. Develop vibrant lessons that incorporate broad musical styles/genres, technology, and creative thinking practices. Train with Westminster’s renowned faculty and award winning artists. Expand your creativity in an atmosphere of artistic and intellectual discovery!
CERTIFICATION COURSES
OAKE Endorsed
OAKE EndorsedKODÁLY CERTIFICATION COURSES
JULY 16 - 27, 2018
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OAKE SUSTAINING MEMBERS
Backyard [email protected]
Hal Leonard [email protected]
J. W. Pepper & Son [email protected]
Let’s Play [email protected]
Macie Publishing [email protected]
Mad Robin Music & Dance, [email protected]
McGraw-Hill [email protected]
Music is [email protected]
Silver Burdett/Pearson [email protected]
Too Ra Loo, [email protected]
West [email protected]
Kendra [email protected]
Jeanette [email protected]
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The Singing Classroomhttps://thesingingclassroom.com
Subscription costs: One month freeMonthly subscription: $12.95Annual subscription: $139.95
The Singing Classroom is a web-based resource for teaching music co-founded by Deborah Skydell Pasternack. She is Kodály certified, with training in Dalcroze and Orff, and produces the site’s musical content. The “About Us” section informs that the Kodály, Orff, and Dalcroze approaches are melded and the website seeks “to make the music classroom a joyful, engaging and productive place for teachers and students.” Sample content is featured on the home page and access to the full range of materials for PreK–6th grade learners is provided through a subscription. Monthly or annual subscriptions are available and the first month is free. Visitors can view sample content, which includes images of materials, notation, and video clips, before electing to start a free trial. The collection of more than 150 titles is comprised of songs, games, and chants drawn from multiple cultures. The “recently added” page signals that content continues to be updated and expanded. Users can search the collection by keyword and by selecting options in 16 other categories. Selections can be saved to create personal collections. I found locating selections in the collection quite easy. While I did not examine each title, I selected new and familiar titles for closer examination. I searched using the dropdown menus in different categories and saved my
selections in my song collection. Those who have compiled searchable music collections (e.g., using excel spreadsheets) may find this format familiar. In addition to searching by grade, Kodály educators may appreciate having the ability to search by solfege, meter, modes and scales, rhythms, part singing, and other music concepts and skills to locate relevant repertoire. Searching by instruments and materials used could help educators make use of materials they currently have or provide ideas for how new materials could be incorporated. Selecting songs by genre, topic, culture/country/language, holiday/special event, and games/dances/movement may assist music educators in ensuring learners feel represented and included in their classrooms. Presenting material and establishing classroom practices that honor diversity is important, as all children deserve to be included and have an equal opportunity to learn. Finally, locating materials according to improvisation and composing could help teachers ensure both occur in the music classroom. The materials provided by The Singing Classroom may assist in both learning and teaching by presenting information in ways that could engage multiple learning modalities. Recommended grades, materials lists, lyrics, ideas for teaching, skills and concepts, videos, audio recordings,
background information, and/or downloadable materials accompanied my selections. Video(s) may have demonstrated a game, an instrument, or how to use downloadable materials, such as posters. The downloadable materials were visually pleasing, as well as user- and child-friendly. Images could be used to assist in teaching the songs and practicing skills and concepts; ideas were suggested in the videos. Audio examples were also provided, which may have included a solo vocal track, vocals in a round, and/or instruments. The vocal model was clear and easy to understand. In addition to aural examples, song notation was provided, which included instrumentation when applicable. Having the option to see, hear, read, and/or play along with the material can make the teacher’s learning more pleasant and provide further understanding of how to execute the activities. Additionally, audio examples, video examples, and notation may be shared with students as appropriate. Certain videos may help children visualize movements or how to play instruments. The videos may also be useful when teaching partner activities. Showing the videos could help students visualize how an activity is executed before attempting with a partner or the teacher. The audio files may be appropriate if a teacher is having difficulty singing or
ONLINE REVIEW: MARA E. CULP
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speaking clearly or accurately; perhaps, due to sickness. The scores may also allow teachers to more expediently incorporate notation in activities when desired. The Singing Classroom could be valuable for preservice and in-service music teachers. Preservice teachers could benefit from examining materials that may help them learn how to teach specific musical concepts and skills. Both preservice and in-service teachers may seek to provide more opportunities for creativity in their classrooms and may find ideas suggested among the resources useful. The videos and materials may also provide examples of presenting information in multiple ways, which could be particularly useful for preservice teachers or in-service teachers who may be teaching young children for the first time; or to support children’s diverse learning needs. Additionally, the videos could provide a way to incorporate technology, which teachers could build upon. Teachers could create videos of other classroom activities to share on school web pages for students and families. This would support school-to-home connections, while also presenting material to learners in an additional way. Making music with family members or sharing school music at home may also provide further motivation for students to engage in music-making outside the classroom. Hence, The Singing Classroom could help both preservice and in-service teachers invigorate their practice and improve the learning experience for all students. Overall, the website was very visually pleasing and easy to navigate. I enjoyed being able to search the collection using many different categories. Individuals just beginning to build a repertoire for children may
value this feature also. Experienced teachers may use this feature to quickly locate new songs to prepare, present, or practice concepts they teach. As a person who is always on the lookout for titles in a variety of meters and modes to share with children, additional options within the collection would be welcomed. Thoughtful consideration is required before introducing new elements into one’s classroom. While I found the vocal model to be pleasant and engaging overall, music teachers should listen carefully to all examples prior to sharing them. Ultimately,
teachers are children’s musical models in the space and should select audio and video examples that support goals and student learning outcomes. Along these same lines, teachers should review the materials provided with each title to ensure proper alignment and that they meet the needs of the specific learners. As with any resource, teachers may find additional concepts they would like to highlight; or content they would alter to make experiences more appropriate for their learners’ particular needs. I would recommend visiting The Singing Classroom and viewing the sample content. Teachers can further examine the materials during the free trial period. The materials may provide options for learning and/or presenting information that could make The Singing Classroom a useful resource for both beginning and experienced music teachers. If the teacher believes The Singing Classroom would be a useful classroom resource they could continue their subscription; perhaps the school
would be willing to assist with costs. Selecting material for one’s classroom is an important responsibility. I recommend music educator’s–particularly those who may be new to teaching music to young children–carefully review the material in The Singing Classroom. While seasoned teachers of young children may find many familiar songs and activities, they may also discover repertoire and materials presented in different and engaging ways that could invigorate their practice and enhance student learning. For these reasons, The Singing Classroom is worth examining.
Mara E. Culp, Ph.D. is Assistant Professor of Music Education at the Eastman School of Music at University of Rochester. Mara E. Culp earned a PhD and Master’s in music education from Penn State and a bachelor’s in music education from Siena Heights University. She has taught K-12 general, choral, and instrumental music and has had extensive experience working with Pre-K students. During the 2016-2017 academic year, she served as Visiting Assistant Professor of Music Education, Vocal General, at Ithaca College. She has also completed Kodály Level I and Music Together® Teacher Training.
I enjoyed being able to search the collection using many different categories. Individuals
just beginning to build a repertoire for children may value this feature also.
Spring 2018 9
wcupa.edu/music
WEST CHESTER UNIVERSITY of PENNSYLVANIA
School of Music
National Association of Schools of Music
NASM
Explore a career in music at West Chester University’s School of Music, accredited with the National Association of Schools of Music (NASM) in the following degree programs:
B.M. Music Education (instrument, keyboard, voice)
B.M. Music Performance (instrument, keyboard, voice, jazz)
B.M. Music Theory
B.M. Music History
B.M. Music Composition
B.M. Music with Elective Studies in an Outside Field
M.M. Music Education (Research Report, Performance, Orff-Schulwerk, Kodaly Option, Music Technology)
M.M. Piano Pedagogy
M.M. Music History and Literature
M.M. Music Theory and Composition
M.M. Music Performance (Instrumental, Choral Conducting, Vocal, Piano, Organ)
Learn more about our Applied Music, Music Education, and Music Theory, History, and Composition Departments online, including faculty bios, course offerings, and requirements.
Performances Live Streamed at
livestream.com/wcupa
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Norman Children’s Chorus Sandy Knudson conducts
Songs Of the PeopleMusic Made for You and Me
2018 OAKE Conference Opening Ceremonies
László Nemes gives Keynote Address and presents at the Mini-
Conference
OAKE Board Greets the Membership and Special Guests
above left: Mary Epstein, OAKE President, leading singing of “Harmonia Mundi.” above right: Conference attendees singing “Harmonia Mundi.”
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LEVELS I, II, & IIIJUNE 18-29, 2018
For more information contact Dr. Susan Harvey at 940-397-4502 or email [email protected].
mwsu.edu/music
Kodály Faculty
DR. SUSAN HARVEYMSU Texas Music Department Chair and Associate Professor of Music
DR. ALICE HAMMELEducator, Author, Researcher; Teacher at James Madison University, Virginia Commonwealth University, and MSU Texas
REBECCA JUAREZPast President of Kodály Educators of Texas; Elementary Music Teacher, North East ISD
ALLISON LEWISElementary Teacher, Pennsylvania School District
The Premier K-12 Levels Program for every teaching situation.
Midwestern State University offers Levels I, II, and III Kodály for continuing education and graduate credit. Instrumental, choral, elementary, nontraditional ensembles, and secondary general music pedagogy and literature all seamlessly integrate into each level of classes. Participants study musical material, choral conducting, and musicianship/solfège. Classes meet Monday through Friday for two weeks.
TEACHERINSTITUTE
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On March 24, 2017 twenty-four students representing third through fifth graders at the Andrew Peabody School travelled by airplane with ten adult chaperones from Cambridge, Massachusetts to Philadelphia, Pennsylvania to present a demonstration of how they learn at the 2017 Organization of American Kodály Educators National Conference. The focus of this presentation was on joyful music literacy; however, it should be noted that the students’ comprehensive music education includes several components,discussed below, that are ongoing from the time they first step into the music classroom.
We begin with some background on the music program at the Peabody School:
The History
Since 1998, The Andrew Peabody School in Cambridge has piloted a model of high-frequency Kodály-inspired music learning for its students. This program has been funded as part of a generous grant from a private foundation that has been researching the impact of such instruction on the brain by neuroscientist Dr. Martin Gardiner:
“Music is an extremely rich kind of experience in the sense that it requires cognition, it requires emotion, it requires aesthetics, it develops performance skills, individual capabilities. These things have to be developed and all have to be synchronized and integrated so that, as a person learns music, they stretch themselves mentally in a variety of ways. What we are finding is that the kind of mental stretching that takes place can be of value more generally, that is, to help children in learning other things.”
From the Music in Education National Consortium, Journal for Learning through Music, Second Issue, Summer 2003, “What Makes Music Work for Public Education?” - pg. 87 Dr. Martin F. Gardiner, Brown University; http://www.music-in-education.org/
It should be noted that since the successful implementation of this program at the Peabody School, seven of twelve elementary schools in Cambridge have added more music to their school day.
An Overview
The Andrew Peabody School is an urban public school that is part of the Cambridge Public School District (CPSD). Here is some information from the current CPSD “Schools at a Glance” brochure:Cambridge does not have neighborhood schools. Under the Controlled Choice policy, school assignments consider:
• Parent preferences • Socio-economic balance, as measured by the percentage of students who do, and do not, qualify for free or reduced price meals • Location of open seats• Combined enrollment and demographics of elementary schools that feed into a future Upper School • Whether the child speaks the program language of the two-way language immersion program
The Peabody School in Cambridge is one of the schools that most closely mirror the current demographic census for the City of Cambridge. The following statistics will provide you with a more accurate view of our demographic and make-up of our community:
• 47% of our students are on free and reduced lunch• 52% of our student population are Caucasian, and 48% are other• We serve 35 families with our weekend backpack program (this provides healthy meals for students who need packaged food for the weekend to ensure every student is fed.)• Almost 40% of our students come from low income housing• 10% of our students are “doubling up” or homeless
The chart that follows shows the enrollment data for the 2015-2016 school year from the Massachusetts Department of Elementary and Secondary Education: (http://profiles.doe.mass.edu, accessed 1/1/17).
The Beauty of Practice: Creating Joyful and Literate Musicians in
the Cambridge Public SchoolsKathryn Bach, MM Music Education, Kodály emphasis
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Knowledge Based Reading to Foster Musical Independence and Music Literacy
“The way to the understanding of music is available to all: it is musical reading and writing.” Through musical literacy “everyone may join in great musical experiences.”
