ABSTRACT
Annotations are drawn from the authors’ abstract.
1293. Alicea y de Jesus, Mercedes. “An Overview and Analysis of the Choral Program of the Department of Education of Puerto Rico” and “A Music Teachers’ Resource Manual Grades 1–6 (with Spanish Text), Puerto Rico, Music Teachers’ Resource Manual Grades 1–6, First Grade, Sixth Grade, Kodály Approach).” Ed.D., Columbia University Teachers College, 1991. 532 p. Order no. 9121162.
This study investigates the Kodály approach in the public school system of the Department of Education of Puerto Rico (DEPR) to see if the application of the methodology could improve the quality of children’s singing. The study also includes “A Music Teacher’s Resource Manual Grades 1–6” containing folk songs using the Kodály approach as adapted to Puerto Rico’s musical culture.
1294. Allen, Elizabeth Leonette. “Tonic Sol-Fa: Its Role in Nineteenth Century Music Literacy in the United Kingdom.” Ed.D., The University of Alabama, 1989. 362 p. Order no. 9000081.
The purpose of this study was to assess the role of Tonic Sol-fa methodology in the development of music literacy in the nineteenth century as related to congregational psalmody in England. The Tonic Sol-fa movement was aided by the establishment of its own publishing arm, the Tonic Sol-fa Press, which later became John Curwen and Sons. Vestiges of the system remain as utilized in the Kodály method and the New Curwen method.
1295. Bauer, Paul Donald. “Bass Trombone Pedagogy as Practiced by Selected Bass Trombonists in Major American Symphony Orchestras: Techniques and Their Origins.” D. Mus., Northwestern University, 1986.163 p. Order no. 8624147.
The impetus of the study was to help students competently deal with bass trombone performance in an orchestral context. Subsequently, the goals of the project were threefold: (1) to document techniques currently in use by selected bass trombonists in major American symphony orchestras, (2) to identify common pedagogical trends, and (3) to trace, when possible, the origins of these trends and techniques. The interviews document specific pedagogical techniques and interpretive ideas used by each of the artists. Discussion focuses on five works: Johannes Brahms, Symphony No. 1; Cesar Franck, Symphony in D Minor; Zoltán Kodály, Háry János Suite; Richard Strauss, Ein Heldenleben; Richard Wagner, Ride of the Valkyries.
1296. Beimain, Carol Ann. “The Effectiveness of Three Listening Packets on the Musical Achievement of Fifth Grade Students.” D.M.A., Temple University, 1980. 73 p. Order no. 8025173.
This study sets out to determine the effects of three listening packets on the musical achievement of fifth-grade children, specifically to discover which of two teaching strategies, the listening approach or the eclectic approach, would result in a higher level of musical achievement at the end of a twelve-week instructional period. Three listening packets based on selected learning principles were designed by the investigator, employing audiovisual aids and the teaching techniques of Orff and Kodály in teacher-directed activities for large and small groups and some individual activities.
1297. Bidner, Sara Baker. “A Folk Song Approach to Music Reading for Upper Elementary Levels Based on the Kodály Method.” Ph.D., Louisiana State University and Agricultural and Mechanical College, 1978.191 p. Order no. 78–15613.
The author uses a Kodály approach for teaching music reading at the upper elementary level. She studied folk songs to determine appropriate text and melodic range and then analyzed the melodic and rhythmic content.
1298. Bliss, Hope Cynthia. “The Development of a Classification and Retrieval System to Aid Teachers and Researchers in Organizing Folk Songs for Integration into the Elementary School Curriculum.” Ph.D., University of Pennslvania, 1981. 257 p. Order no. 8117760.
The purpose of this project was to create a classification system to organize folk songs for classroom and research use, and to add to the repertoire of American folk songs organized for appropriate use with elementary age children. The Mastercard Music Classification System designed for this study will provide a structure for future pedagogic folk song collection. Feedback on the folk song sample provides general guidelines for folk song researchers in selecting songs for pedagogical use.
1299. Burtenshaw, Leonard John. “The Construction and Validation of a Criterion-Referenced Test to Measure the Musical Outcomes of the Upper Elementary School Pupils Instructed in the Kodály Method in the U.S.A.” Ph.D., University of Colorado at Boulder, 1983. 412 p. Order no. 8317647.
The purpose of the study was to devise a reliable and valid test that would measure the non-performance musical learnings of upper elementary school classes taught by the Kodály principles in the U.S.A. As part of the basic rationale, the author incorporated the essence of the Kodály spirit into the test structure through the use of folk songs and some of Kodály’s own compositions, solfa, hand signs, unaccompanied singing and two-part vocal work, and singing games. The Criterion-Referenced Music Test (CRMT) was constructed in three parts, each devoted to one of the music concepts—rhythm, pitch, and form and timbre. Content validity was determined from three sources: the six principal music texts on Kodály teaching in current use in the U.S.A., the recommendations of leading Kodály music educators at two international conferences, and a questionnaire that gathered the comments of ten Kodály music educators at the Kodály Musical Training Institute, in Massachusetts.
