15. Ask students to demonstrate the S and M hand signs.
16. Ask students to tell me which solfege syllable is ‘high’ and which is ‘low’.
17. Look for students to line up correctly at the door. Line the class up at the door quietly.
--All songs mentioned in the lesson plan can be found in Joy Nelson’s book: Nelson, J. (2006). The music effect book two. Van Nuys, CA: Alfred Publishing Group, Inc.
Conclusion
The Kodály Approach strives to instill a lifelong love and understanding of music in the hearts of children. This ideal is achieved through some of the nuances of the method, including: selecting the best repertoire, planning active les- sons that involve the learners in multisensory experiences, and sequencing musical concepts. These tenets guide the decision-making process of Kodály-inspired teachers, as they plan and implement instruction.
References Choksy, L. (1999). The Kodály method I: Comprehensive
Dr. Ashley Allen is an Assistant Professor of Music Education at Central Michigan University, where she teaches graduate and undergraduate courses in gen- eral music education, supervises student teachers, and serves as director for the CMU Kodály Cer-
tification program. She is the Past-President of the Michigan Kodály Educators, a state affiliated chapter of OAKE, and the Executive Secretary for the Midwestern. Kodály Music Educa- tors of America regional chapter. Dr. Allen received Kodály levels I, II, and III training at the University of Oklahoma.
music education. Upper Saddle River, Prentice Hall
NJ:
Dobszay, L. (1972). The Kodály method and its musical basis. Budapest: Academia Press.
Eisen, A. & Robertson, L. (2010). American methodology: An inclusive approach to musical literacy (2nd ed.). Lake Charles, LA: Sneaky Snake Publications.
Eösze, L. (1982). Zoltán Kodály: His life in pictures and documents. Budapest: Corvina Press. Szönyi, E. (1973). Kodály’s principles in practice. New York: Boosey and Hawkes.
meyer-music.com visit
Annual Spring ORFF WORKSHOP Sat, April 22, 2017
with Chris Judah-Lauder
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