Kodály Institute of the Liszt Ferenc Academy of Music, (http://www.kodaly-inst.hu/zoltan_kodaly/kodaly_concept, Accessed 1/1/17)
This is a working formula used to address the needs of lesson planning and writing curriculum in a high frequency model program. This model has also helped me address differentiated instruction and the needs of varying abilities in the classroom.
“Curriculum needs to address the needs of all learners and abilities. Our current standards movement, on one hand, attempts to ensure that all students will achieve a core of knowledge and standard of performance, yet it fails to take into account varying ability levels. Educators consumed with trying to meet standards (not of their own doing necessarily) may in fact be stressing the low ability student and at the same time boring the gifted one. Since there is no standard student there cannot be a standardized curriculum. We must strive for teaching individuals, and assess them accordingly.”
—Jerome Bruner, from The Process of Education
The Process:
“We should read music in the same way that an educated adult will read a book: in silence, but imagining the sound.” (1954)
— Selected Writings of Zoltán Kodály
Step 1: Prepare the EarStep 2: What do we know by looking at the notation on the staff?Step 3: Time Signature: How many beats in a measure?
Step 4: Rhythms: We write the rhythm set on the board, then we clap and say the rhythm namesStep 5: Form: What is the same and what is different? Do we have patterns?Step 6: Tone Set: We notice which notes we have and where they live on the staff. Then we sing the tone setStep 7: Inner Hearing (Audiation)Step 8: Isolate musical challenges
A Sample Working Formula for Weekly Lessons:
Day 1. Presentation of Known or Unknown Musical Material
• Folk Song (known or unknown depending on ability of where in practice)• Exercise (Kodály 333, D. Bacon 46 American Folk Songs, Bicinia Americana by M.A. Williams, Sourwood Mountain by Tacka/Howell, The Owl Sings by S. Taylor-Howell, etc.)• Art music excerpt
Day 2. Two-Part Work • Add-ons; ostinatos (rhythmic or melodic)• Part II of two-part material• Canon (melodic, hand sign or rhythmic)
Day 3. Practice of Part-Work • Whole group/small group
Day 4. Performances • Solos, duets, chain singing*• Writing/Dictation
Lesson from OAKE National Conference 2017, Philadelphia, PAKathryn O. Bach, MM Music Education, Kodály emphasis, Andrew Peabody SchoolEarly Bird Singers Demonstration Lesson
Abbreviations:RN= Rhythm Names MN= Melody NamesS. =StudentsT. =Teacher
Objectives: I. Students will practice the note fa in the hexachordII. Students will practice the new rhythm Ta-mi gcIII. Students will practice the interval do-faIV. Students will
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I. Bim Bum a. T. “loos” song b. S. derive and sing/ play game c. S. create three different motions with a partner d. T. passes out envelopes with the rhythms to the song in them e. S. put song in order and sing with RNs f. S. draw melody
Transition: S. derive tone set for the first phrase of Chairs to Mend (drmfsl)
II. Chairs to Mend a. T. points to tone ladder b. T. points to the melody for Chairs to Mend c. S. derive and sing d. S. sing in canon e. T. sings melodic ostinato s,s, d d s, s, d d f. S. sing in canon with melodic ostinato
Transition: Melodic echo canon with fa.S. put tone set on the staff where F= DO
III. Tideo a. T. points to the notes from the song on tone ladder (notes on staff) b. S. derive the song and play game c. S. clap rhythm and sing song (words) d. S. sing RNs from memory
Transition: T. puts the rhythm to Tideo on the board e. T. slowly changes the rhythms of Tideo f. S. identify each change and articulate where the change isT. changes the song to Sail Away (practice the new rhythm Ta-mi gc) g. S. derive and sing Sail Away h. S. clap and say rhythms to Sail Away i. S. sing song with T.
Transition: S. sing chorus to Sail Away
IV. Sail Away (extended practice-prep I IV V) a. T. tells S. to sing chorus, she is going to do something different b. S. sing chorus, T. sings: do fa fa do, do fa so do. c. T. passes out worksheet with chorus of Sail Away written and second part written underneath d. T. sings her part again, S. derive what was sung e. Half sing chorus, Half sing chords, switch f. S. write in the notes they are singing for the chords g. S. sing chorus, T. sings with words “loo” h. Invite everyone to sing
Transition: T. tells S. to flip paper over to look at “mystery song”
V. Shoo, My Love a. S. sing melody b. T. puts song on the board c. S. sing with HS and MNs
VI. Glorious (group singing/closing activity in gratitude to Ms. Ford) a. S. sing song
In Conclusion
With the tremendous support of Jen Ford, Principal and Susan Holm, Teacher-In-Charge we had an experience that our students are still talking about today. After travelling by airplane and singing in the airport we went to the Franklin Institute and had lunch and explored. At 1:00 we arrived at the Philadelphia Marriot Downtown for some quiet time before the demonstration. Following the demo we travelled to the Liberty Bell (and more singing of course!) and then ended our whirlwind experience with dinner at the airport before heading back to Boston that evening.
How did it go? The students were, of course, authentic, unscripted, and amazing. As their teacher I was tremendously honored and overwhelmed by the number of amazing experts in Kodály inspired teaching who showed up to see these beautiful children that I am so fortunate to teach.
As for the students I am so pleased that they had so much fun. One student was so inspired that on his own, he stood up and presented the following month to the Cambridge Public School Committee stating that this experience was “the best experience he ever had.” Do the students know how amazing it is that they have music four times weekly? They don’t. They are blissfully unaware that most children do not get this much music in their school day. So be it. In the words of Zoltán Kodály:
Teach music and singing at school in such a way that it is not a torture but a joy for the pupil; instill a thirst for finer music in him, a thirst which will last for a lifetime. Music must not be approached from its intellectual, rational side, nor should it be conveyed to the child as a system of algebraic symbols, or as the secret writing of a language with which he has no connection. The way should be paved for direct intuition. ...Often a single experience will open the young soul to music for a whole lifetime. This experience cannot be left to chance; it is the duty of the school to provide it.
— Selected Writings of Zoltán Kodály
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Sources:Bolkovac, E. & Johnson, J. (1996). 150 Rounds for Singing and Teaching. New York, NY. Boosey & Hawkes
Locke, E. (1988). 155 American Folks Songs to Sing, Read and Play.Rev. Ed. New York, NY. Boosey & Hawkes
NEW PUBLICATIONS
ONE, TWO, THREE! Achat, Shtayim, Shalosh!
Websites:
Kodaly Center for Music EducationKodaly.hnu.eduhttp://kodaly.hnu.edu/song.cfm
https://www.bethsnotesplus.com/2016/06/bim-bum.html
[PS22 Chorus]. (2014, October 22). PS22 Chorus “Glorious” by David Archuleta [Video File]. Retrieved from https://www.youtube.com/watch?v=YUiJO_0wmm0
[One Voice Children’s Choir]. (2014, November 7). “Glorious” by David Archuleta and Performed by the One Voice Children’s Choir [Video File]. Retrieved from https://www.youtube.com/watch?v=nomxXk6Q1rk
Session Photos:
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ANNOUNCEMENT: 2018 OAKE Board of Directors transition
Mary Epstein, OAKE President (2016-2018) introduced retiring and inducted the incoming OAKE Board of Directors at the General Assembly Meeting in Oklahoma City on March 23,2018. Kathy Hickey, treasurer, presented the annual financial report, which may be found on p. 34 of spring Envoy. Ann Leffard, incoming President concluded the meeting.
Retiring OAKE Board membersPast President – Dr. Paul Baumann Treasurer – Dr. Katherine Hickey Western Division President – Lucinda Dalrymple Southern II Regional Representative – Katie Robertson Eastern Division II Regional Representative – Heidi McIlroy Midwestern II Regional Representative – Sarah Oyler Member at Large I – Robbin Marcus Administrator Program Presenter – Linda Hulsey Editorial Board – Dr. Sarah Bartolome Editorial Board – Dr. Susan Brumfield
Induction of Incoming OAKE Board membersPresident – Ann LeffardPresident Elect – Donna MenhartTreasurer – Christopher Stroh Western Division President – Carrie Nicholas Eastern Division President – Michelle McCarten Southern Division I Regional Representative – Rebecca Juarez Eastern Division I Regional Representative – Philip Montgomery Western Division II Regional Representative – Erika UribeMidwestern Division II Regional Representative – Christina SvecMember at Large I – Katie Bach Editorial Board – Dr. Brian MeyersEditorial Board – Dr. Christopher Roberts
Financial Report – Katherine Hickey Incoming President – Ann Leffard
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M U S I C E D U C AT I O N
[email protected] (585) 274-1074 | Toll-free: 1-844-820-3766
Orff Schulwerk Teacher Education CourseLevels I and IIProgram Director: Donna Brink Fox
Faculty: Mary Helen Solomon, Jim Solomon, Karen Medley, Janet Robbins
AOSA level certificate awarded upon completion.
Dalcroze Level 1: The Introductory CredentialMonica Dale, instructor Jason Miller, coordinator
Level 1 – The Introductory Credential certification from the Dalcroze Society of America awarded upon completion.
Alexander Technique for MusiciansKatie Fittipaldi, instructor
NEW! Encouraging Ensemble: Integrating Theater into the Music Classroom Lindsay Baker, instructor
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ADMINISTRATORS CONNECTIONS
Two Administrators, two perspectives.
This issue’s administrator column is provided by two music administrators. One is a music educator who recently stepped into the world of administration and is viewing the impact of Kodály teaching from a new vantage point and the
other is a veteran fine arts administrator who has seen many types of professional development touch his school district and the teachers in his department.
Amy Brown
I am a first year curriculum coach of vocal music in the Wichita Public Schools. This year, it has been my happy task to view, with fresh eyes, the accomplishments of the nearly 130 vocal music teachers in our vast district of close to 51,000 students. Due to the joint vision of the leaders in the nationally recognized fine arts department of the school district and leaders of the terrific music education program at Wichita State University, all of our music teachers since 2008 have had access to and financial assistance for attending the locally held three-year certification program at the university. This has provided hundreds of teachers the benefits of continuing education, peer collaboration, personal challenge, a wealth of new resources and connections. How has it impacted the students in our predominantly urban district? For the students of teachers who have implemented Kodály methodology, quite simply it has brought JOY! Joyful empowerment as students build music literacy skills in a sequential way, joyful
experience as they play to prepare for musical concepts that seamlessly flow from dances and games; joy as they utilize skills prepared as they respond to and perform original musical art of their own creation. Concert performances across the city are filled with students engaged and highly competent at a variety of tasks as they create entertaining, educational grade level concert programs. The confidence from well-trained teachers and the inspiration this has provided translates into increased student involvement at the secondary levels and is even reflected at the post-secondary level. Anecdotal evidence seems to indicate a correlation between opportunity and career passion: students who were involved with our summer Kodály Children’s Choir as campers soon served as collegiate-age camp counselors who, as music education students, music educators and Kodály Certification graduates, currently impact their students in classrooms throughout Wichita. Many of the teachers who attended certification levels are now involved nationally in Kodály organizations
and are teaching at other certification programs. The influence of those committed music leaders a decade ago is truly affecting a broader community.What is the biggest impact of the accessibility and success of the Kodály Certification Program in the Wichita Public Schools? A sense of joyful inter-connection with other music educators near and far and a renewed passion for the WHY of our profession – bringing JOY to the lives of students through music. Join us at any Wichita neighborhood school program – you are sure to leave with a brush of the shared musical joy!
Amy Brown holds a BM, an MM, and has Kodály Certification. She is the Vocal Music Learning Specialist, Wichita Public Schools, Wichita, Kansas.