1300. Caton, Benjamin Dickerson. “A Study of Music Education Master’s Degrees at Selected Colleges and Universities.” Ph.D., The Ohio State University, 1982. 132 p. Order no. 8300218.
The purpose of the study was to collect and analyze data regarding master’s degree programs in music education at a limited number of institutions of higher learning in the U.S. One-half of the schools offered these courses: Applied Study; Research Techniques in Music Education; Vocal/Instrumental Ensemble; Philosophy of Music Education; Evaluation and Measurement in Music Education; Theories of Learning; Psychology of Music; Piano, Vocal, Instrumental, and Theory Pedagogy; Supervision and Administration of Public School Music; Orff; Kodály; Jazz; and Acoustics. Nine Multi-Disciplinary Programs were offered at seven schools.
1301. Chivington, Amy D. “The Effect of Differential Choral Group Instruction on Children’s Vocal and Rhythmic Performance of Taught and Transfer Patterns (Vocal Performance).” Ph.D., The Ohio State University, 1990.183 p. Order no. 9105089.
The purpose of the study was to investigate the transfer of learned rhythmic and melodic patterns to performance and sight-reading in an elementary children’s choir. Sixty-five fourth and fifth graders in two elementary school choirs served as subjects and were divided into two groups. Both groups improved from pretest to posttest. The significant interaction of group and pattern may have been due to instructional treatment. Systematic instruction used in group one may have affected performance of taught patterns more than transfer patterns.
1302. Creutiein, Timo von. “Views to the Finnish Adaptation of the Kodály Method.” Ph. D. Jyväskylä, 1988.
An examination of how Kodály studies work within the structure of the Finnish educational system beginning in the 1960s.
1303. Daigneault, David Joseph. “A Survey of Recommended Procedures and Teaching Methods for Building and Maintaining a Wind and Percussion Instrumental Music Education Program Grades Six Through Twelve.” D.A. The University of Mississippi, 1993.157 p. Order no. 9406640.
The purpose of this study was to recommend procedures for building and maintaining an instrumental music education program. This study offers an historical account of instrumental music education in the United States, a conceptual approach to the pedagogies of Emile Jaques-Dalcroze, Zoltán Kodály, Carl Orff, and Shinichi Suzuki and procedural recommendations for developing an effective instrumental music education program. The author points out that the success of instrumental music teachers is dependent upon the college music education program’s ability to provide the training of musical, as well as, non-musical elements associated with building and maintaining an effective instrumental music education program.
1304. Darázs, Árpád. “A Study of the Zoltán Kodály Approach to Music Reading and Its Application to the High School/Selective Choral Organization.” Ed.D. Columbia University, 1973. 381 p. Order no. 7415974.
The two-fold purpose of this dissertation is to explain the application of the Kodály system of music instruction to the use of music reading as a way of furthering musical growth and understanding and to provide the American director of choral organizations with a sequential array of activities which he might apply to the training and preparation of selected choral groups, utilizing active student involvement in aural, optical, intellectual and kinesthetic activities through the medium of fine choral literature. The nature of the Kodály system is studied in depth, as is its application in music education in Hungary. Among the conclusions offered is that the use of the Kodály system requires considerable skill on the part of the teacher and is, therefore, a vehicle by which the musical sophistication of the American educator may be considerably enhanced.
1305. Dunlap, M.P. “The Effects of Singing and Solmization Training on the Musical Achievement of Beginning Fifth-Grade Instrumental Students.” Ph.D. University of Michigan, 1992. 210 p. Reviews by S.L. Schleuter. Council of Research in Music Education 12.1 (Spring 1992): 69–72. ISSN 0010–9894. 780.7 370 ML1.
The purpose of this study was to determine whether beginning elementary instrumental students who engaged in singing and solmization as part of their instrumental class activities developed greater aural, performance, and music reading skills than instrumental students who did not receive this training. An ancillary goal was to investigate relationships between vocal accuracy and selected aspects of instrumental student achievement, and the relationship between vocal accuracy and musical aptitude.
1306. Engelhardt, Doris. “Song and Dance as an Approach to Teacher Preparation in Music for Primary Classroom Teachers.” D.M.A. University of Arizona, 1980. 200 p. Order no. 8022834.
An eclectic approach to the preparation of prospective music teachers based on selected pedagogical principles of Kodály, Orff, and Dalcroze. The main body of the dissertation consists of a two-semester sequence of instruction organized into thirty lessons based on a vocal approach and emphasizing movement.
1307. Falconer, David John. “A Comparison of the Effects of Synthesized and Vocal Timbre on the Melodic perception of Children, Ages 6–12.” D.M.A., University of Southern California, 1994. Order no. 54/08.
This study examines the comparative effectiveness of synthesized versus vocal musical timbres as sound sources for melodic dictation with children at the elementary-school level. A review of the literature revealed no investigations that had measured the effect of timbre on children’s melodic perception using melodic dictation as the evaluative tool. A Kodály music-education curriculum was used in the test school.
1308. Feierabend, John M. “The Effects of Specific Tonal Pattern Training on Singing and Aural Discrimination Abilities of First Grade Children.” Ph.D. dissertation. Temple University, 1983. 67 p. Order no. 8410243.
