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.

Inhalt der Arbeit ist die Beschreibung eines von Studenten der TU Chemnitz initiierten Musiktheaterprojektes mit Kindern einer Chemnitzer Grundschule und einer Behindertenschule (verschiedene Behinderungsformen). Dabei wird eingangs ein geschichtlicher Abriß beschrieben, der sich auf die schulische Integration von abnormalen Kindern richtet. Den Hauptteil bildet das zu beschreibende Projekt mit der sehr wichtigen Schwerpunktsetzung, ob ein musikpädagogischer oder musiktherapeutischer Ansatz verfolgt werden soll. Es werden weiterhin Beispiele von gelungenen Integrationsprojekten an verschiedenen Schulen in Deutschland aufgeführt.

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Literacy education defined as the reading and writing of print text is undergoing a paradigmatic shift towards a pedagogy of multiliteracies (Cole & Pullen, 2010). At the same time, demands for rapid, efficient, and accurate reading skills escalate (Katzir et al., 2006) in a global society with increasingly instant and complex literacy requirements. Musical rhythm plays a role in multiliteracy and print literacy learning. Rhythm is essential for music making and reading, and may facilitate print literacy for all children, including those who struggle with traditional print-based teaching and learning. The purpose of this research was to investigate the potential for the semiotic resource of rhythm to engage early years children in print and non-print literacy learning. A twelve week mixed methods quasi-experimental study was conducted to examine the effects of a multimodal Orff-based learning design on elements of reading and rhythm for grades one to three children in four schools. Students (N = 169) from nine classrooms were non-randomly assigned to one of two groups. The researcher instructed both groups two to three times a week totaling twenty-five sessions in each homeroom classroom. The experimental groups participated in Orff-based learning experiences that focused on elements of rhythm and prosodic oral reading fluency. The control group listened to and sang song-storybooks. Beat performance and oral reading rate assessments were administered as pre- and post-tests to each group. Struggling readers in the experimental group significantly improved on measures of oral reading rate compared to struggling readers in the control group using matched pairs t-procedures and analyses of variance. Associations between beat performance and oral reading rate were explored using bivariate and multivariate regression and correlation analysis. A strong positive correlation was found between measures of beat competency and measures of oral reading rate. Qualitative methods using grounded theory, semiotic data analysis, multimodal analysis, action research, and design research methods placed within a bricolage framework (Kincheloe & Berry, 2004) and examined through the lens of complexity thinking (Davis & Sumara, 2006) added multiperspectival meaning-making of data. Findings pointed to the value of multimodal music and rhythm experiences for engaged, deep, meaningful print and non-print learning for diverse individual and classroom collective learners in both control and experimental classrooms. Beat competency was important to both print and music literacy learning in experimental classrooms. Beat experiences were compelling, equitable, and appeared to organize music, oral language, and print literacy into meaningful and accessible patterns and structures. Similar findings may be occasioned through an ontology of multimodal richness, a complex epistemology, embodied ways of knowing and communicating, and systemic shared beliefs and values.

Literacy education defined as the reading and writing of print text is undergoing a paradigmatic shift towards a pedagogy of multiliteracies (Cole & Pullen, 2010). At the same time, demands for rapid, efficient, and accurate reading skills escalate (Katzir et al., 2006) in a global society with increasingly instant and complex literacy requirements. Musical rhythm plays a role in multiliteracy and print literacy learning. Rhythm is essential for music making and reading, and may facilitate print literacy for all children, including those who struggle with traditional print-based teaching and learning. The purpose of this research was to investigate the potential for the semiotic resource of rhythm to engage early years children in print and non-print literacy learning. A twelve week mixed methods quasi-experimental study was conducted to examine the effects of a multimodal Orff-based learning design on elements of reading and rhythm for grades one to three children in four schools. Students (N = 169) from nine classrooms were non-randomly assigned to one of two groups. The researcher instructed both groups two to three times a week totaling twenty-five sessions in each homeroom classroom. The experimental groups participated in Orff-based learning experiences that focused on elements of rhythm and prosodic oral reading fluency. The control group listened to and sang song-storybooks. Beat performance and oral reading rate assessments were administered as pre- and post-tests to each group. Struggling readers in the experimental group significantly improved on measures of oral reading rate compared to struggling readers in the control group using matched pairs t-procedures and analyses of variance. Associations between beat performance and oral reading rate were explored using bivariate and multivariate regression and correlation analysis. A strong positive correlation was found between measures of beat competency and measures of oral reading rate. Qualitative methods using grounded theory, semiotic data analysis, multimodal analysis, action research, and design research methods placed within a bricolage framework (Kincheloe & Berry, 2004) and examined through the lens of complexity thinking (Davis & Sumara, 2006) added multiperspectival meaning-making of data. Findings pointed to the value of multimodal music and rhythm experiences for engaged, deep, meaningful print and non-print learning for diverse individual and classroom collective learners in both control and experimental classrooms. Beat competency was important to both print and music literacy learning in experimental classrooms. Beat experiences were compelling, equitable, and appeared to organize music, oral language, and print literacy into meaningful and accessible patterns and structures. Similar findings may be occasioned through an ontology of multimodal richness, a complex epistemology, embodied ways of knowing and communicating, and systemic shared beliefs and values.

Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007). / This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).

Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007). / This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).

Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007). / This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).

Master's thesis addresses the implementation of didactic tool to musical movement activities of preschool children in kindergarten with respect to the integrative nature of education. The first part of the thesis is covering theoretical side of the important aspects of child development at the age of five to six years. Further it deals with the specifics of the development of musicality in preschoolers, especially focusing on instrumental side of the music. It highlights the musical creativity that flows from the principles of Orff School. Musical creativity is one of the objective of the thesis second, practical part. Here thesis research music educational project whose main component is a methodical set Cup Song that contains suggestions for practical usage. Experiment, observation and structured interview are used as methods of research that is focused on verification of the Cup Song impact on a musical and personal development of the child. KEYWORDS Music, musical abilities, preschool age child, musical instruments, integration, project, Cup Song, instrumental activity, creativity, rhythm, song, experience, Orff School.

The theme of the master theses is the application of music and movement in the search options and ŠVP and the search for possibilities and ways of developing knowledge and skills of reading and writing prior to the child before entering the school through music and movement activities. Acquiring language skills in preschool children is realized through integrated teaching with appropriate psychological aspects. Experimentally verify the connection of music and language skills. It will be appropriate material for educational use in kindergartens.