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Shawn Chastain
Shawn Chastain received his degrees from Wichita State University and is a frequent clinician and adjudicator throughout Kansas. He is completing his twelfth year as Executive Coordinator of Fine Arts for the Wichita Public Schools. Shawn has received the Outstanding Administrator Award from the Kansas Art Educators Association and the Midwest Kodály Music Educators of America. He serves as Chair for the NAfME Council of Music Program Leaders. He assists with the Wichita State summer program certification choir and level 3 conducting. Enjoy his observations and the quotes he has gathered from representative district music educators with additional observations some of their building administrators. Teacher participation in Team Time, Professional Learning Communities, Faculty Meetings, Professional Development Sessions, Professional Organization Memberships, In-Services, Workshops, Graduate Classes, Conferences, etc., can be a significant investment of time and resources. Coupling these second shift duties with their base “classroom gig” has many music specialists “Rockin’ Round the Clock” - literally! However, when teachers find a capacity-building pedagogy that elevates classroom instruction and student engagement, they soak it up whenever and wherever! (Readers, my hunch is YOU are one of those teachers – thank you!) When Dr. Bernstorf asked me for a Kodály administrator’s submission, I knew that whatever kudos I expressed, I would still somewhat be preaching to the choir. After reading this article, perhaps you can help expand that “Zeal of Zoltan” to even more colleagues and administrators. As a curriculum coordinator, one powerful advocacy component I’ve witnessed is that no matter where someone is in their teaching career, Kodály Certification Courses are always applicable. Thanks to the willingness of several WPS
colleagues, I’ve taken a sampling of teachers and their administrators. These comments come from teachers across the spectrum: New, Veteran, Transition to Teaching, Choral/Instrumental, Secondary/Elementary etc. As you read these teacher insights, be thinking of your next advocacy steps. Who knows? Perhaps this is just what “so & so” teacher/administrator needs to hear! The Kodály program has affected my teaching tremendously. My students are much more engaged this year because the activities demand high rigor but are still fun. The Kodály sequence helps the students understand music from the foundation through singing. I have already seen the positive effects from my most recent concert.
Comments from new teacher Joel Cachero –Adams Elementary, Music
The work Joel is doing is PHENOMENAL! I absolutely love the high engagement in his music classes and the students are learning so much! He’s only in his 2nd year of teaching, but WOW, the students love his class and Joel is a much happier teacher. Adams kids are winners with Mr. Cachero and Kodály!
Comments from Terry Manning - Adams Elementary Principal
When I started my Kodály levels courses, I was a 15 year teaching veteran. I felt like I had a strong grasp on concept teaching, as well as overall musicianship. But, I was feeling uninspired, and kind of burned out. Taking the levels courses not only gave me a multitude of resources and tools for solid conceptual teaching, it also taught me to analyze and teach music outside of the typical folk song genre in a way that I can continue teaching solid musically literate lessons regardless of the song source. And, if a song is “conceptually above their learning sequence”, I feel I can give my students an authentic and meaningful musical experience while laying a strong aural, visual, and kinesthetic foundation for future learning.
Observations from Nina Kindt – OK Elementary, Music Educator. Music has always been a part of my life. I remember sitting in the music room as an elementary student wishing for the “special sticks” so that I could play an instrument. Now when I walk into the music classroom at OK Elementary I see students with these “special sticks” tapping out rhythm, playing instruments, and enjoying the music. Students are actively involved with the music on all levels. Whether they are exploring the musical patterns, listening and imitating the sounds their teacher is sharing, or matching the pitch so they can sing a special tune. They are all actively learning about music. I never enter the music room where I don’t get swept up into the magic of learning with them. The Kodály curriculum provides our students the opportunity to learn music in a systematic step by step process and enjoy every minute of it. They are able to discover music at their level. There is no doubt that at OK Elementary we have a culture of music being just as important at reading and math! In fact for some students music is what makes them successful in reading and math.
Comments Jamie Allison - OK Elementary School Principal
After completing level 3 this last summer I made a goal to lesson plan and teach this year 100% Kodály, and it has been really helpful this year with doubles[Editor’s note: “doubles” are combined classes of approximately 50 students] I like how the lesson planning books give you a starting place, and help you stay organized and on track. And it works, my students love the games, and that helps them love singing. Kodály allows you to teach the students the way they learn best – play.
Comments from Noelle Beougher - Harry Street Elementary, Music Educator
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Kodály has absolutely changed the way I teach. Having a “follow-able” sequence for sight-singing has given creating supplemental materials more direction, as well as having a compendium of songs the kids can sight-sing. When it comes to learning concert music, learning on solfége and tonic sol-fa sheets has made entirely more sense than
trying to teach kids music on words or numbers. Rote learning on words doesn’t actually provide music literacy, in the same way that mimicking words in a foreign language doesn’t actually provide understanding. Numbers don’t provide an actual reliable way to teach accidentals, while solfége has a very set structure for accidentals. Translating songs into tonic sol-fa
makes learning difficult songs much easier. Being able to remove all the extraneous information when beginning a song, such as accompaniment lines and text, as well as being able to comfortably chunk the song into digestible bites, allows students to focus better and removes the confusion of a full octavo, especially for beginners. I could not imagine trying to go back to
how I used to teach. It has been the most valuable resource in my classroom, and I have seen the difference it makes in my students’ learning.
Comments from Matthew Nutter – Hadley Middle School, Vocal Music
And what about the collaboration component? Nicole confirms “The Kodály community is also absolutely wonderful – you don’t feel like an island.” Nina adds “But, my favorite benefit of taking the Kodály levels courses, is finding a community of joyful, excited educators who are on fire to continually improve their craft. I’m not much of a joiner, but going through levels courses together is like being in the trenches together. Now, I have a Band of Brothers (and Sisters) who inspire me, encourage me when things get tough, and challenge me to take my craft to the next level.” I know many of you can personally affirm these eloquent testimonies! Please don’t stop there. Hopefully Joel, Terry, Nina, Jamie, Nicole and Matt have inspired you to tell your Kodály story, perhaps to an inquiring teacher or administrator. Spring is just around the corner and now’s the time to start planting seeds. After all, you are a powerful resource.
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INSTRUMENTAL CONNECTIONS: STEVEN OARE
We Are Arrangers! Collaborative Arranging in the Band Setting
It started off as another typical day in Mr. Terris’ middle school band. The students warmed up with some lip slurs followed by some “play after me” rhythm exercises. Next, the band played the folk song “Mary Ann,” which they learned by ear the day before. Then, something new happened. Mr. Terris passed out a sheet of music with the melody of “Mary Ann” along with a number of lines that would work well if played in tandem with the melody.
Mr. Terris began the activity by asking half of the band to play the melody and half to play the line titled “chord roots.” This was no problem for the students, because they had played chord roots with many songs in the past. Next, the band paired the melody with the arpeggiated bass line. The band had some experience with this type of accompaniment as well, though the clave rhythm patterns found in the arpeggios needed some remedial attention.
What would it sound like if we added more parts to the melody and bass line?” he asked. “Which section wants to play the chord roots? Who wants to play the countermelody? Ok, now the rest of the winds play the melody and percussion play the calypso patterns I’ve given you. The students played their assigned parts. At the end of the last note, smiles and excited voices erupted across the band. “Let’s do it again!” said a trombonist. “I want to play the chord roots” said a flutist. “What does the harmonized line sound like?” asked a saxophonist. “ Let’s add the bass line!” suggested a trumpet player. The band continued assigning and reassigning parts and playing the song until it was time to move on to the next activity. With each performance, Mr. Terris led the discussion focusing on which parts and instrumentations seem to work best. After three rehearsals of this type, Mr. Terris said, “Our concert is in two weeks. Would you like to play this piece?” His question was met with a resounding “Yeah!” “So, how should we do it?” The class discussion quickly arrived at an arrangement allowing every section to play one of the given lines. “That only took 38 seconds! Do you hear songs on the radio that are that short?” asked Mr. Terris after their first try. “How long are most pieces? What can we do to make it longer?” Three students raised their hands and suggested that they play the piece four times and another student suggested that they play it slower. With some more collaboration and some instructions written on the
& 441
.œ jœ ˙Melody in Concert Bb
.œ jœ œ œ œ œ œ ˙ w .œ jœ œ œ .œ jœ ˙ œ œ œ ˙ w
&9
œ œ œ œ .œ jœ œ œ œ œ œ ˙ w .œ jœ œ œ .œ jœ ˙ œ œ œ ˙ w
& 4417
.œ jœ ˙Harmonized in 3rds
.œ jœ ˙ œ œ œ ˙ w .œ jœ œ œ .œ jœ ˙ œ œ œ ˙ w&25
œ œ œ œ .œ jœ œ œ œ œ œœ ˙̇ ww .œ jœ œ œ .œ jœ ˙ œ œ œ ˙ w
& 44 .. ..33
.œ jœ œ œArpeggios
.œ jœ œ œ .œ jœ œ œ .œ jœ œ œ .œ jœ œ œ .œ jœ œ œ .œjœ œ œ .œ jœ œ œ
& 44 .. ..41 ∑Background Fill 3 times
∑ ∑ Jœ œ Jœ œ œ ∑ ∑ ∑ Jœ œ Jœ œ Œ
& 44 .. ..49
.œ jœ ˙Roots
.œ jœ ˙ .œ jœ ˙ .œ jœ ˙ .œ jœ ˙ .œ jœ ˙ .œ jœ ˙ .œ jœ ˙
& 4457 Œ œ œ œ
Countermelody œ œ œ œ œ ˙ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙
&65 Œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙
& 4473
.œ jœ œ œInterlude
.œ jœ œ œ .œ jœ œ œ .œ jœ œ œ
& 4477
.œ jœ œ œModulation
.œ jœ œ œ .œ jœ œ œ .œ jœ œ œ
MARY ANN
Copyright 2001
Bb Clarinets
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white board as a reminder, the band played the piece four times with four different orchestrations. “Well, that’s better,” said Mr. Terris. “But, do songs usually start right off the bat with the melody? Don’t they usually do something before the melody starts? What is that called?” “An introduction!” chimed in the bright clarinet player. “It’s usually the guitars and drums.” “Well, okay. Let’s create our own introduction.” Soon, an introduction was agreed upon, and using the same process, so was a coda. During the next rehearsal, Mr. Terris’ lead the students in discussions regarding ways to make the music more exciting, how to bring the piece to a climax, and even how to modulate to a new key. Within a few short days, the band had agreed upon an arrangement that included an introduction, four different orchestrations of the melody, an interlude between the second and third variation, a modulation before the last repetition, and a coda. The piece was designed to gradually build from a simple statement of the theme to a big climax. The directions for each part were written on the board as they were created. Once the plans were finalized, Mr. Terris wrote the instructions on paper and handed them out to the band. It wasn’t difficult to keep the students engaged during the final few rehearsals leading to the concert. Students could recognize many of the background parts, introductions and interludes of each piece they were preparing for the concert and they began to adjust their balance to match the needs of the music. Not only did they continue to suggest small adjustments to their own arrangement, but some students even suggested changes to the published pieces they were preparing. He went home that night knowing that this little project
fostered deeper learning than any other project he had used in his career. His kids were arrangers!
The project described in this vignette demonstrates the incredible learning possibilities for children when they are led into creative activities within an ensemble setting. The students in this (mostly) true story learned a number of concepts, skills, and dispositions that they could take with them beyond the band room. Musically, students:
• learned and practiced a number of new terms such as introduction, coda, modulation, bass line, arpeggio, fill, interlude, countermelody, tonic, and dominant. The creating process encouraged the students to experience these concepts at a deep level. • learned to play and read a number of variations of the clave rhythm pattern typical of calypso style. • played a song in two keys. • analyzed music while they made decisions about their arrangement based upon what is common among known songs. • learned to adjust ensemble balance based on the function of their part within the arrangement. Because parts were labeled by their function, they quickly learned that background parts needed to be subordinate to the melody. • reinforced their ability to anticipate chord changes. This was facilitated over months in prior experiences of playing chord roots to go along with songs using simple implied harmonies. These experiences began when they played bass lines Mr. Terris had written for them. Later, he helped them derive the implied chord roots in new songs. By the time the band began this project, students needed little help to identify implied harmonies for songs using tonic and dominant chords. They even had some experience with subdominant chords.
With creative experiences like the one described, students also develop understandings beyond musical knowledge and skills. In fact, the group arranging process closely fits the learning and innovation skills listed by the Partnership for 21st Century Learning (Partnership for 21st Century Learning, 2007). These skills include: creativity and innovation, critical thinking and problem solving, communication, and collaboration. According to the P21 Framework, “Learning and innovation skills increasingly are being recognized as the skills that separate students who are prepared for increasingly complex life and work environments in the 21st century, and those who are not. A focus on creativity, critical thinking, communication and collaboration is essential to prepare students for the future.” All four of these skills were heavily utilized as the band undertook the arranging process. During the arranging process, the band was deeply involved in critical evaluation of the choices they made with each version they created through their collaborations. Within this process, they communicated with each other as they found ways to present their ideas, and they communicated with the audience through the music they created. The 2014 national arts standards created by the National Coalition for Core Arts Standards (NCCAS) supports the intentions of the P21 framework, stating that,
Success and achievement in the arts demands engagement in the four fundamental creative practices of imagination, investigation, construction, and reflection in multiple contexts. These meta-cognitive activities nurture the effective work habits of curiosity, creativity and innovation, critical thinking and problem solving, communication, and collaboration, each of which transfers to the many diverse aspects of learning and life in the 21st century.