Singing and aural discrimination tests were administered to four groups of first-grade children. The experimental treatment involved students echoing major tonic and dominant melodic patterns sung on a neutral syllable for five minutes daily for seven weeks. An analysis of covariance was used on the posttest scores to determine which if any of the treatments had a significant effect. Although no significant treatment effect was found, differences between the pretest and posttest means were apparent. Changes in correlations from pretest and posttest suggest that singing and aural discrimination abilities are similar in students that echo patterns that are easy to sing and become less similar in students that echo patterns that are easy to aurally discriminate.
1309. Ford, Vivian Hill. “Sound Success: The Contribution of Músico-Audotory Skills to Reading Readiness Competency.” Ed.D. University of California, Berkeley, 1980. 164 p. Order no. 8029300.
This study analyzed the content of current basal music programs for activities to develop auditory perceptual skills which were included in planned music lessons as presented in teacher edition textbooks. The selected music programs were found to be more alike than different in type and amount of auditory perceptual activities provided, the quantitative differences being miniscule. Elements of music explored by each program were identical. Reliance on prerecorded discs and cassettes was evident, indicating possible exclusion of the cognitive levels of listening which could help to integrate music with reading, the language arts, and other curricular areas. All programs offered opportunities for children to practice the auditory perceptual skills through exploring the elements of music. Not one of the selected programs fully incorporated the newer approaches to music teaching such as Kodály or Orff-Schulwerk.
1310. Frederickson, Karen Barbara. ‘The Relationship of Spatial Ability and Encoding Ability to Kodály Hand Signs and Singing Performance.” Ed.D. Arizona State University, 1992. 133 p. Order no. 9307083.
The purpose of this study was to determine the effects of hand levels or Kodály hand signs on vocal accuracy and vocal range of fourth- and fifth-grade students. The interaction of spatial ability and encoding ability with the treatments was also investigated.
1311. Fridley, Michael D. “A Comparison of the Effects of Two Learning Sequences on the Acquisition of Music Reading Skills for the Guitar: Traditional versus Kodály Based.” Ed.D. University of the Pacific, 1993. 134 p. Order no. 9326243.
The purpose of the study was to compare two methods for teaching guitar to fifth- and sixth-grade students: one based on the tonal learning sequence of the Kodály method, the other on the traditional note learning sequence found in standard guitar method books. The null hypothesis was that there would be no significant differences on scores or attitude ratings by group, sex, grade, or years of experience. More research is needed to discover if there would be significant differences between the groups if they are evenly matched by sex and by years of experience. In addition, the finding that the control treatment favored females and the experimental treatment favored males needs to be examined further.
1312. Haimos, ग. “Die musikpädagogische Konzeption von Zoltán Kodály im Vergleich mit modernen Lehrplantheorien. Ein Beitrag zur komparativen Musikerziehung” [The Pedagogical Concepts of Zoltán Kodály in Comparison with Modern Teaching Theories: A Contribution to Comparative Music Education]. Ph. D dissertation. Köln: Pädagogische Hochschule, 1977.
According to the author, RILM abstract 6226, 1978: Part 1 sets forth Kodály’s conception of music pedagogy and places the history of its development in the context of historical, political, and cultural-historical happenings in Hungary. Part 2 is a discussion of theories relating to general education and to the music curriculum with regard to school-music education, extra curricular music education, and pre-school music education. Part 3 is a critical, analytical, and comparative discussion of the topics addressed in parts 1 and 2. In the course of the critical analysis, actual or apparent contradictions are revealed and their causes studied.
1313. Harding, Mary H. “Improving Music Skills of Elementary Students with Notation-Reading and Sight-Singing.” Ed.D. Practicum, Nova University, 1988. 371p.
Examines an elementary school curriculum based on the methods of Kodály and Orff, the philosophy of Warrener, and traditional music education concepts. A heterogeneous group of 606 second-through sixth-grade students in four schools participated in the program. Specific learning activities were used progressively over a 2-year period and focused on note-reading, sight-singing, melody, rhythm, harmony, form, tone color, and major and minor scales. Findings revealed generally positive intervention effects. Curriculum and related materials are provided in appendixes.
1314. Hensley, Susan Elizabeth. “A Study of the Musical Achievement of Elementary Students Taught by the Memphis City Curriculum Guide and Students Taught by the Traditional Approach.” Ph.D., The Louisiana State University and Agricultural and Mechanical College, 1981. 167 p. Order no. 8207825.
The musical achievement of students taught from the Memphis Curriculum Guide, based on the Orff and Kodály philosophies of music education, was compared to the achievement of students taught from the basic program outlined in the Exploring Music songbook series. Significant difference was registered and attributed to the teaching methods on the major-minor mode discrimination subtest on the fifth-grade level.
1315. Herlihy, William Joseph, Sister. “A Survey of Classroom Music Instruction in Catholic Elementary Schools in the Diocese of New York State.” Ed.D. Syracuse University, 1979. 293 p. Order no. 8013426.
