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Is the Kodály approach too old fashioned for 2017?

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Is the Kodály approach too old fashioned for 2017?

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Developing audiation skills is at the heart of developing musicianship skills.

We are convinced that teaching students how to read and write music by using typical rhythmic and melodic "building blocks" abstracted from song repertoire is essential for developing audiation skills. Audiation is the ability to internally hear music in your head without an external sound stimulus. The process of learning to read and write music using an "ear" to "eye" process (sound to symbol) is fundamental to developing audiation skills.

Singing, movement and active music making are the foundations for teaching Music literacy

Laying the foundations for developing music literacy skills begins with active music making. The "singing voice" coupled with movement is essential to music learning. Quality repertoire is indispensable. Therefore the role of the teacher becomes clear; it is to deconstruct a music repertoire so the children can reconstruct themselves. Begin with the sounds of music, guide children to label these sounds with rhythm and/or solfège syllables, show children how to notate these sounds with music symbols so that they read music fluently on the staff with confidence and greater musicianship. The goal is always to promote and develop musicianship through beautiful singing and music making. But the teacher also develops student's musicianship by allowing them to incorporate their knowledge of music literacy in developing other skill areas such as listening, improvisation, form, musical memory, reading, writing, and inner hearing.

Singing and analyzing repertoire plays a significant role in the process of teaching Improvisation.

Improvisation, the art of composing extemporaneously, and composition, the art of formulating and writing music, are integral components of a music curriculum. Both improvisation and composition extend and develop students' creativity and musicianship. Improvisation can take many forms. Improvisation is connected to movement, text, music literacy, as well as improvising using instruments. Improvisation may be experienced using a structured and unstructured approach to teaching.

We nourish children's ability to improvise by focusing on the forms and rhythmic and melodic building blocks of known repertoire. Children, like great composers, who master the ability to "copy" the forms of known repertoire will become artful improvisers.

Teach children to play instruments using "a sound to symbol" orientation.

Learning how to play music instruments, non-pitched, pitched (Orff instruments and recorders) is an important skill to teach children. We believe that there are three steps to teaching students to play instruments musically.

Students need to be able to sing repertoire they are going to play on their instruments. It helps if they can read the rhythm of what they are performing with rhythm syllables and numbers. They should also be able to sing the repertoire with solfège syllables and perhaps letter names. Singing is a more direct means to developing and solving music problems in the music classroom. Singing allows students to internalize the sounds of music before they play them.

Students need be taught the technique for playing instruments.

Playing a musical instrument takes patience and it can be time-consuming in the general music education classroom. It is important that students apply their knowledge of solfège, inner hearing, and theoretical knowledge to ensure musicality when performing on their instrument.

Creating an Organic Music Curriculum

The construction of a music curriculum takes time and patience. If the teacher is to achieve both short and long terms outcomes for students, then we need to consider the construction of a curriculum in an "organic" manner: teachers need to think about the connections between their philosophy of teaching and the development of a learning goals and how to translate these goals into lesson plans with assessment activities. More and more, school administrations are requiring music teachers to become just as accountable for their classroom learning as general classroom teachers. Many successful teachers are developing organic music curricula that reflect current research from the fields of perception and cognition. Best practices and models indicate that music learning needs to begin with artfully singing age appropriate repertoire that can be used for developing singing, performing on instruments, developing creative movement, teaching music literacy, improvisation skills and developing informed audience members.

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Effective Hallmarks for Teaching the Kodály Concept in the 21st Century: Part 2 - NAfME

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Developing audiation skills is at the heart of developing musicianship skills. We are convinced that teaching students how to read and write music by using typical rhythmic and melodic "building blocks" abstracted from song repertoire is essential for developing audiation skills. Audiation is the ability to internally hear music in your head without an external sound stimulus.

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What about parent/teacher relationships in 2017?

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What about parent/teacher relationships in 2017?

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By NAfME Member Audrey Carballo
Let's face it: Without parents, most of us wouldn't have jobs. We primarily teach children who grow up to be young adults. While they are growing up, their parents are their best, and sometimes worst, advocates. My advice to you:

Stand Your Ground

Teachers spend countless hours planning our lessons and assessments. We agonize over grades that can be subjective due to the nature of the subject we teach. But, when a parent questions a grade or asks for a conference, what do we do?

Head in the Sand

Some teachers take the ostrich approach. Stick your head in the sand. Don't answer the email or phone call and hope the parent forgets they ever contacted you. Avoid the situation at all costs. This scenario doesn't work because obviously the parent has gone out of their way to contact you with an inquiry. You are the teacher; they have a right to question the grade that their child earned.

If I had a dime for every time I heard a parent say, "Why did you my child that grade?" I would be able to buy a small Caribbean island by now. No, I didn't your child that grade-they it. Parents still believe we arbitrarily assign grades! Don't run from the communication-embrace it. This is your chance to educate the parent about what their child is being held accountable for in your classroom.