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All four anchor standards within the Creating standard are apparent within the class arrangement project. Students “Imagined” new ideas, “Planned and Made” musical ideas for a defined purpose, “Evaluated and Refined” their ideas to meet their goal, and “Presented” their work to an appreciative audience. The five anchor standards found within the Performance standard are also apparent, as students prepared their piece for performance.
The process of creating a group arrangement created a number of great learning experiences for students as musicians and as twenty-first century problem solvers. But, perhaps the greatest experience was the sense of efficacy students felt when they performed their song, knowing that, “We are arrangers!”
References:National Association for Music Education. 2014 Music Standards (Ensembles). Retrieved from https://nafme.org/wp-content/files/2014/11/2014-Music-Standards-Ensemble-Strand.pdf
National Coalition for Core Arts Standards (2012). National Core Arts Standards: A Conceptual Framework for Arts Learning. Retrieved from http://www.nationalartsstandards.org/sites/default/files/NCCAS%20%20Conceptual%20Framework_4.pdf
Partnership for 21st Century Learning (2007). Framework For 21st Century Learning. Retrieved from http://www.p21.org/our-work/p21-framework
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One, Two, Three! Children’s Songs from Israel
Collected by Rita KlingerEdited by Martha Sandman Homes
Illustrated by Laura Meilman
Authenticity is important when including music of any culture in a music lesson for children, particularly when that culture differs from that of the teacher. There is value in seeking out songs and games that not only represent the musical culture of children from around world, but that do so in a respectful manner that honors the people who originally shared the music. Therefore, it is necessary for music educators to seek out sources that provide such music in an authentic context. “One, Two Three! Children’s Songs from Israel” collected by Rita Klinger and edited by Martha Sandman Holmes is one such resource. Rita Klinger spent several years working and teaching in Israel, during which she gathered many children’s songs from children on the playgrounds and in the schools. She amassed a significant collection of songs, which until this book, had not been published. Klinger’s collection was discovered following her death in 2012. From the introduction: “When her husband Bill cleared out her office, he found her Israeli song
collection, which she had formatted and analyzed as a song collection for our folk music class at Holy Names. It was clear that she had intended to publish it, as there were notes from a publisher and an illustrator’s sketches among her papers” (Holmes, 2017, p. iii). Martha Sandman Holmes then worked to complete the publication process already started by Klinger. “One, Two, Three!” contains finger plays, chants, clapping games,
jump rope and ball bouncing chants, game songs and dances, and songs of childhood. There are 38 songs in all, 36 of which come directly from Klinger’s collection. Holmes chose to add two personal favorites, “Simi Yadeich” and “Chanan V’Aliza,” which were not part of Klinger’s collection. The book is organized according to the categories previously mentioned. Each song includes a metronome marking, recommended starting pitch (RSP), Hebrew lyrics, an English translation, and the lyrics in the Hebrew alphabet. A “Hebrew Transliteration Pronunciation Guide” has been provided at the beginning of the collection; however, if a teacher is unfamiliar
with the pronunciation of Hebrew, it might be best to consult someone who has reasonable experience with the language before using the songs in a classroom setting. Teachers will find the songs and chants readily accessible and easy to incorporate into most classrooms. Many will recognize “Aquaqua Dela Omar,” a singing game brought to the United States by Klinger
BOOK REVIEW: MEGAN M. SHERIDAN
NEW PUBLICATIONS
ONE, TWO, THREE! Achat, Shtayim, Shalosh!
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that has become a favorite among music teachers and children alike. Additionally, there are Hebrew versions of the familiar songs “Rain, Rain, Go Away” and “When I Was a Baby,” and a Hebrew translation of a German folk song that uses the tune most Americans will recognize as “Lightly Row.” The level of complexity of the lyrics varies among the songs, with some being fairly simple and having minimal words, and others having several verses and larger ranges. The appendix includes several useful indices which address analyses of the songs. First, the reader will
find alphabetical lists of the song titles in English and in Hebrew. Following those, is an index of the songs organized by tone set, and a separate index of songs organized according to solfege syllables, range, meter, and game. The latter index will be most useful for classroom teachers as they will be able to easily see how a song might best fit into their teaching sequence. Holmes has taken great care to honor the work of Klinger by editing and bringing this song collection to publication. Music teachers will find “One, Two Three! Children’s Song from Israel” to be a resource that
will allow them to bring authentic Israeli music experiences into their classrooms.
ReferencesHolmes, M. S. (Ed.). (2017). One, two, three! Children’s songs from Israel. Los Angeles, CA: Organization of American Kodály Educators.
• K–12 musicianship and curriculum development• Specialty tracks for choral, strings, middle school,
and high school• Distinguished Hungarian and American faculty• Three graduate credits
June 11–June 22, 2018Join us to develop your musical pro�iciency and acquire vital pedagogical skills for immediate use in your classrooms and studios.
1-877-221-6716intermuse.byu.eduEndorsed by the Organization of American Kodály Educators (OAKE)
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2018 OAKE National Conference Choirs Concert 7:00 pm Saturday March 24, 2018
Civic Center Music Hall
National Children’s ChoirKen Berg, director
Jeanne Clewell, accompanistWren Pfahl, piccolo
PROGRAM
Shepherds! Shake Off Your Drowsy Sleep. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Arr. Ken Berg, BVP 486Christmas Dance of the Shepherds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zoltán Kodály, UE 10878“Singing Day and Night”The Moon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bret Silvermann, HL08745989The Path to the Moon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Eric Thiman, OCTB6114When I See the Silvery Moon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ken Berg, BVP 752Gardener of the World. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Philip Silvey, SBMP 1042Great Day. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ken Berg, BVP 632Sahayta. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ben Allaway, Shawnee Press
The National Children’s Choir is a co-ed choir of 4th and 5th grade singers
National Chamber ChoirLilla Gábor, director
Andrea Fultz, keyboard
PROGRAM
Horatti Carmen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zoltán Kodály, Editio Musica Budapest Z. 4212Kyrie in d minor, K.90. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .W. A. Mozart, BA5346Ave Maris Stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Edvard Grieg, CPDLPater Noster. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Igor Stravinsky, Boosey & Hawkes 16974Shall We Go Dance?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Charles Villiers Stanford, CPDLfrom Six Elizabethan Pastorals, Op. 67As Torrents in Summer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edward William Elgar, CPDLfrom Scenes from the Saga of King Olaf, Op. 30The Long Day Closes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Arthur Sullivan, CPDLWalk Forth Where All is Bright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lajos Báros
Editio Musica Budapest Z. 7586English lyrics by Seán Deiber (with permission of Lajos Bárdos)
The National Chamber Ensemble is 9th through 12th grade singers
INTERMISSION
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National Youth ChoirFernando Malvar-Ruiz, directorStephen Ziegler, accompanist
PROGRAM
Now I Walk in Beauty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arr. Fernando Malvar-Ruiz, manuscript, Traditional NavajoTantum Ergo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Zoltán Kodály Movements I - III Universal Edition UE 10487Tres Cantos Nativos Dos Indios Kraó. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arr. Marcos Leite, EarthsongDona Nobis Pacem. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Richard Clark, RJC Cecilia MusicSon de Camagüey. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arr. Steven Hatfield, Boosey & Hawkes 48021245Oh, Think of Me. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elaine Hagemberg, Schirmer 50600674Wau Bulan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Arr. Tracy Wong“Wow, the three-cornered moon.” Cypress Choral Music CP 1537
The National Youth Choir is a co-ed choir of 6th, 7th, and 8th grade singers
National Concert Women’s ChoirAndrea Ramsey, director
Andrea Fultz, accompanist
PROGRAM
Benigne Fac Domine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sacchini, Ed. Martin Banner, Hinshaw HMC2006“Grant kindness, Lord, to Zion according to yourwill, that the walls of Jerusalem may be rebuilt.Then you will accept a just sacrifice, oblations and the burnt offerings,then they will place bullocks upon your alter.”
Wainamoinen Makes Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Zoltán Kodály, Boosey & Hawkes 480036041941. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Andrea Ramsey, Music Spoke MS44423.2, www.musicspoke.comI Had a Paintbox. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Z. Randall Stroope, Colla Voce 48-96900Soran Bushi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arr. Wendy Stuart, Colla Voce 21-20246“I ask the seagull if the herring have come.I ask the waves about the migrating birds.”
The Gift to SIng. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrea Ramsey, Music Spoke MS35964, www.musicspoke.com
The National Concert Women’s Choir is 9th through 12th grade singers
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2018 KODÁLY SUMMER STUDY PROGRAMS
BYU InterMuse Academy for Kodály Certification
Provo, UtahOAKE-EndorsedJune 11 – 22, 2018Levels I, II, IIICourses: Chamber Choir; Conducting
and Scores (Levels I, II, III); Kodaly Pedagogy (Levels I, II, III); Music Literature; Solfa and Musicianship (Levels I, II, III); Vocal Health and Development; Specialties: String Pedagogy (Levels I, II, III); Secondary Choral and Pedagogy (Levels I, II); Children’s Choral Development; Children’s Choir Camp
Faculty: Dr. Zsuzsanna Mindszenty, Dr. Marta Sarosi-Szabo; Dr. Jerry L. Jaccard, Julianna Gylseth, Logan McKinney, Rebecca McLaughlin, Vicki McMurray, Cynthia Richards, Matt Thornton
Contact: Program Director: Rebecca McLaughlin, [email protected], www.intermuse.byu.edu
Capitol University, The Kodály Institute at CapitalColumbus, OhioOAKE-EndorsedDates: July 16 – August 3, 2018Levels: I-IVFaculty: Julie Swank, Bruce Swank, Karla
Cherwinski, Kristina Waugh, Lilla Gabor, Dr. Amdrea Solya, Fernando Malvar-Ruiz
Contact: Anne Mikan; [email protected]; (614) 236-6119
Colorado Kodály InstituteFt. Collins, ColoradoOAKE-EndorsedDates: July 14 – 28, 2018Levels: I-III, graduate credit and non-credit
availableCourses: Pedagogy, Solfa and
Musicianship, Conducting, ChoirFaculty: Tanya Lejeune, Amy Abbott,
Amanda Isaac, Katalin Viragh, Ciara Coleman
Contact: Dr. Bonnie Jacobi; [email protected]; https://music.colostate.edu/master-music-education-kodaly/
Additional Information: Master of Music in Music Education with Kodaly Emphasis degree program available through Colorado State University
Holy Names University Institute Kodály Center
Oakland, Califonia OAKE-Endorsed June 16 – July 6, 2018Levels/Credit: 3 Levels for Credit for the
HNU Kodaly Summer Certificate. Put Level 1 credits towards the MM (Music Education with Kodaly Emphasis). Inquire about transfer credits. Undergraduate credit is available. International visitors attend the seminar track (not for credit). International students choose credit track and must have a student visa.
Faculty: Dr Laszlo Nemes (Director, Kodaly Institute, Hungary) , Judit Hartyani (Hungary), Maree Hennessy (Director), Gemma Arguelles, Dr. Miriam Factora, Helene Matters.
Contact: Maree Hennessy, [email protected], (510) 436-1039, www.hnu.edu/kodalysumme
Indiana University Summer Kodály Institute, Jacobs School of Music
Bloomington, IndianaOAKE-EndorsedJune 18 – 29, 2018 Levels: I, II, III (each level can be taken for
4 hours of graduate credit).Faculty: Nyssa Brown, Brent Gault,
Bethany Houff, Georgia A. Newlin, Diana Byers Pannell
Contact: Brent Gault; [email protected]; (812) 855-7993
James Madison University Kodály Institute
Harrisonburg, VirginiaOAKE-EndorsedJuly 15 – 28, 2018 Levels: I, II, III (3 graduate credits).Faculty: Joy Anderson, Elizabeth Camozzi,
Bryce Hayes, Bethany Houff, Georgia Newlin
Contact: W. Bryce Hayes; [email protected]; (540) 586-6753
Kodály Certification Program of Westminster Choir College
Princeton, New JerseyOAKE-EndorsedJuly 16 – 27, 2018 Levels: I, II, III (3 graduate credits).Faculty: Amy Carter, Ken Carter, Trish
Joyce, Jennifer Kimock, Fred Meads, Christopher Roberts, Tom Shelton
Contact: Amy Carter; [email protected]; (609) 924-7416, www.rider.edu/kodaly
Kodály Institute of Houston, Moores School of Music at the University of Houston, Texas
OAKE-EndorsedJuly 16 – August 3, 2018 (Break for TCDA
Convention)Levels: I, II, III, Teacher Training and
Kodály CertificationAll students receive continuing education
credit, and anyone interested may register for graduate credit towards a Master of Music in Music Education with Kodály Emphasis through the University of Houston Moores School of Music.