Purpose: to survey the present status of classroom music instruction in Catholic elementary schools, kindergarten through eighth grade, in the eight diocesan school systems of New York State during the school year of 1978–1979. Findings: the largest percentage of schools, (K-8th grades) having classroom music instruction, had 21–60 minutes per week; certified music teachers were the largest group providing classroom music instruction; great emphasis was placed on singing in unison, listening, basic theory, rhythm instruments, and movement and music, while least emphasis was placed on advanced theory, and music history. Making Music Your Own (1968–71) and Silver Burdett Music (1974–78) by the Silver Burdett Company were the most popular music text series, and Exploring Music (1966–75) by Holt, Rinehart & Winston the next highest. The Kodály method was the most popular approach used in music teaching.
1316. Hongsermeier, Joyce. “Kodály Musicianship Training and the Beginning Piano Student: Integrating Musical and Technical Skill Development.” D.M.A., The Catholic University of America, 1995. 340p.
Purpose: to adapt the philosophy and methodology associated with the Kodály Concept of Music Education to the beginning three years of piano instruction for students in the United States.
1317. Houlahan, Mícheál Brendan. “A Methodology for Teaching Ear Training, Sightsinging and Harmony at the College Level Based on the Concept of Zoltán Kodály.” Ph.D., The Catholic University of America, 1989. 388 p. Order no. 8913819.
The Kodály method has mistakenly been noted as suitable for children, and as a result the authentic American adaptations have been limited to elementary school music education. Analysis of methods and materials gathered in Hungary and the United States has produced a sequential methodology and a sight-singing and dictation manual suitable for college-level theory courses.
1318. Hudgens, Cecilia Kay Knox. “A Study of the Kodály Approach to Music Teaching and an Investigation of Four Approaches to the Teaching of Selected Skills in First Grade Music Classes.” Ph.D., University of North Texas, 1987. 192 p. Order no. 8713951.
Examination of the Kodály approach to music teaching and investigation of four different approaches to teaching first-graders in elementary school to sing on pitch, echo (clap) rhythms, audiatetonal patterns, and audiate rhythm patterns. The approaches investigated were the Kodály approach, the traditional approach, and two eclectic approaches. One emphasized some of the techniques of the Kodály approach, and the other emphasized some of the techniques of the Orff approach. 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.
1319. Hunt, Leslie Jane. “An Analysis of College Music Education Positions in the Academic Labor Market from 1973–1981.” D. Mus. Ed., Indiana University, 1983. 122 p. Order no. 8412623.
The field of music education is dynamic and changes in philosophy, methodology, and technology make new demands on teachers. The task of preparing music teachers is one that should be continually updated to respond to the specific needs and priorities in the future. This study was designed to investigate the impact of such changes by examining college music education positions in the academic labor market from 1973 to 1981. The impact of the curricular innovations of Orff and Kodály and the growing concern for special education was observed.
1320. Jarjisian, Catherine Strese. ‘The Effects of Pentatonic and/or Diatonic Pitch Pattern Instruction on the Rote-Singing Achievement of Young Children.” D.M.A., Temple University, 1981. 58 p. Order no. 8124581.
The goals of the study were: 1) to determine the comparative effects of instruction a) in pitch patterns which include half steps, b) in pitch patterns which include no half steps, and c) in pitch patterns of both types on diatonic and pentatonic rote-singing achievement; 2) to determine the effects of tonal aptitude on diatonic and pentatonic rote-singing achievement … The results were as follows: 1) Students receiving a combination of diatonic and pentatonic pitch pattern instruction achieved performance scores on every song which were significantly higher than those of students receiving either diatonic or pentatonic pitch pattern instruction. There was no significant difference between the scores of the other two groups. 2) High-tonal-aptitude students performed all songs significantly better than low-tonal-aptitude students. On the basis of the data acquired from this study, it can be concluded that young children’s rote-singing achievement is benefited more by pitch pattern instruction which includes a combination of diatonic and pentatonic patterns than from either diatonic or pentatonic pitch pattern instruction alone.
1321. Junda, Mary Ellen. ‘The Development of a Model Inservice Teacher Education Program in Music Sight Reading Methodology.” Ed.D. Columbia University Teachers College, 1990. 255 p. Order no. 9033860.
The purpose of the study was to develop an inservice teacher education program in sight-reading methodology for elementary general music teachers, with the ultimate goal of improving primary student’s musical skills. Twelve teachers were selected to participate in the program on the basis of their applications and interviews. The program consisted of a two semester Kodály-based graduate course, the development of teaching strategies and implementation in primary grade classes, observation and supervision by the instructor throughout the academic year, and a comprehensive evaluation procedure. The results of this study confirm that ample time is needed for teachers to make substantial changes in their instructional skills. Recommendations include those geared toward pre-service as well as inservice programs in music education, and the need for collaborative programs which explore a variety of program formats and content areas to improve the quality of music education.
1322. Kella, John Jake. “The Development and Qualitative Evaluation of a Comprehensive Music Curriculum for Viola, with an Historical Survey of Violin and Viola Instructional Literature from the 16th Through 20th Centuries, Including a Review of the Teaching Concepts of William Lincer (Guilford, Eisner).” Ph.D., New York University, 1984. 679 p. Order no. 8412343.