If at all possible, ask them to come in for a conference. Show them the music or ask little Susie or Jose to play the passage they got wrong. Parents think that if the child is playing at home, they are playing correctly. We know that's often not the case at all. Unless someone knows how to read music and is sitting with the child, they are virtually clueless.

I've also had parents lie and swear to me that their child plays or practices every day-yet, they can't make it through three measures without serious mistakes. Let them hear the proof for themselves. Play it correctly for the parents after the child has played. They'll notice the difference.

If the test or assessment isn't playing based, show them their child's paper. Do NOT ever show them any other student's paper. This violates other student's privacy. Besides, it is not anyone else's business what another child got on the test. If the parent starts saying that they spoke to other students about their grades, blah, blah, blah-stop them right there. Tell them you are there to speak to them only about their child, not about anyone else's child. This is a diversionary tactic parents use to try to get you to sympathize with them and change the grade because there's an overwhelming number on "their side."

The "Yes" Man

Some teachers want to avoid conflict at all costs and are willing to change a grade even when they know it's not the right thing to do. I have changed grades before. Some were mistakes on my part; some were when a child turned in makeup work and I forgot to notate it in the grade book. We're all human, but just to acquiesce because a parent demands it is not only unethical for you as a teacher, but it cheapens the grades the other students earned legitimately.

There are helicopter parents who will call you on each and every grade you put in the book. Never forget-that's your grade book, not theirs. When you sat down and did your lesson plans and assessment, you made a judgement. Stick to it; don't let a parent wear you down!

I recently had a parent argue with me (and they got quite nasty about it) over a grade. I substantiated the grade. I had the evidence that I contacted the parent long before the report card went home. What was the parent upset about? The grade? No, they were upset that because of the grade I gave their child, they couldn't be on the honor roll. Where is the focus here? The grade or the fact that they don't have a piece of paper from the first grading period saying the student was on the honor roll?

Where there is no culpability, there is no responsibility.

The Age of Entitlement

As a parent myself, it is a natural thing for me to want to give my children more than what I have. But when that giving equates to a sense of entitlement, the message is distorted and permeates all other judgement the parent has.

We recently caught a child cheating on a test. The child was told they have an "F," and the parent was called. The parent insisted that their child was merely trying to get a better grade. We need a new word for audacity. When the teacher refused to change the grade, the parent insisted on a meeting with the Assistant Principal and the Principal and even went so far as to threaten to take her case to the District level. Where there is no culpability, there is no responsibility.

I am not without feeling. I give my students plenty of chances. More than they deserve, but enough so that when a parent questions the outcome, I have tons of documentation where I have given the child the chance to 1) finish the assignment; 2) make up the assignment; 3) get any work they missed from my website; 4) ask me either in person or via email about any work they missed. I afford them so many avenues, they have no defense. If there is a special circumstance, i.e., the child just moved to a new home, a recent divorce, death or illness in the family or another trauma the child is going through, then of course I'll extend any deadline.

As much as possible, I insist the child be present for the conference. We don't always know what Sammy has told his parents at home. I like them to be present so we don't get a "he said/she said" confrontation. Overwhelmingly (and understandably) the parent will always stick up for their child. When the child is at the conference and can say what actually happened, then things take a different turn. If they haven't been altogether truthful, you can point that out right then.

No matter what the conference is about, there is always something positive you can say about the child. Even something like they are always neatly dressed or they are polite and have never been disrespectful. Every parent wants to hear something nice about their child.

In the county I teach, no principal can force you to change a grade. They (the principal) can change the grade but they have to fill out paperwork justifying it and it cannot be any kind of slur against you or how you assessed the child's work. If you truly believe you have examined your assessment of the child's grade and found it to be fair and equitable, don't back down. At the end of the day, it's your head that goes on the pillow. It's your conscience you need to be at peace with.
About the author: This fall, Audrey Carballo, a 35-year NAfME member, will begin her 35 She has been an Assessor for the National Board for Professional Teaching Standards and currently serves on the National Education Association Member Advisory Board Panel and as the Union Steward and Chairperson of the Educational Excellence School Advisory Board Council at her school. Recently, Audrey was the Children's Choir Director for the One of her most rewarding experiences has been with the Audrey collaborated with Jin Ho Choi (another instructor at the Lighthouse) for nine months, creating their Braille Music Distance Learning course. Follow Audrey on Twitter Did this blog spur new ideas for your music program? Share them on Amplify! Interested in reprinting this article? Please review the reprint guidelines. The National Association for Music Education (NAfME) provides a number of forums for the sharing of information and opinion, including blogs and postings on our website, articles and columns in our magazines and journals, and postings to our Amplify member portal. Unless specifically noted, the views expressed in these media do not necessarily represent the policy or views of the Association, its officers, or its employees. @scarlettfeenix. Miami Lighthouse for the Blind and Visually Impaired. In addition to teaching Broadcast Journalism classes, and giving private lessons in voice, composition, theory and piano, her duties included being the Vocal and Advanced Theory instructor for their Better Chance Music Production Program. Audrey was one of the co-authors of an article published in the Journal of Visual Impairment and Blindness titled, "A New Synthesis of Sound and Tactile Music Code Instruction: Implementation Issues of a Pilot Online Braille Music Curriculum." Miami Music Project, which is an El Sistema program spearheaded by the world renowned conductor, James Judd. year as a music educator for the Miami-Dade County Public Schools system, the fourth largest school system in the country. Her teaching experiences include general music, exploratory music, and chorus to regular and exceptional students in elementary, middle school, high school, and exceptional student settings.
Brendan McAloon, Marketing and Events Coordinator, December 1, 2016. © National Association for Music Education ( NAfME.org).