Faculty: Mary Neeley Stevens, Rhona Brink, Diane Engel, Kelly Foster Griffin, and Ashley Yarbrough
Contact: Julie Kastner, [email protected], (713) 743-3009
Program Director: Mary Neeley Stevens [email protected]
Kodály Institute at the University of St. Thomas
St. Paul, MinnesotaOAKE-Endorsed July 9 – 20, 2018Levels/Credit: I, II, IIIFaculty: Casey Barker, Nyssa Brown, Leigh
Ann Garner Ph.D.Contact: Graduate Programs, gradmusic@
stthomas.edu, (651) 962-5870, www.stthomas.edu/music/graduate
Additional Information: Course offering, June 18-22, 2018, Kodály Masterclass: Planning and Integrating Diverse Kodály-Inspired Learning Techniques: Curriculum, Artistry and Assessment with Nyssa Brown and Leigh Ann Garner, Ph.D.
Kodály Institute of KentuckyMorehead, KentuckyOAKE-Endorsed June 25 – July 6, 2018Levels/Credit: I, II , III, up to 5 hours
graduate credit can be earnedFaculty: Dr. Michele Paynter Paise, Dr. Liza
Meyers, Mr. Jeremy Howard, Dr. Greg Detweiler
Contact:Dr Michele Paynter Paice; [email protected]; (606) 783-2470; www.moreheadstate.edu/mtd
Spring 2018 29
Kodály Summer Graduate Music Program (Silver Lake College)
Manitowoc, WisconsinOAKE-Endorsed July 2 – 13, 2018Levels/Credit: I, II, III, 20.5 credits for 3
LevelsFaculty: Dr. John Feierabend, Chair, Dr.
Brent Gault, Dr. Franklin Gallo, Jeff Rhone, Sister Lorna Zemke
Contact: Dr. Rachel Ware Carlton , [email protected]; (920) 686-6272; slcsummermusic.com
Kodály Summer Music Institute at MSUM
Moorhead, MinnesotaOAKE-Endorsed July 9 – 20, 2018Level: I (3 credits)Faculty: Christopher Underwood, Katie
Schelp, Rebekah SchultzContact: Christopher Underwood, chris.
[email protected], (701) 740-1012; m.paise@
moreheadstate.edu; https://www.mnstate.edu/kodaly/#
Kodály Institute of Southwest Louisiana and Southeast Texas at
Lamar UniversityBeaumont, TexasOAKE-Endorsed June 10 – 29, 2018Levels I & IIICourses: Musicianship/Solfa, Methodology, Music Materials,
Conducting, Choir, Special TopicsFaculty: Ann Eisen and Kari ProkschContact:Charlotte P. Mizener, PhD;
[email protected]; (409) 880-8072
Kodály Levels Program of SeattleSeattle Pacific University, Seattle, WashingtonOAKE-Endorsed July 2 – 14, 2018Levels: I, II, IIICourses: Folk song repertoire, children’s
singing games, and song analysis, Methodology and philosophy of the Kodály approach, Musicianship and aural skills development, Choral conducting skills, Daily chorus class
Faculty: Christopher Roberts, Darcy Morrissey, Kelly Foster Griffin, Sarah Bartolome, and Melyssa Stone
Contact: Christopher Roberts, [email protected], (206) 909-1644, www.kodalylevelsseattle.com/
Kodály Music Institute Southborough, MassachusettsOAKE- EndorsedJuly 2 – 20, 2018Levels: I, II, III / 6 graduate credits per
Level, SPED Repertoire and Strategies/ 1 credit
Courses: Special Needs Repertoire and Strategies, Post-Certificate Study, Taste of Kodály, Observation of children’s choir camp, Sing! in Somerville
Faculty: Dr. Alice Hammel, Gabor and Kati Virágh, Charlyn Bethell, Stephen Buck, David Hodgkins, Carol Forward
Contact: Susie Petrov, Co-Director; [email protected], www.kodalymusicinstitute.org
Additional Information: New this year: Sing in Somerville Children’s Choir Camp as part of our new collaboration with Somerville, MA Public Schools.
Loyola University Maryland - American Kodály Institute
Baltimore, MarylandOAKE-EndorsedDates: July 7 – 27, 2018Levels: I-IVFaculty: Dr. James Bowyer, Ashley
Cuthbertson, Rebecca Foster, Diana Gillespie-Pannell, Jim Javorsky, Lauren McDougle, Dr. Alyson Shirk, Francois Suhr
Contact: Lauren McDougle; [email protected]; (240) 993-9181; https://www.loyola.edu/school-education/academics/graduate/kodaly-music-education
Additional Information: Elementary General and Secondary Choral tracks available, folk instruments, AKIDS Demonstration Choir, and NEW!!! online, cloud-based Folk Song Retrieval System
Midwestern State University Kodály Teacher Institute
Wichita Falls, TexasOAKE-EndorsedDates: June 18 – June 29, 2018Levels: I, II, IIICourses: Levels I & II, graduate credit
available up to 6 credits per level: Musicianship 2 Credits; Pedagogy/Materials 3 credits; Conducting/Ensemble 1 Credit. Special Topic: Instruments in the Kodály-Inspired
Classroom (including ukelele)Faculty: Dr. Alice Hammel, Dr. Susan
Harvey, Rebecca Juarez, Allison Lewis
Contact: Dr. Susan Harvey, [email protected], (940).249.4323
New York UniversityThe Steinhardt School of Culture,
Education, and Human DevelopmentKodály Summer Institute 2018New York, New York OAKE-EndorsedJuly 2 – 20, 2018 Levels: I, II, IIIPost certificate program in Curriculum and
PedagogyPost certificate program in Solfege Courses: Voice Pedagogy, Solfege 1–3,
Kodály Methdology 1–3, Traditional Materials and Research, Chorus, Choral Conducting 1–3, Recorder Pedagogy and Ensembles
Faculty: Dr. Jerry Kerlin, Dr. Susan Glass, Dr. Esther Liu Harris, Anna (Panni) Kovács, Giocille Shaw
Contact: Dr. Jerry Kerlin, Director; (212) 998-5774; email: [email protected]
Plano Kodály Teacher Training Program / Plano ISD & SMU
Dallas, TexasOAKE-EndorsedLevels I, II, III and Choral Track Levels I
& IIContact: Kathy Kuddes: Kathy.kuddes@
pisd.edu or Dr. Julie Scott: [email protected]
Portland State University Kodály Certification Levels Workshop
Portland, OregonOAKE-EndorsedDates: July 23 – August 3, 2017Levels: I-IV ; 5 credits graduate or
undergraduate available. Course is also available for no credit/workshop fee only.
Courses: Pedagogy, Musicianship, Folk Music, Choir, Conducting, Materials
Faculty: Dr. Susan Brumfield, Carol J. Brown, Panni Kovacs, Kurt Cereske,
Contact: Debbie Glaze: [email protected]; (503) 725-3155; www.pdx.edu/music
Rio Grande Valley KodályMcAllen, TexasOAKE-EndorsedDates: July 9 – 20, 2017Level: IFaculty: Lauren Bain, Rebecca L. Juarez
and Sarah MartinezContact: Sylvia Arguelles; Sylvia.
[email protected]; (956) 537-3639
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Additional Information: Sponsored by Mcallen Independent School District
Southeast Texas Kodály Certification Program, Sponsored by Aldine Independent School Distric, Texast
OAKE-EndorsedJune 11 – 28, 2018Levels I, II, III Teachers receive Continuing Professional
Education hours.Faculty: Mary Neeley Stevens, Rhona
Brink, Diane Engel, Suzie Fergus, and Ashley Yarbrough
Contact: Program Director: Colleen Riddle [email protected]; (281) 985-6107
University of Central MissouriKodály Summer Institute
Warrensburg, MissouriOAKE-EndorsedJuly 8 – 20, 2018Levels I, II, III, Advanced Studies, 2 week
course for 6 hours of Graduate creditCourses: Methodology, Solfege and
ConductingFaculty: Vicki Strode, Lisa Simmelink,
Crystal Henricks, Matt Hanne, Liza Meyers
Contact: Juli Weber, [email protected], (816) 694-4449
University of Nebraska Omaha Nebraska Kodály Certification Program
Omaha, NebraskaOAKE-EndorsedJune 18 – 22 and 25 – 29, 2018Levels: I, II, III, IV (4 credits)Courses: Musicianship, Pedagogy,
Conducting, Ensemble, Special TopicsFaculty: Dr. Shelly Cooper, Dr. Regina
Carlow, Dr. Derrick Fox, Dr. Laura, Dunbar, Karlena Leal
Contact: Dr. Shelly Cooper, [email protected], (402) 554-4897
Additional Information: The University of Nebraska at Omaha is now offering a Graduate Certificate in Kodály Studies
The University of Oklahoma Kodály Institute
Norman, OklahomaOAKE-EndorsedJune 18 – 29, 2018Levels: I and IIICourses: Methodology 1, Solfege/
Musicianship 1, Conducting 1, Methodology 3, Solfege/Musicianship 3, Conducting 3, Folk Song Research, Choir, Folk Dance
Faculty: Bev Anyan, Casey Gerber, Sandy Knudson, Joy Nelson
July 9-20, 2018Level: II
Courses: Methodology 2, Solfege/Musicianship 2, Conducting 2, Choir, Folk Dance
Faculty: Bev Anyan and Sandy KnudsonContact: Casey Gerber at casey.gerber@
ou.edu, (662) 801-9530
The University of Tennessee at Chattanooga, The Kodály Institute at UTC
Chattanooga, TennesseeOAKE-EndorsedJune 11 – 29, 2018Levels I, II, IIIGraduate credit availableFaculty: Donald Garrett, Susan Garrett,
Lamar Robertson, Michael Perryman, Karen Shuford, Lee Harris
Contact: Lee Harris, (423) 425-4601, email: [email protected], www.utc.edu/music/events/kodaly-institute.php
West Chester University Samuel Barber Institute for Music Education
West Chester, PennsylvaniaOAKE-EndorsedJuly 2 – 13, 2018Levels I-IIGraduate credit availableFaculty: Jill Trinka, Amy Carter, Ken CarterContact: Marci Major, (610) 436-
3030, email: [email protected]; https://www.wcupa.edu/music/specialprograms.aspx
Save the Date!The 2019
OAKE National Conference
will be held in Columbus, OH
Spring 2018 31
Kodály Association of Southern CaliforniaNorth Hollywood, CA
Kathy [email protected]
Kodály Levels Program of SeattleSeattle, WA
Christopher [email protected]
Kodály Music Institute Paxton, MA
Carol [email protected] Kodály Music Institute is anxiously awaiting our summer programming in our new location, Somerville, MA. This city, only 4 miles from Boston, will help us to connect with a wider variety of educators and allow us more access to young children for our Kodály Children’s Choir program, newly named Sing in Somerville. Aside from our levels courses, we will be offering a one-week workshop with Dr. Alice Hammel about Music and the Special Needs Student. Come spend fourth of July in historic Boston AND learn some new techniques for students with special needs! Do you live too far away to get to Boston? We are offering an in-depth song analysis course with Jonathan Rappaport completely online entitled: Through the Looking Glass- Song Collecting, Analyzing, and Organizing. This is a great opportunity to look at your repertoire in an in-depth way and gain college credits at the same time! Please visit our website to sign up for Any of these options.
We are now offering a Masters Degree in Education and a Certificate of Advanced Graduate Study in Education with Kodály Music Emphasis in conjunction with Anna Maria College. This is a great opportunity for individuals to advance the degree status while working on their musical and pedagogical skills. KMI is also proud to announce that we are now an official PDP provider by the Massachusetts Department of Elementary and Secondary Education, giving us the ability to provide official certificates that can be used toward teacher recertification.
We are excited that our website has been completely revamped and offers more features to our students. Please check it out at www.kodalymusicinstitute.com. We hope to see you this summer- it’s going to be a wonderful learning experience!
We look forward to a very special summer as it will be the last for our wonderful solfege instructor, Ivy Rawlins Ward. If you have always wanted to study with Ivy, but have not made the opportunity to do so, this is your last chance to experience her incredible teaching in a levels class. If you are already certified, please consider joining Ivy for “Brush Up Your Kodály,” our Supplemental week class in solfege and in-depth pedagogy for those who have been out teaching this method for a while and want a refresher course. The “BUYK” pedagogical theme will be Choir Boot Camp with Beth Anne Young.