This three-volume study develops and evaluates a comprehensive music curriculum for stringed instruments with emphasis on the viola and represents a development and extension of the original work of William Lincer, Professor of Viola and Chamber Music at The Juilliard School. The first volume (Part 1: Historical) reviews violin and viola instructional literature from the 16th through the 20th centuries. Twentieth-century violin instructional literature is further divided into three categories: European and American traditional approaches (Auer, Flesch, and Galamian), a language-acquisition model of instruction (Suzuki), and several psychophysical and biomechanical models of violin instruction. The music programs of Dalcroze, Orff, Kodály, Manhattanville Music Curriculum, and the State of Hawaii Music Curriculum are reviewed.
1323. Kite, Thomas S. “The Organization of American Kodály Educators: Its History and Impact on American Music Education.” Ed.D. College of Education, University of Houston, 1985. 269 p. Order no. 8517703.
This study reviews the development and growth of the Organization of American Kodály Educators (OAKE). The organization is dedicated to raising the caliber of teacher training and upgrading the quality of music education in the United States. OAKE members now represent a variety of teaching levels, ranging from pre-school to college and university. OAKE members have supported the founding goals of communication and cooperation and the formation of regional groups further enhance the effectiveness of communication. Cooperation between OAKE and other music organizations has resulted in its affiliation with Music Educators National Conference (MENC), and an Institutional Membership with the American Orff-Schulwerk Association (AOSA).
1324. Kokas, Klara. “Képességfejlesztés zenei neveléssel” [Development of Ability with Music Education]. Ph. D. dissertation, 1972. published by Editio Musica, Budapest, 1972.
Not examined.
1325. Lázár, Ludmilla. “Teaching Rhythmic Awarness Through Kodály, Jacques-Dalcroze and Gordon: A Pedagogy Document.” D. Music. Northwestern University, 1987.
Not examined.
1326. Lu, Daisy Tan. “The Effects of Teaching Music Skills on the Development of Reading Skills Among First Graders: An Experimental Study.” Ph.D., University of Washington, 1986. 205 p. Order no. 8706622.
The purpose of this study was to compare the reading performance of first-grade students trained in the Kodály-Orff musical context with others given traditional reading instruction. The study incorporated a teaching model using music skills, specifically, activities that stress auditory perception, auditory discrimination, auditory memory, motor development, coordination, visual perception, eyehand coordination, spatial relationships, visual discrimination, visual memory, and other related skills which are part of the process of literacy training.
1327. Lyne, Jennifer Kay. “Beginning Strings Class Instruction: Practice and Theory.” Ed.D. Arizona State University, 1991. Order no. 9134876.
The researcher studies string instruction for beginners. The focus was to examine the effects of combining aspects of the Orff and Kodály approaches with Rolland string pedagogy. Through the comparative method of data analysis, a theory of string class pedagogy developed. The study, based on qualitative methods of inquiry, used as its subjects the investigator’s beginning strings classes from six elementary schools.
1328. Maag, Richard. “A Comparison of the Effectiveness of Pentatonic Versus Diatonic Instruction in the Intonation of Beginning String Students.” D.M. A., The University of Texas at Austin, 1974.141 p. Order no. 75–4302.
This study to compares the effectiveness of pentatonic versus diatonic instruction on the intonation of beginning string students, to determine whether a teaching method utilizing the pentatonic scale would result in better intonation than a more traditional approach. The conclusions from this study are: 1) Neither the pentatonic nor the diatonic approach is superior in developing better intonation. 2) Neither method is superior for improving the ability to organize sound stimuli.
1329. Madden, James A. “Zoltán Kodály and Carl Orff: Implications for Program Development in Elementary Instrumental Music Education.” Ed.D. Temple University, 1983. 74 p. Order no. 8410153.
The purpose of this study was to describe the perspectives in music education of Zoltán Kodály and Carl Orff and derive implications for program development in elementary instrumental music education. The perspectives of Orff and Kodály, supported by selected primary sources were described and examined according to the “Rationale for Program Development” of John Mickelson.
1330. Madhosingh, Donna-Faye. “An Approach to Developing Comprehensive Musicianship in the Intermediate Grades Using the Voice and the Ukulele.” Ed.D. The University of British Columbia, 1984, Order no. 47/03.
This study is designed to produce a specific curriculum aimed at developing comprehensive musicianship at the elementary level and predicting its success in music education. The work is unique in that it incorporates a vocal method devised in Hungary and combines it with an instrumental program from Canada.
1331. Mann, Rochelle Gayl. “The Use of Kodály Instruction to Develop the Sight-Reading Skills of Undergraduate Flute Students.” D.M.A., Arizona State University, 1991. 158 p. Order no. 9124822.