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Cultivating Healthy Relationships with Parents of Your Students - NAfME

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By NAfME Member Audrey Carballo Let's face it: Without parents, most of us wouldn't have jobs. We primarily teach children who grow up to be young adults. While they are growing up, their parents are their best, and sometimes worst, advocates. My advice to you: Teachers spend countless hours planning our lessons and assessments.

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What about technology in music education?

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What about technology in music education?

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National Association for Music Education and MusicFirst Partner to Bring Music Educators State-of-the-Art Learning Management System

RESTON, VA (December 1, 2016)-The National Association for Music Education (NAfME) strives to provide music educators and education leaders with engaging professional development opportunities to support best practices. Now, NAfME and MusicFirst have come together to bring music educators a state-of-the-art learning management system, available 24-7. MusicFirst is the Digital Education Division of the Music Sales Corporation.

A one-year subscription to " NAfME Academy " offers teachers 60+ hours of professional development webinars and various other content to augment their success in the music classroom. Leaders in music education provide expertise on music education from PreK-12, including choral, orchestra, and band education.

"We understand that the modern-day music educator has significant schedule demands, and in order to stay up-to-date on the latest developments in music education classroom practices and pedagogy, they need on-demand professional development resources at their fingertips."

"We understand that the modern-day music educator has significant schedule demands, and in order to stay up-to-date on the latest developments in music education classroom practices and pedagogy, they need on-demand professional development resources at their fingertips," said Michael J. Blakeslee, NAfME Executive Director and CEO. "We are excited to work with MusicFirst to bring this innovative learning application to our music teachers."

"We are very proud to partner with NAfME on this project to help provide their membership with high quality, affordable professional development opportunities" said Jim Frankel, Director of MusicFirst. "As a lifelong music educator I know that teachers today need easy access to training, and may not always have the opportunity at the school or district level. Our state-of-the-art platform is something that provides that flexibility, and the incredible content provided by NAfME and its members is the perfect combination."

NAfME Academy allows educators to access relevant professional development they need to further enhance their teaching and serve the needs of students through dynamic and effective materials and learning opportunities. This $600 value is offered exclusively to NAfME members for $20.Non-NAfME members have the opportunity to access the same content for $100 annually. Questions about using NAfME Academy should be directed to JJ Norman at johnn@nafme.org.

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National Association for Music Education, among the world's largest arts education organizations, is the only association that addresses all aspects of music education. NAfME advocates at the local, state, and national levels; provides resources for teachers, parents, and administrators; hosts professional development events; and offers a variety of opportunities for students and teachers. The Association orchestrates success for millions of students nationwide and has supported music educators at all teaching levels for more than a century. With more than 60,000 members, the organization is the national voice of music education in the United States.

Follow NAfME on Twitter ( twitter.com/nafme) and on Facebook ( facebook.com/nafme).

For additional information, contact Catherina Hurlburt at catherinah@nafme.org or 703-860-4000, ext. 216.

Established in 2012, MusicFirst is the Digital Education Division of the Music Sales Corporation. MusicFirst was founded with one mission in mind: offer music teachers and their students easy-to-use, affordable cloud-based solutions that enable music learning, creation, assessment, sharing, and exploration on any device at anytime, anywhere. Its product offerings include Focus on Sound, Groovy Music. Sight Reading Factory, Morton Subotnick's Music Academy, Practice First, Noteflight Learn, O-Generator, and many more. For more information, visit www.musicfirst.com.

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NAfME and MusicFirst Partner to Bring Music Educators State-of-the-Art Learning Management System - NAfME

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RESTON, VA (December 1, 2016)-The National Association for Music Education (NAfME) strives to provide music educators and education leaders with engaging professional development opportunities to support best practices. Now, NAfME and MusicFirst have come together to bring music educators a state-of-the-art learning management system, available 24-7.