We are pleased to announce that graduate Sarah Nalls Meadows will be co-teaching alongside Ivy this summer. Sarah and Ivy have been working together all fall and spring to create a seamless transition for their students, and we welcome Sarah back with open arms.
If you come for BUYK, consider signing up for “Alexander Technique for Music Teachers,” offered by Robbin Marcus during Supplemental week. This introductory Alexander Technique class is for everyone who stands, sits, moves, sings, plays an instrument, conducts an ensemble, gets up and down from the floor, writes on a board, or does any one of a myriad of activities music teachers are called upon to do each day with their students. Learn new ways to adjust to the daily physical (and mental) demands of music teaching, and have less pain and tension at the end of the day. Discover how to make everyday movement more comfortable by gaining deep structural support and developing an increased physical awareness. Explore how it is possible to be relaxed and ready, soft and strong, light and substantial, firm and flexible, awake to the world!
We hope to see you, and all our wonderful returning students, this summer at GMU!
Holy Names UniversityOakland, CA
Maree [email protected]/kodaly
Indiana University School of MusicBloomington, IN
Brent [email protected]
James Madison UniversityHarrisonburg, VA
Bryce [email protected]
Arizona State UniversityTempe, AZ
Sandra [email protected]
Brigham Young UniversityProvo, UT
Rebecca [email protected]
Capital University, Kodály InstituteColumbus, OH
Sandra [email protected]/Kodaly-EmphasisCome Join Us!! Features for Summer 2018: Outstanding International Faculty: Julie Swank, Bruce Swank, Karla Cherwinski, Kristina Waugh, Lilla Gábor, Dr. Andra Solya. Fernando Malvar-Ruiz, Elementary and Choral Tracks: Levels I, ll, and lll, Demonstration Choir for students to work with.Dates: July 16th-Aug. 3rd
Colorado State UniversityFort Collins, CO
Bonnie [email protected]://music.colostate.edu/music-education/
Drake UniversityDes Moines, IA
Lindsay Weisslindsay.weiss@drake,edu
George Mason University/Potomac Arts Academy
Fairfax, VARobbin [email protected]://potomacacademy.gmu.edu/Summer/TeacherTraining/KodalyWorkshop.htmlOur host organization at George Mason changed its name from Potomac Arts Academy to the Mason Community Arts Academy in January of 2018. The name change better reflects the organization’s relationship with George Mason University and its position as the community arts education division of the College of Visual and Performing Arts. In just under ten years, The Academy has become an important Mason asset (serving over 3800 participants annually), building innovative pathways for the academic units and the community to engage more fully in enriching relationships through the arts. We are honored to be under this umbrella organization, which supports long-standing summer study programs in Kodály, Orff, and piano pedagogy.
NEWS FROM OAKE-ENDORSED CERTIFICATION PROGRAMS
Kodály Envoy32
of learning, music making, and professional collaboration.
New Mexico Kodály InstituteAlbuquerque, NM
Regina [email protected]
New York UniversityNew York, NY
Jerry [email protected]
Plano Independent School DistrictPlano, TX
Kathy [email protected]/muedworkshops
Portland State UniversityPortland, OR
Debbie [email protected]
San Antonio ISD, Fine Arts DepartmentSan Antonio, TX
Silver Lake College of the Holy FamilyManitowoc, WI
Rachel Ware [email protected] The 2018 Kodály Graduate Summer Music Program will take place from July 2-July 13 in beautiful Manitowoc, WI. Levels I-III will be offered. New and returning summer faculty includes Dr. John Feierabend (chair), Dr. Franklin Gallo, Dr. Brent Gault, Jeff Rhone, and Sr. Lorna Zemke. Additional graduate faculty includes Lillie Feierabend, Dr. Sharon Morrow, Dr. Rachel Ware Carlton and Lynne Zimmermann.
2018 marks the 40th year that John Feierabend has been teaching at Silver Lake College as a part of the Kodály Summer Graduate Music Program. Plans are underway to celebrate John with food and folk dancing on Friday, July 6th. Please visit www.slcsummermusic.com for details on how you can attend and celebrate with us!The College continues to pursue donations to the Sister Lorna Zemke Endowed Faculty Fund for Music Education. This fund has been established to ensure the ongoing delivery of Kodály Music Education at Silver Lake College in honor of Sister Lorna. For details in giving, please contact [email protected]
Southeast Texas Kodály Certification ProgramHouston, TX
Colleen [email protected]
Lamar University / Kodály Institute of Southwest Louisiana and Southeast Texas
Beaumont, TXBryan [email protected] June of 2017, the Kodály Institute of Southwest Louisiana & Southeast Texas offered Levels II and III of the certification program. Ava Brown, Reagan Gear, Kelly Plunkett, Jennifer Tassin, and Megan Voorhies completed coursework, with Reagan Gear graduating with certification.We will offer Levels I and II this summer. The program will meet June 11-29, 2018. Instructors include Kari Proksch and others to be announced.
Lamar University has recently inaugurated a Kodály Emphasis for the Music Education concentration of the Master of Music degree. The degree requires the 18 hours of Kodály coursework, six hours of music history, six of music theory, and six of foundation music education courses.
Program title: Kodály Institute of Southwest Louisiana & Southeast Texas at Lamar UniversityDirector: Dr. Bryan Proksch ([email protected]) Program dates: June 11-29, 2018Levels: I & IIInstructors: Kari Proksch and others to be announcedLocation: Lamar University, Beaumont, TX
Lenoir-Rhyne UniversityHickory, NC
Amalie [email protected]
Midwestern State UniversityWichita Falls, TX
Susan [email protected]
Minnesota State University MoorheadMoorhead, MN
Jenny [email protected] Kodaly Institute at Minnesota State University of Moorhead is excited to announce its offering of Level 1. After two years off the staff is excited to come back and work with music teachers of all levels to implement the Kodaly philosophy of music education into their classrooms. Summer dates for 2018 are July 9th – 20th. Kodaly credits can be used towards a Master’s Degree at MSUM in curriculum and instruction. Scholarships and on campus housing are available. Please direct any questions to [email protected]. Come join us for two weeks
Spring 2018 33
-- in the classroom to both develop students’ musical skills/understandings and enlighten them toward the historic role of this music in the lives of communities. How do these musical origins connect to us in today’s world, and to the students we teach? This workshop will introduce music educators to a diverse set of materials, embedded in their context. In today’s climate, we need to hear the voices of our students as they wade through the muddy waters of the painful history that these songs evoke. More information about the workshop, including online registration, is available at www.kodalynewjersey.org
We are also gearing up for our Summer 2018 Kodály Certification program. Levels I, II and III will run from July 16-27, 2018 on the Westminster Choir College campus in Princeton, NJ. New and returning faculty include: Christopher Roberts (Pedagogy and Folk Song Level I); Jennifer Kimock (Pedagogy and Folk Song Level II); Amy Carter (Pedagogy and Folk Song Level III); Trish Joyce(Conducting Levels II and III and Choral Ensemble); Tom Shelton (Conducting Levels II and III and Choral Ensemble); Fred Meads (Musicianship I and Conducting I); and Ken Carter (Musicianship II and III). Come join our wonderful faculty and returning Kodály participants in beautiful Princeton, NJ for two weeks of music making, pedagogy, community building, and fun! Westminster looks forward to meeting you!
Wichita State UniversityWichita, KS
Elaine [email protected]/KodályThe Wichita State University Summer Kodály Program concluded its fourteenth year serving the teachers and children from throughout the Midwest. Last year, seventeen students completed their level three certification, while over forty other students completed levels I and II. The 65-voice choir, consisting of workshop participants, faculty, and alumni performed a concert on the final Friday. Students from out of state were able to live on campus in WSU’s new, state of the art dorms, just feet away from classes.
During the first week of the two-week adult workshop, WSU hosted its annual Treble Choir Camp with director and master teacher Elaine Quillichini. The choir of 56 students, ages 9 to 16 put on a masterful performance. In their spare time, they availed themselves of the amenities in the dorms, spent time in the campus recreation center and bowling alley, and learned art through the university’s Ulrich Museum of Art.
Texas State UniversityKyle, TX
Patricia [email protected]
University of Central MissouriWarrensburg, MO
Juli [email protected]/kodaly
University of HartfordWest Hartford, CT
John [email protected]
University of HoustonHouston, TX
Cara [email protected]
University of Nebraska at OmahaOmaha, NE
Shelly Cooper402-554-3411
University of OklahomaNorman, OK
Casey [email protected]/content/finearts/music/Kodály.html
University of St. ThomasSt. Paul, MN
Bev [email protected]/music/graduate
University of Tennessee at ChattanoogaChattanooga, TN
West Chester University of PennsylvaniaWest Chester, PA
J. Bryan Burton [email protected]
Westminster Choir College of Rider UniversityPrinceton, NJ
Amy [email protected]/kodalyWestminster Choir College had a wonderful winter workshop in partnership with Kodály New Jersey, featuring local choral conductors Laura Harmon and Ken Carter. The choral reading session highlighted new and cherished choral music for elementary, middle and high school choirs. WCC and Kodály New Jersey are looking forward to our spring workshop with Susan Glass on April 14, 2018, “Divergent Voices: Discovering Connections Between Music and its Roots. ” Attendees will explore: How does one use music -- songs, in particular
This year’s 2018 Kodály workshop is scheduled for June 3-15, with the children’s choir camp meeting June 4-8. The workshop fee will be $500. Students may choose to earn five semester credits through Wichita State University for an extra cost. As always, Kodály Music Educators of Kansas (http://www.kmek.org/programs--wsu.html) will sponsor a preparation workshop on April 21 in Wichita. Program faculty are once again Jo Kirk, Lisa Simmelink, Susan Tevis, Gabor Viragh, Matt Hanne, and Shawn Chastain.
For more information, visit www.wichita.edu/Kodály or contact [email protected]
Kodály Envoy34
Current Assets LiabilitiesChecking/Savings 308,335.00 Current LiabilitiesAccounts Receivable 19,475.00 Accounts Payable 31,118.00 Other Current Assets 612,226.00 Total Current Liabilities 31,118.00
Total Current Assets 940,036.00 Total Liabilities 31,118.00
Fixed Assets (Net of Depreciation) 2,234.00 Unrestricted Net Assets 844,081.00 Other Assets 76,809.00 Temporarily Restricted Net Assets 143,880.00
TOTAL ASSETS 1,019,079.00 TOTAL LIABILITIES & EQUITY 1,019,079.00
Choir 137,345.00 Salaries 111,400.00 Conference 137,640.00 Payroll Taxes 10,207.00 Membership Dues 102,785.00 Advertising 1,051.00 Envoy Revenue 9,926.00 Bank Fees 10,443.00 Publications, Shipping, & Misc. 16,011.00 Choir 78,766.00 Contributions 28,631.00 Conference 133,050.00 Division & Chapter Income 252,371.00 Chapter Expenses 217,079.00 Investment Earnings 70,408.00 Grants & Scholarships 37,214.00 Total Support and Revenue 755,117.00 Depreciation 3,268.00
Envoy 28,540.00 Equipment Rental & Repair 130.00 Information Technology 2,296.00 Insurance 15,433.00 Miscellaneous 1,996.00 Office Rent 12,218.00 Office Expenses 998.00 Professional Fees 10,459.00 Board Meetings 539.00 Travel 13,865.00 Total Expenses 688,952.00 CHANGE IN NET ASSETS 66,165.00
Sincerely,Prospect Financial Solutions, LLC
This presentation is limited to preparing in the form of financial statements information that is the representation of the mangement of the Organization of American Kodaly Educators. We have not audited or reviewed the accompanying financial statements and, accordingly, do not express an opinion or any orther form of assurance on them.
We have prepared the accompanying Statement of Activities of the Organization of American Kodaly Educators as of June 30, 2017, and the related Statement of Activities for the fiscal year then ended.
SUPPORT AND REVENUE EXPENSES
Financial Reports for Fiscal Year 2017Financial Statement Prepared for OAKE by Prospect Financial Solutions, LLC
STATEMENT OF FINANCIAL POSITION AS OF JUNE 30, 2017
STATEMENT OF ACTIVITIES FOR THE YEAR ENDED JUNE 30, 2017
ASSETS LIABILITES AND NET ASSETS
We have prepared the accompanying statement of Activities of the Organization of American Kodály Educators as of June 30, 2017, and the related statement of Activities for the fiscal year then ended.
This presentation is limited to preparing in the form of financial statements information that is the representation of the management of the Organization of American Kodály Educators. We have not audited or reviewed the accompanying financial statements and, accordingly, do not express an opinion or any other form of assurance on them.