The purpose of the study was to augment a traditional approach to studio flute teaching by incorporating a sequential vocal method of sight-singing and ear training based on Kodály pedagogy. A 13-week pilot study involving six undergraduate flute students at Fort Lewis College in Durango, Colorado was conducted. The Watkins-Farnum Performance Scale-Forms A and B (WFPS) and an investigator-designed sight-singing test (SSAT) were used as pre- and posttests. Instrumental intonation was rated subjectively. A demographic instrument was used to determine student background and experience. Recommendations included: the need for additional research with larger numbers of subjects over a longer period of time; a similar study involving sight-reading practice on the flute rather than singing; an accurate and objective means of measuring intonation and development of a more appropriate college-level instrumental sight-reading test.
1332. McDaniel, Marvin. “A Comparison of Music Achievement Test Scores of Fourth Grade Students Taught by two Different Methods-Kodály Threshhold to Music and Traditional Making Music Your Own” Ph.D., Louisiana State University and Agricultural and Mechanical College, 1974. 255 p. Order no. 7501942.
As American teachers are being introduced to new methods of teaching, it is increasingly important that new ideas be tested for validity and that the older methods be reassessed. Methods examined for potential use should be judged in relation to the specific use and group involved. This research demonstrates the need for further study and testing in musical achievement to determine even more conclusively the values of the two methods presented here and other methodologies teachers may be expected to use.
1333. Mitchell, Brenda Sue; “A Qualitative Study of Géza Szilvay’s Colourstrings Method for Violin.” D.M.A., Arizona State University, 1994.127 p. Order no. 9424137.
The focus of this study is the Colourstrings Method for violin, developed in Finland by Géza Szilvay. Aspects of Kodály methodology are incorporated in this method. Szilvay developed his method in the 1970’s at the East Helsinki Music Institute. Although the Colourstrings Method has been noted in string journals, little descriptive literature about it is available in the United States.
1334. Moore, Stephen Fred. “The Writings of Emile Jaques-Dalcroze: Toward a Theory for the Performance of Musical Rhythm.” Ph.D., Indiana University, 1992. 270 p. Order no. 9301500.
The dissertation is divided into three main sections according to Jaques-Dalcroze’s description of the three types of corporeal movement: 1) anacrustic or preparatory, 2) crustic or climactic, and 3) metacrustic or reactive. These rhythmic qualities exist on small rhythmic levels (e.g., in a measure—in common time, fourth beat anacrustic, first beat crustic, and beats two and three metacrustic) as well as larger levels (e.g., in a phrase, anacrusis leading to a climax followed by metacrusis). A principal focus of this study is to show the correlation between Jaques-Dalcroze’s theories and the writings of earlier music scholars, as well as to relate his perceptions to parallels of thought in twentieth-century music theory.
1335. Murphy, James Lawson. “The Choral Music of Halsey Stevens.” Ph.D., Texas Tech University, 1980. 238 p. Order no. 8022629.
Halsey Stevens is known as a composer, author, critic, musicologist, scholar, and teacher. This study of his choral music grew out of a need for more information about his musical style. The project considers five major areas: (1) Biography; (2) Texts and Sources; (3) Rhythm, Meter, and Tempo; (4) Vertical Structures and Scales; and (5) Form. Stevens is a prolific author, as well as composer, whose book, The Life and Music of Béla Bartók (New York: Oxford University Press, 1953; revised 1964), was praised by Zoltán Kodály as “the high point in Bartók scholarship to the present.”
1336. Nelson, Ella Joy. “Black American Folk Song: An Analytical Study with Implications for Music Education.” D.M.A., Stanford University, 1981.113 p. Order no. 8124187.
This study is concerned with the musical mother tongue of black American children. The purpose of the study is: 1) to organize and summarize data obtained from analysis of black American folk song, 2) to interpret this data in light of the Hungarian music education model (the Kodály method) and its application in American music education, and 3) to suggest an approach to music education for black students based on the melodic and rhythmic elements and patterns found in black American folk song literature.
1337. Norris, Roberta Louise Woody. “Effects of Kodály Music Program on Elementary Reading.” Ed.D. Boston University School of Education, 1976 ADD X1976.
Not examined.
1338. Osborn, F. E. Ann. “A Computer-Aided Methodology for the Analysis and Classification of British-Canadian Children’s Traditional Singing Games.” The Ohio State University, 1986. Ph.D., 357 p. Order no. 8612401.
The purpose in this study was to develop a computer-aided methodology to analyze the tones of phrases of variants of children’s songs of the British-Canadian tradition to determine the characteristic patterns of these melodies. The characteristic patterns of opening and closing phrases of each melody, and the patterns of phrases at the mid-cadence point received close examination. A computer program for classification was developed on the basis of preliminary analysis and study of a collection of approximately 300 variants of 55 singing-game titles of the British-Canadian tradition.
1339. Paladino, M.M., “The Effect of Aural Feedback on the Singing Accuracy and Melodic Perception of Children in Grades One and Three.” Kent State University, 1992. 244 p. Order no. 52.4257A.
The results of this study suggest that learning a cognitive skill like melodic perception can be accomplished within six weeks, but improvement in a behaviorally conditioned activity like singing requires more than six weeks training.
1340. Palmer, Mary Henderson. ‘The Relative Effectiveness of the Richards and the Gordon Approaches to Rhythm Reading for Fourth-Grade Children.” Ed.D dissertation. The University of Illinois at Champaign-Urbana, 1974. 202 p. Order no. 75–11879.
