The purpose of this study was to investigate the characteristics and means of Katinka Dániel's interpersonal influences through the perceptions of 20 selected students, protégés, and colleagues, and to study the behavioral and attitudinal changes they attributed to her influence. A case study design and structured interview questionnaire were used to study four variables coming from the social sciences' literature on influence: legitimate authority, attractiveness, expert authority, and trustworthiness. Responses were qualitatively analyzed to determine the role those variables played in Dániel's interpersonal influence. All interviewees were music teachers who used the Kodály method in their teaching and have studied or worked with Dániel. Two images of Dániel emerged from the interviews. The first, a business-like image, emanated from Dániel's work in the classroom, and the second, a maternal image, came from personal relationships with her students and associates. Attractiveness (defined as a willingness to respond positively to the requests of an influential person because one respects that individual and wants to obtain that person's approval) proved to be the principal characteristic of influence, followed by legitimate authority, then expertise. Trustworthiness played a lesser role. The greatest effect of Dániel's influence was on the interviewees' teaching. Among the factors interviewees described as influential were her expectation they would succeed, her position as role model, praise and encouragement, and gestures of generosity and concern. Interviewees were not in agreement as to whether she used persuasion or coercion. Direct verbal communication served a principal role in Dániel's influence, and though her criticism was described as forthright and bluntly honest, interviewees often accepted it. This was because most believed she was focused on their best interest, because her motives were not considered self-serving, and because they saw the reasons for her criticism as stemming from her high ideals and the desire to see them improve as teachers. The dissertation includes a biography of Dániel.

No description available.

This action research project seeks to explore the question, “how can the community dances of Alberta’s past become a context for learning in the Alberta grade four music program?” This question gives the researcher an opportunity to explore several things, one of which is David Elliott’s idea of music education as praxis, which is explored through teaching a unit of instruction “praxially,” and having it culminate in a cultural/ musical event, a historical community “schoolhouse dance” simulation. Because the research method for this project is action research, the researcher is able to interrogate his practice as a music teacher. Finally, at a time of planned change to Alberta’s fine arts curriculum, this study contributes to the discussion about what the nature of arts education in Alberta can - and should - be by exploring the areas of: community involvement; student engagement; and the integration of other subject areas within music learning. / Ethnomusicology

The lecture recital was given April 11, 1977. The subject was Eclectic Qualities of Zoltán Kodály's Sonata, Opus 8, for Solo Violoncello, and it included a discussion of rhythmic, melodic, harmonic, and formal qualities of the sonata along with conclusions and performance suggestions. The Kodály Sonata, Opus 8, was performed at the conclusion of the lecture.

Ultimately, the unity of vision discernable in the philosophies and teachings of Dalcroze, Kodály and Orff may stimulate contemporary music educators to unify their search for newer and ever more meaningful ways to ignite the spark of musical curiosity in the young, to assist in the development of musicians, and to generally help people discover and appreciate the joy of music.

Mini-dissertation (MMus)--University of Pretoria, 2014. / tm2015 / Music / MMus / Unrestricted

No description available.

Syftet med denna studie är att undersöka de musikpedagogiska idéer som utvecklades av Jaques-Dalcroze, Kodály, Orff och Suzuki för att se hur de väletablerade metoderna kan användas i pianoundervisning med förskolebarn i syfte att främja deras motoriska, språkliga och socioemotionella utveckling. Som metod i min studie har jag valt att analysera de fyra musikpedagogernas idéer och principer kartlagda i deras ursprungliga texter och övningsböcker. Den teorin som jag har använt mig av i min analys är från det traditionella utvecklingspsykologiska perspektivet. Jag väljer att begränsa mig till tre områden i förskolebarns utveckling: motorik, socioemotionell kompetens och språk. Analysen har visat att alla fyra metoder innehåller didaktiska medel som kan användas med förskolebarn. Min slutsats är dock att ingen av de fyra pedagogiska metoderna kan gynna barns utveckling i alla tre utvecklingsområden i lika hög utsträckning. Det är i stället en kombination av metoderna som på bästa vis kan hjälpa lärare att organisera pianoundervisning med förskolebarn.

This study examined the Kodaly approach to music teaching and investigated four different approaches to teaching first graders in elementary school to sing on pitch, echo (clap) rhythms, audiate tonal patterns, and audiate rhythm patterns. The approaches were the Kodaly approach, the traditional approach, and two eclectic approaches. One emphasized some of the techniques of the Kodaly approach, and the other emphasized some of the techniques of the Orff approach. The sample for this study consisted of one hundred twenty-one students in five classes from four different elementary schools. Two instruments were utilized: the standardized Primary Measures of Music Audiation (PMMA) by Gordon and the Individual Performance Test (IPT) designed by the investigator. The PMMA had two sections of forty examples each and measured the child's ability to audiate tonal and rhythmic patterns. This test was administered to the children as a group and they recorded their answers on an answer sheet. The IPT was tape recorded and administered individually by the investigator and assistants. It had two sections, rhythm and tonal. The children matched pitches and clapped the rhythms they heard. Responses were tape recorded and evaluated. Pretests were given shortly after the school year began and post-test were given eight weeks later. A completely randomized analysis of covariance was used to analyze the data. It was hypothesized that there would be no difference in the achievement of the children in the different classes to perform the selected skills. Findings revealed that the approach to music teaching does make a difference in the musical achievement of first-graders and their abilities to echo rhythms, match pitches, and to audiate rhythm patterns. The approach to music teaching does not make a difference in the musical achievement of the subjects and their abilities to audiate tonal patterns.

The purpose of this study was to analyze and understand experienced choral directors' perceptions and beliefs on a variety of topics surrounding the teaching and learning of secondary choral music sight singing or sight reading. A focus group of eight highly successful college, high school and middle school choral music educators addressed seven questions. The investigation gathered qualitative data that covered the purposes of teaching sight singing, the positive or negative attributes of movable Do, fixed Do and numbers, and a review of sight-singing curricula. Further, the investigation gathered data on the effect, if any, of an instrumental student's sight-singing ability and the use and effectiveness of Curwen or Kodály hand signs and sight-singing assessment for students. Additional data was gathered concerning how secondary music educators were evaluated. Results suggested that the focus group's purpose in teaching sight singing was to produce independent, self-reliant musicians. Individual sight-singing assessment was deemed important and should focus on how singers progressed. Music composed specifically for sight-singing contests or festivals should contain challenging notes and rhythms, dynamic changes, phrase markings and at least one tempo or meter change. Further, music teacher evaluations were discussed, coded and analyzed. Twenty-nine recommendations are offered that are designed to make sight singing more efficient and more effective in today's choral music classrooms. While there are some very good sight-singing materials in print, music publishers who contemplate printing new instructional material should offer a holistic approach to musicianship. Adjudicators for choral sight-singing festivals and contests should be trained. Choirs entering a sight-singing performance should be adjudicated on musical elements such as meter changes, correct tempi, phrasing, tone, articulation and dynamics, not merely on performing the correct notes and rhythms. Many more recommendations were offered to secondary and college choir teachers, supervisors, contest chairmen, adjudicators, composers, music publishers and students. The investigation was not intended to determine a recommended method for sight-singing instruction nor assessment. The purpose of this study was to understand and analyze experienced choral directors' perceptions and beliefs concerning sight singing on secondary campuses.