Sincerely,Prospect Financial Solutions, LLC
Spring 2018 35
Eastern DivisionDonna Menhart, [email protected]
BAKEBoston Area Kodály Educators Kathryn Bach, president [email protected] from Boston!In February, BAKE VP/President-Elect Adam Epstein presented on the Kodály concept to the Boston University NAfME chapter. Representatives from local chapters representing Dalcroze, Orff, and Gordon MLT joined him. It was an educational and inspiring evening that showcased both the similarities and unique aspects of each approach to music education.
BAKE has wrapped up another successful workshop season! We look forward another successful workshop season this Fall and hosting clinicians: Michele Adams, Donna Menhart, Cathy Ward and David Piper. We are also very excited about our new location in Somerville, MA! Please check stay tuned for more exciting workshop information at our website at: www.bostonareakodaly.org or follow us on Facebook!
KEEPKodály Educators of Eastern Pennsylvania Nichole Witman, [email protected]://keepoake.weebly.com/KEEP recently hosted Joan Litman at Millersville University. We were entertained and enlightened by Joan’s presentation on Middle Eastern music for the American classroom. A big ‘Thank You’ goes out to the University students who put in a little extra time with Joan to help lead the activities as the participants sang, danced, and played traditional games from the Middle East.The KEEP board is hard a work planning for the next school year’s workshop schedule. We are very excited with what we have planned so far. Stay tuned to our website for upcoming announcements!
KESNEKodály Educators of Southern New England Nick Mercier, [email protected]
KNJKodály/New Jersey Lindsay Jackson, president [email protected]://www.Kodálynewjersey.org/KNJ held a choral reading session back in February. It was well attended with a large number of Westminster Choir College students. JW Pepper provided the music packets for our choral reading session. Ken Carter lead the Secondary Level of the session for the first part while Laura Harmon lead the Elementary Level for the last part of the session. Not only did Ken and Laura present a variety of pieces, but also presented each piece in a very informative way. In April, KNJ will hold our final workshop of the school year with Susan Glass presenting a workshop titled “Divergent Voices: Connections between music and its roots”. This workshop will be held at Westminster Choir College. For more information, please visit our chapter website for more information.
KONYKodály Organization of New York Jess Beja, president [email protected]
MUSIKMaryland United Specialists in KodályLauren McDougle, [email protected]://musikchapter.weebly.com
VOKEVirginia Organization of Kodály Educators Lauren Carpel, [email protected]ály.orgMidwestern Division
AWAKEAssociation of Wisconsin AreaKodály EducatorsAmie Beeman, [email protected] AWAKE website: https://www.wisconsinkodaly.org/
CAKEChicago Area Kodály EducatorsJamie Parker, [email protected]
CCKECapital Collegiate Kodály EducatorsLogan Fletcher, [email protected]
CILKECentral Illinois Kodály Educators Christine Smith, [email protected] an additional offering during the Millikin Children’s Choir Festival on February 17, 2018, CILKE offered professional development sessions at St. Paul’s Lutheran Church in Decatur, IL. Teachers took part in “Practicing Music Skills,” presented by Katie Hays and “Choral Conducting and Directing,” presented by Dr. Frank Gallo. In addition, 247 students from all around Central Illinois took part in an engaging day singing and performing a concert together. The highlight of the day was a performance by both the year-round Millikin Children’s Choirs and the Festival Choirs that was composed, rehearsed, and directed by Dr. Frank Gallo, recent winner of the OAKE Ruth Boshkoff composition prize. His commissioned work, entitled “Life with a Song,” was premiered at the culminating concert, where over 1000 people were in attendance. This program was partially sponsored by a grant from the National Endowment for the Arts, the Illinois Arts Council Agency and the Decatur Area Arts Council. It was a wonderful day of making music for teachers and students alike!CILKE’s last workshop offering of the year will be “Enhancing Musicianship through Creative Movement and ‘Rote to Note’ Learning in Elementary General and Choral Music,” presented by Donna Gallo. This workshop will be held at the Trinity Lutheran School in Bloomington, Illinois on April 21, 2018 from 9:00 a.m. – 1:00 p.m. Cost for the workshop is $30 for OAKE Members, $45 for non-members, and free for full-time students. For more info on this workshop, check our website.
Photos include teachers participating in “Practicing Music Skills,” taught by Katie
Hays on February 17, 2018 and Frank Gallo directing a rehearsal of “Life with a Song” at
St. Paul’s Lutheran Church in Decatur, Illinois. Photo credits: Donna Gallo (workshop pics) and Christine Smith (Life with a Song pic).
NEWS FROM OAKE DIVISIONS AND CHAPTERS
Kodály Envoy36
IKEIndiana Kodály EducatorsBrent Gault, [email protected]
KAKEKentucky Area Kodály EducatorsJeremy Howard, [email protected]
KCFOLKSKansas City Fellowship of Local Kodály Specialists Juli Weber, [email protected] hosted Crystal Henricks in a workshop on Movement on February 24. We learned about combining Dalcroze and Kodaly in the classroom to get our students up and moving. We will be holding our 15th Annual Children’s Honor Choir on April 14 with guest clinician, Wendy Bross.
KCMKodály Chapter of MinnesotaBrenda Buush, [email protected]
KEIKodály Educators of IowaPatty Haman, [email protected]://Kodályeducatorsiowa.weebly.comKodály Educators of Iowa hosted their chapter sharing at Grandview University on February 3, 2018. Local teachers Ruth Dorr, Jacob Barker, Jolene Kubli, and Sara McCue presented about teaching English Language Learners and other members shared multicultural songs, games, dances, and other activities along with their music literacy connections. Participants shared a potluck
luncheon afterward. Upcoming this fall, we are looking forward to hosting Kris VerSteegt at Iowa State University for a workshop about Cultivating Creative Musicians.
KMEKKodály Music Educators of KansasLindsay Jervis, [email protected]
KOZKodály of the OzarksRene Spencer [email protected]://kodalyoftheozarks.blogspot.com/
MIKEMichigan Kodály EducatorsZach VanderGraaff, [email protected] www.mikodaly.org
NOCKANorth Coast Kodály AssociationSarah Schlafer, [email protected]
NPKC Northern Plains Kodály ChapterLeeAnn Kramlich, [email protected]@gmail.comwww.npkc.mkmea.com
PSKORPlains States Kodály OrganizationAnne Parker, [email protected]
SLAKESt. Louis Area Kodály EducatorsBrynna LePique , [email protected]
TRIKETri-City Kodály EducatorsLinda Lichtman, [email protected] Our TRIKE January Shareshop was held at Wright State University. As part of our ongoing outreach to include the tri-city area of Dayton, Cincinnati and Columbus, we hosted our shareshop in Dayton. It was very well attended and the teachers were quite appreciative that we came to them. Our presenters were outstanding!Katie Wynkoop presented, Creating Meaningful Programs, for you, your students, and your audience. With high praise from other colleagues, “Katie has a great sense of how to stage and present her programs,” Katie shared how she gained inspiration, and arrived at a theme, and then how to build a program that tied together. She brought 20 beautiful picture books to whet our creative appetites, then provided step by step direction where we could build our own programs. It was so helpful and meaningful.Jennifer Wightman: Neural Pathways and Primary Music Education: Use it or Lose it! Jennifer covers the importance of starting music early in life during crucial formative years of brain development. She had an incredible presentation geared for Administrators and other educators to understand the importance of music education. Hearing her speak and show her presentation with such clarity and commitment inspired many of us to stand up for our programs. Kim Hurst: Secrets of an Incredible Choral Program! Choose wisely! Literacy and programming starts with quality music. Quality music is the key. Among other considerations, choral techniques, vocal ranges, teaching vocal health, and more from this 25 year veteran choral director and Kodaly teacher. Kim shared tried and true techniques for incorporating many pedagogical elements into the warm up. She also shared a digital song list of 198 songs, sorted by range, element, difficulty, harmony, melody, all the things that take so long to choose music for your choir! Thank you Kim!Bruce Swank: Masterful teaching artist, Bruce answered the call to provide Further Ideas and Materials for Prep and Practice with Upper Grades -- The rest of the story... ideas for engaging students after the “Presentation” moment of upper level concepts and skills. Bruce challenged our own musical limits with “Front to Back & Back to Front” reading solfa, and rhythms, then in canon. He brought Rhythm tic-tac-toe, which was so fun, and then showed ways to increase levels of difficulty from Easy, Tricky, Very Tricky, to Almost Impossible! With Song bits, and Rhythm
Spring 2018 37
Telegraph, and Draw-A-Form Game, we were thrilled with new ideas. As I write this article I am adding new ideas to my lesson plans for practice! Thank you Bruce.We look forward to hosting internationally renowned Roger Sams, co-author of Purposeful Pathways, on April 21 at Capital University. After 31 years of teaching music in the classroom, he is currently Director of Publications and Music Education Consultant at Music is Elementary. We are so excited that Roger was able to find time in his busy teaching schedule to present in Columbus, for our last TRIKE workshop this year.I am very thankful for this professional organization! To all the teachers who commit to improving their craft, and to stretching their teaching and learning, I thank you.And thanks to Zolton for providing us the inspiration and direction! What a difference you are making! Southern DivisionBrenda Keen, [email protected] from the Southern Division! So much has been happening with our division! Our conference in Oklahoma City was such an amazing experience! Thank you to our own Amy Chaffin and Katie Robertson, and to the entire Oklahoma chapter for making us welcome and for making this conference one to remember. It was fantastic!The Southern Division was able to provide grants to 8 of our chapters! Two of our chapters were new this fall. We have a new chapter in West Texas, KEWT, and we now have our newest chapter in Mississippi, KM. Both of these chapters, along with all of our chapters, have continued to provide informative workshops for members. Although we have an extremely diverse and large geographic area within our division, I believe we all have the same goal. We all believe whole-heartedly in spreading the Kodály philosophy and helping others as they strive to do so. I hope you were invigorated by the conference and are ready for the “last lap” as we go racing toward the end of our school year. Enjoying the beautiful music making that is a part of our profession gives us the energy and fulfillment we need to keep going! Don’t forget to step back and listen! These are the things that give us joy and remind us why we are here. Happy Spring to all!
KEGAKodály Educators of GeorgiaMary Lou Swann, [email protected]
KEFKodály Educators of FloridaKimberly Gandrup, [email protected]://floridakodalyeducators.weebly.com/
KETKodály Educators of TexasKristin Vogt Moore, [email protected]
KEWTKodály Educators of West TexasKurt Cereske, [email protected]
KONCKodály Educators of North CarolinaNancy Stover, [email protected]://pattijoa.wix.com/kodalyofnorthcarolina
KMKodály MississippiScott Sexton, [email protected]
KMESCKodály Music Educators of South CarolinaDan Leach, [email protected]
LAKELouisiana Association of Kodály EducatorsJarrod Richey, [email protected]
MTAKEMiddle Tennessee Association of Kodály EducatorsAmy Swansen, [email protected]/groups/352480474795095
OKEOklahoma Kodály EducatorsLindsey Schroder, [email protected]
SECKESoutheast Chapter of Kodály EducatorsMarcus Smith, [email protected] McClary, [email protected]://secke.weebly.com
SHAKESweet Home Alabama Kodály Educators Lea Hoppe, [email protected] Division
AKTSArizona Kodály Teachers SocietyChris “Topher” [email protected]
KASCKodály Association of Southern CaliforniaKelly Callirgos, [email protected] the fall we welcomed, Ginger Littleton to present general music gems with a workshop titled “Plant The Seeds That Grow.” This winter, we had our northern neighbor, Melissa Hedrick, share tips for choral literacy in her workshop called “Singing is fun! (And learning is sneaky!).” Coming up this spring, we will have a workshop called “Kodály in the Instrumental Classroom” with co-clinicians, Shelly Suminski Mahpar and Asuncion Ojeda. This summer we will continue to offer courses towards Kodály certification through our Music Education Institute, July 2-20, 2018. Visit our website: kasc.oake.org for more details or email us at [email protected]. We’re also on facebook! www.facebook.com/KodalyAssociationofSouthernCalifornia/www.facebook.com/KodalyAssociationofSouthernCalifornia/
Kodály Envoy38
NCAKENorthern California Association of Kodály EducatorsJamie Parker, [email protected]
NWKENorthwest Kodály EducatorsMelissa Headrick, [email protected] Spring! NWKE has been having a successful and busy year! Workshops: In September, we held our annual member sharing and make-and-take workshop which was a huge success! January saw us host our 6th Annual Joint Workshop with WA-ACDA. This year, Melyssa Stone and Sarra Sharif led us through twenty high quality octavos of for elementary and middle school that help students engage and see themselves in the music. In March, we welcomed Maree Hennessy to the Seattle Area and she led us in a fabulous workshop that will help all of our students realize their musicianship while learning joyfully. At press time, we have one last workshop this year on April 28, 2018 at Pacific Lutheran University. Three past NWKE Presidents, Megan Oberfield, Kelly
Foster Griffin (also past OAKE President) and Lucinda Dalrymple (Western Division President) will be leading an Intro to Kodály Workshop. For more information check out www.nwkodaly.orgLevels Program: The Kodály Levels Program of Seattle is preparing for another summer of music, learning and fun for July 2-18, 2018. Come join us in the beautiful Seattle Summer weather! More information can be found at https://www.kodalylevelsseattle.com/ Board News: In January, Heidi McIlroy was elected to be the next president of NWKE. We also appointed Melanie Shaw to take over the Treasurer position next school year. We are proud to announce that two of our current board members have been elected to the national board. Our current Treasurer, Chris Stroh will be taking over as OAKE Treasurer and our current President, Melissa Headrick, has been elected to be the next Western Division President. Up next: We are already hard at work forming our board with both new and old board members and preparing what is sure to be an amazing 2018-2019 workshop season. We cannot wait to announce the season once all of the pieces are in place. Be sure to follow us on Facebook, Instagram and/or Twitter.