This study examines the relative effectiveness of the Richards and the Gordon approaches to rhythm reading for fourth-grade students.
1341. Paraskevopoulos, Anthony Andrew. “Metaphor and Knowledge: Exploring the Cognitive Aspects of Music Through the Development of a Workbook for the Study of Notation in Junior High School.” Ed.D. Columbia University Teachers College, 1989. 311 p. Order no. 9013567.
According to the author, RILM Abstracts 10242, 1989: “Discusses an investigator-designed workbook for junior high school students for instruction in notation. Although intended for individual use, its exploratory, open-ended tasks mandate strong guidance and interaction. Several specific metaphors work toward its goals. Thus, Kodály hand signals introduce notations of sound organization, the piano keyboard promotes understanding of tonal organization, and mathematical fractions assist comprehension of note values. Throughout, the rewards and aesthetic criteria remain intrinsic and bounded entirely by notation-based strategies.”
1342. Radin, Paul Andrew. “Three Programs of Choral and Instrumental Music (Performance).” AMUSD. The University of Michigan, 1993. Order no. 54/06.
Performance program three included a mass setting for chorus and organ. Originally a work for solo organ, the Kodály Missa brevis often features the organ in virtuoso solo passages.
1343. Schade, ढ. Bernard. “An Analysis of the Melodic Characteristics of Pentatonic Music in Selected American Folk Song Collections and Recommendations for Their Use with the Kodály Approach.” Ed.D. The Pennsylvania State University, 1976.329 p. Order no. 7709729.
The purpose of the study was to locate, analyze, classify, and systemize pentatonic Anglo-American folk music for pedagogical purposes to provide analytical information about the characteristics of American pentatony which would then be used to develop practical, educational materials. A classification system was required to: 1) identify salient features of American folk music, 2) find practical procedures for the classification of these songs, 3) organize the various pedagogical sequences, curricula, and other materials to determine ethnic origin, and 4) aid in the collection of American folk music for use in instruction.
1344. Sinor, Eugenia. “The Singing of Selected Tonal Patterns by Pre-School Children.” Ph.D., Indiana University, 1984.184p.
The purpose of this study was to determine the difficulty levels of forty-eight, four-note tonal patterns as indicated by the echo-singing of preschool children. The investigator presented twelve randomly-ordered items vocally on a neutral syllable to each subject who was asked to sing the pattern into a tape recorder. Four graduate students rated each performance on a five-point scale. Based on the analysis of the data collected in this study the following conclusions were drawn: 1) Half-steps were not consistently more difficult to sing than were whole steps or thirds. 2)Items containing all stepwise motion and thirds were generally sung with more accuracy than patterns containing sixths. 3) The descending minor third was one of the easiest items for all ages groups. 4) The hypothesis that descending patterns are easier to sing than ascending ones is only partially supported. 5) Successive leaps in the same direction did not affect performance consistently. Note: Other factors not examined in this study, such as familiarity with a pattern, may affect children’s ability to echo-sing patterns accurately.
1345. Steckman, Harry Martin. ‘The Development and Trial of a College Course in Music Literacy Based upon the Kodály Method.” Ed.D. The University of Illinois at Urbana-Champaign, 1979.189 p. Order no. 8009180.
The investigation was conceived as a field study designed to establish the content of a one-semester course in music literacy for college freshmen based upon the Kodály approach to determine the relative effect of the Kodály approach and a traditional approach on achievement of students in music literacy. The study describes the Kodály and traditional approach used in teaching music literacy to college freshmen in two sections of Music 105–115 offered at Triton College and determines the effect of the two approaches in terms of student achievement.
1346. Stephens, Ronald E. “A Comparative Study of Two Instructional Methods in Music Reading at the Grade V and Grade VI Level.” Ed.D. The University of Oregon, 1974. 110 p. Order no. 74–26566.
Purpose: to determine the effectiveness of the Threshold to Music approach to music reading when compared with a traditional approach. Identical pre-and post-tests were given, the assumption being that exactly the same items were being measured each time and by the same standard of measurement. Reviewed by J. J. Klemish. Council of Research in Music Education 52 (Fall 1977): 13–16.
1347. Stevens, Robin Sydney. “Music in State-Supported Education in New South Wales and Victoria, 1848–1920.” Ph.D., University of Melbourne (Australia), 1979. 525 p. Order no. 8024820.
This investigation considers the development of classroom music teaching in New South Wales and Victoria during the first seventy-two years of state-supported primary education. The principal music teaching methods resulting from the English choral singing movement of the mid-nineteenth century as well as the subsequent development of music teaching in English elementary schools are discussed. The final chapter examines the relevance of the historical precedents for music education today. The recent introduction of the Kodály method represents a continuation of the movable do solmization system which has been a traditional feature of school music teaching in New South Wales since the nineteenth century.
1348. Stone, Margaret L. “Kodály and Orff Teaching Techniques: History and Present Practice.” Ph.D., Kent State University, 1971. 225 p. Order no. 7130519.