ROCKERegional Organization of Colorado Kodály EducatorsJenna Williams, [email protected] had an extremely successful Make and Take fundraiser at the Colorado Music Educators Association conference in January. The board members shared our best materials to provide for a substitute teacher for a suggested donation. We had an extremely successful presentation, and we will be able to provide a scholarship to someone who will be taking a Kodály level this summer. ROCKE’s own member, Amy Abbott, will present our next workshop on March 10th, at Colorado State University. She will be sharing her ideas to catch the attention of older learners and her favorite singing games in the music classroom. We will be nominating and electing new officers for president, secretary, and treasurer that day.Our last workshop of the year will be on April 28th. It will be a morning workshop only, and we will have a chapter share at Molholm Elementary in Lakewood.
SWOKESouthern Washington and Oregon Kodály EducatorsJohn Hillan-Payne, [email protected] has had a quiet winter, but we are excited for our spring Choir Festival, with guest conductor Gemma Arguelles, on April 20th. The concert will be free to the public at First Unitarian Church in Portland, beginning at 6:30 PM. Gemma will also be leading us in a teacher workshop on Saturday, April 21st from 9 AM – Noon. If you’re in the area, we hope to see you there!
UFOLKSUtah Fellowship of Local Kodály SpecialistsKayla Spurlock, [email protected]://ufolks.wordpress.com
HOW WILL YOU DRIVE EDUCATION
?
THE AMERICAN KODÁLY INSTITUTE AT LOYOLA UNIVERSITY MARYLAND
WWW.LOYOLA.EDU/KODALY Program Information: 240-993-9181 or [email protected] Information: 410-617-7741 or [email protected]
SUMMER’S MASTER’SDEGREE PROGRAM
• OAKE Endorsed Kodály Certification Levels I, II, III
• M.Ed in Kodály Music Education
• Elementary General or Secondary Choral Track
• Kodály methodology based on current research
• Teaching Lab with AKI Demonstration Singers
• Build and play dulcimer, guitar, and ukulele
• Learn hundreds of songs, folk dances, and play parties
Spring 2018 39
Samuel Acosta Lubbock TX
Michaela Barlett Friendswood TX
Erin Barrett Linderhurst NY
Matthew Bell Gainesville FL
Emily BohlMoore OK
Angela Borlasa Laguna Niguel CA
Justin BurdeCranston RI
Jacqueline BurdickBeaufort NC
Brandon BuscemiEastport NY
Jessica CalvitLubbock TX
Madison Carter Fultondale AL
Dr. Pattye CasarowTaylors SC
Joseph ChoiAzusa CA
Jacquelyn ColemanRiverton UT
Jacob Connolly Paradise PA
Katherine Copeland Lubbock TX
Ashley Coston Irvine CA
Linda DavisFrisco TX
Megan DeisherLubbock TX
Nicole DelaneyKingwood TX
Claudia DienerFrederick MD
Shaina DonaldsonMcPherson KS
Juliana DuenasFair Lawn NJ
Mark EdelsteinRiver Edge NJ
Lynn Elmore Houston TX
Jeanette EstradaAzusa CA
Mariza Galache Glendale AZ
Nicholas GardellSelden NY
Maria Adriana Piracicaba SP
Troy GartnerPaoli PA
Kyle GeorgeWestbury NY
TaraKay GreenleePitkin KY
Rhonna GriffinEast Windsor NJ
Christopher J. HaAkron OH
Cara HallLawton OK
Jarrett HatcherLubbock TX
Maeve HealeyYardley PA
Annie HendryAustin AR
Matthew Hoch Auburn AL
Aubrey Hollinger McPherson KS
Victoria HoslerCape Girardeau MO
Amy IvesGarden Plain KS
Krista JimneyLake Charles LA
Evelyn Kampmeyer Millersville PA
Tristan Keller Lubbock TX
Madeline Kerkemeyer Katy TX
Jordan KillionRancho Cucamonga CA
Alison KisselCortlandt NY
Aubrey LawrenceDenver PA
So-Yeoun LeeAmes IA
Heidi LentzLuling LA
Mary LewisEvanston IL
Hao Liu Philadelphia PA
Gabriel Lukijaniuk Hackettstown NJ
Jeanne LynnShawnee OK
Diann MagnusYukon OK
Griffin MaxwellOklahoma City OK
Jackson McCarthyLexington NC
Pamela McDaniel San Antonio TX
Samantha McEvoyWest Islip NY
Emmanuel MenchúVásquez Guatemala. Tecpan.
Nicolas MirandaDenton TX
Kayle MorinLubbock TX
Sharon Morrow Greendale WI
Alyssa MuellerCosta Mesa CA
Mikayla MuggyAuburn WA
Megan MurphyMillersville PA
Shayla Nelson Bismarck ND
Madison O’HaraWaleska GA
Jeremy PadronesLos Alamitos CA
Amelia Irene PanjaitanDepok AL
Kay PeetoomAmarillo TX
IsabellaPfaffWest Grove PA
Kristy PiperBrunswick OH
Rebecca PollockLubbock TX
William PyleLubbock TX
NEW MEMBERS FOURTH QUARTER 2017
See complete member listings on www.oake.org. Restricted solely to the personal use of OAKE members and official OAKE business.
Angela RamseyCypress TX
Ingrid ReidLibertyville IL
Tiger RobisonLaramie WY
Michael RoweSunrise FL
Jennifer SahadiPlano TX
Esbeyde Sanchez Anaheim CA
Victor SanchezHouston TX
Haley SchmidtGriswold IA
Elizabeth SchultzGainesville FL
Linda SeamonsCedar Hills UT
Veronique ShaftelPennington NJ
Jenny ShirleyWashington DC
Joshua Simon Gillette WY
Morgan SmithLubbock TX
Rosalee SparksPlacentia CA
Sandra StallingsRogers AR
Jessica Stroub Shawnee KS
Diana TaylorDallas TX
Kathryn Thompson Lubbock TX
Tommy ThompsonBirmingham AL
James TippsBeavercreek OH
Stephania ValenciaLubbock TX
Elaine VardemanPerry OK
Nancy WaltherSt. Louis MO
Brittany WardPort Washington WI
Trevor White Williston ND
Felicity WilliamsGreenville SC
Taylor WilliamsHuber Heights OH
Shelby WillisGreer SC
Addison WittChico CA
Tracy WoodallAcworth GA
Kyle WorleyLubbock TX
Brooke YubaileHouston TX
Rheanna Zotto Maspeth NY
Kodály Envoy40
Guidelines for ContributorsThe Kodály Envoy seeks articles
about Kodály-based music education at all teaching levels, as well as articles on related music and music education topics.
Kodály Envoy articles are double-blind peer reviewed by practicing professionals who have expertise in the Kodály concept and writing and editing, and significant teaching, practicing, and research experi-ence. Manuscripts and other documents accepted for publication are edited to conform with Kodály Envoy style policies, which can be found at www .oake.org/envoy or be obtained from the editor.
Submission of a manuscript implies that the article is not currently under review by another publication and has not appeared elsewhere in part or entirety.
Contact: Send all manuscripts, articles, reports, news, letters, items for review, other contributions, questions, comments, suggestions, and requests for permission to reprint to the editor: Reneé Higgins, 12323 Almendra Dr., San Antonio, TX 78247; 210-710-1572; [email protected].
AdvertisingOutside Back Cover3/4 Page 7 × 7½" $405 4-color onlyInside Front/Back CoverFull Page 7 × 10" $405 4-color onlyHalf Page 7 × 5" $220 4-color onlyInside PageFull Page 7 × 10" $3352/3 Page 5 × 10" $235Half Page 7 × 5" $1801/3 Page 5 × 5" $1251/3 Page 2½ × 10" $1251/6 Page 2½ × 5" $75
Discounts available for multiple ads!
Rate card and contract online at www.oake.org/kodaly-envoy
Ad Deadlines: Fall: September 1; Winter: December 1; Spring: March 1; Summer: June 1.
Contact: Colleen Graves; 3415 S. Sepulveda Blvd., Suite 1126, Los Angeles, CA 90064; [email protected]; Fax: 310-441-3577; Phone: 310-441-3555 .
PUBLICATION INFORMATION
Executive Officers
PresidentAnn [email protected]
President ElectDonna [email protected]
Vice PresidentKevin [email protected]
SecretaryMary Neeley [email protected]
TreasurerChristopher [email protected]
Deputy-TreasurerSusan [email protected]
Administrative DirectorLauren [email protected]
Ex Officio Members
National Conference Business DirectorNancy [email protected]
Past PresidentMary [email protected]
Editor, Kodály EnvoyReneé [email protected]
Administrative Coordinator Colleen Graves, [email protected]
Members at Large
Alice [email protected]
Kathryn Bach [email protected]
National Advisers
Higher EducationElaine [email protected]
IndustryKathy [email protected]
InstrumentalBrian [email protected]
Secondary EducationJeanne [email protected]
Eastern Division
PresidentMichelle [email protected]
Regional RepresentativesPhilip Montgomery, [email protected]
Emily Reep, [email protected]
Midwestern Division
PresidentLisa [email protected]
Regional RepresentativesEva Floyd, [email protected]
Christina Svec, [email protected]
Southern Division
PresidentBrenda [email protected]
Regional RepresentativesRebecca Juarez, [email protected]
Andrew Paney, [email protected]
Western Division
PresidentCarrie [email protected]
Regional RepresentativesTopher Keene, [email protected]
Erika Uribe, [email protected]
2018 - 2019 OAKE BOARD OF DIRECTORS
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MUSIC AND PERFORMING ARTS PROFESSIONS
Alex Ruthmann, Director of Music Education
Job: A1802_03_Kodaly Publication: Kodaly Envoy Size: 7” x 10” Color(s): B/W Material Type: PDF Line Screen: NA Delivery: email Issue Date: 4/1/18 Closing Date: Proof: F Date: 01/30/18
Visit steinhardt.nyu.edu/kodaly2018, email [email protected] or [email protected], or call 212 998 5438.
Kodály Summer Institute | July 2–20, 2018Three-Week Certification Program in New York City 30th Anniversary Summer • Founded 1989 Endorsed by the Organization of American Kodály Educators
Experience the teaching and learning of music using Kodály methodology. Studies in voice, Kodály-inspired pedagogy using movable tonic solfège and rhythm syllables, traditional song materials and research, choral performance, choral conducting, and recorder. Levels 1, 2, and 3
Noncredit tuition: $1,800 plus $55 application fee
Credit tuition: 3 graduate credits at $1,869 per credit plus fees
Low-cost NYU residence hall accommodations and meal plan are available.
Application deadlines: April 2 (Priority) and May 4 (Final). Applications will be accepted past the deadline on a rolling basis for U.S. students who are not in need of on-campus housing.
Special one-week offerings (July 10–14): 1. Kodály Curriculum and Pedagogy Workshop:
Fostering Musical Independence and Wonder Through the Teaching and Learning of Song
2. Solfège Seminar: Renewing the Ear3. Workshop Package
Faculty: Dr. Jerry Kerlin, Director; Dr. Susan Glass; Esther Liu Harris; Anna (Panni) Kovács; Giocille Shaw.