According to author, RILM Abstract 4486, 1971: Studies the historical development and use of the Kodály music method and the Orff-Schulwerk music approach in Europe and the USA. Examines and analyzes the history, philosophy, techniques, music materials, and current practices of the 2 methods. While these methods are similar in philosophy, objectives, and the use of musical techniques, they differ in the musical procedures that they emphasize. American use of both Kodály and Orff techniques has been aided by the work of outstanding Kodály and Orff specialists and by a number of federally funded projects.
1349. Tacka, Philip Vincent. “Denise Bacon, Musician and Educator: Contribution to the Adaptation of the Kodály Concept in the United States.” D.M.A., The Catholic University of America, 1982. 257 p. Order no. 8221500.
When the Kodály concept was first introduced in the United States it was loosely, and sometimes incorrectly, interpreted. Denise Bacon, recognizing the problems involved in adapting foreign educational methods for American schools, studied the method in Hungary and then began a long-term program to implement it in the United States. The purpose of this dissertation is to document the work of Denise Bacon in the evolution and establishment of the Kodály concept as a major educational movement.
1350. Taylor, Robert Luther. “An Investigation into the Pedagogical Philosophies of Emile Jaques-Dalcroze, Zoltán Kodály and Carl Orff for the Purpose of Suggesting Applicability to the Beginning Wind and Percussion Music Education Program.” D.A., University of Mississippi, 1990. 93 p.
1351. Willmann, Melanie Marie. “An Investigation of Conceptual Congruencies Between the Kodály Method and Jerome Bruner’s Instructional Theory.” The University of Texas at Austin, Ph.D., 1983. 280p.
Educational questions were posed to determine the major tenets of Bruner’s instructional theory, the major pedagogical principles of Kodály methodology, and the existence of conceptual congruencies. It was concluded that conceptual relationships and differences exist between Bruner’s instructional theory and Kodály methodology indicates that the Kodály method is based in principles of general instructional theory.
1352. Wimunc, Barbara. “Summary of Performance Materials: Five Programs of Piano Music.” D.M.A., The University of Michigan, 1981. Order no. 42/06.
The following programs were presented in partial fulfillment for the degree of Doctor of Musical Arts in piano performance. Program Three. Lecture recital performed on 7 February 1981 at the School of Music Recital Hall: Folk Dances by Bartók and Kodály: Old Dance Tunes, Six Dances in Bulgarian Rhythm and Roumanian Dance No. 1 by Bartók; Dances of Marosszék by Kodály.
1353. Woskowiak, Leona Frances. “Programmed Music Reading Games for First Grade Utilizing Certain Principles of Dalcroze, Kodály and Orff.” D. Ed. Pennsylvania State University, 1973. 215 p. Order no. 7324051.
Not examined. Review: Klemish, Janice. Council of Research in Music Education 40 (Winter 1974): 48–51.
1354. Wunderlich, Joyce C. “A Field-Based Design for an Undergraduate Course in Elementary School General Music Methods.” D.A., Carnegie-Mellon University, 1980. 318 p. Order no. 8020170.
This study addresses the structure of an elementary school general music methods course that includes the interaction of college students with the professor and elementary school children in a field-based setting. A survey of literature relating to curriculum design for college methods courses and course content for elementary methods classes is reviewed. Includes: 1) a course outline, 2) daily lesson plans, 3) curriculum materials, 4) evaluative instruments, and 5) descriptive comments supporting the proposed methods. Course content includes the contributions of Dalcroze, Kodály, Orff, the Manhattanville Music Curriculum Project, and traditional considerations presented in elementary music methods textbooks.
1355. Yun, Young Sook. “Summary of Performance Materials: Three Programs of Cello Music.” D.M.A., University of Michigan, 1981. Order no. 42/09.
Program: 4 October 1981, 8:00 P.M., School of Music Recital Hall, The University of Michigan: Johann Sebastian Bach Suite No. 5 in C Minor (Prelude, Allemande, Courante, Sarabande, Gavotte I/II, Gigue); Paul Hindemith Sonata für Violoncello Solo Op. 25, No. 3 (Lebhaft, Ma(beta)ig schnell, Langsam, Lebhafte Viertel, Ma(beta)ig schnell); Zoltán Kodály Sonata for Violoncello Solo Op. 8. (Allegro maestoso ma appassionato, Adagio, Allegro mol to vivace).
1356. Zemke, Lorna. “The Kodály Method and a Comparison of the Effects of a Kodály Adapted Music Instruction Sequence on Auditory Musical Achievement in Fourth Grade Students.” D.M.A., University of Southern California, 1973. 342 p. Order no. 7314459.
A study of the history and philosophy underlying the Kodály method, as taught in Hungarian primary schools. A curriculum adapted from Kodály’s program of instruction was proven successful in a controlled experiment involving 95 subjects.
1357. Zimmer, E.J. “Peer Grouping as a Factor in the Teaching of Sight Singing to Seventh Grade Vocal Music Students Using Hungarian Music Methods and Materials.” Ph.D., 1978. Order no. 38.5324A-5A.
