Kodály in the Third Grade Classroom Kodály Today Handbook Series Micheál Houlahan and Philip Tacka Kodály Today: A Cognitive Approach to Elementary Music Education, second edition Kodály in the Kindergarten Classroom: Developing the Creative Brain in the 21st Century Kodály in the First Grade Classroom: Developing the Creative Brain in the 21st Century Kodály in the Second Grade Classroom: Developing the Creative Brain in the 21st Century Kodály in the Third Grade Classroom: Developing the Creative Brain in the 21st Century Kodály in the Fourth Grade Classroom: Developing the Creative Brain in the 21st Century Kodály in the Fifth Grade Classroom: Developing the Creative Brain in the 21st Century Kodály in the Third Grade Classroom Micheál Houlahan Philip Tacka 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trademark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Oxford University Press 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Houlahan, Micheál, author. Kodály in the third grade classroom / by Micheál Houlahan and Philip Tacka. pages cm. — (Kodály today handbook series) Includes bibliographical references and index. ISBN 978–0–19–023580–2 (alk. paper); 978–0–19–024850–5 (hardback) 1. School music—Instruction and study. 2. Kodály, Zoltán, 1882–1967. 3. Third grade (Education)—Curricula—United States. I. Tacka, Philip, author. II. Title. MT1.H8374 2015 372.87′049—dc23 2014032962 9 8 7 6 5 4 3 2 1 Printed in the United States of America on acid-free paper We are the music-makers, And we are the dreamers of dreams, Wandering by lone sea-breakers, And sitting by desolate streams; World-losers and world-forsakers, On whom the pale moon gleams: Yet we are the movers and shakers Of the world for ever, it seems. Ode, by Arthur O’Shaughnessy [. . .] eratque tam turpe Musicam nescire quam litteras from De Musica, by Isidoris Hispalensis “Legyen A Zene Mindenkié” [Music should belong to everyone] Zoltán Kodály Contents vii Acknowledgments  •  ix Introduction  •  xi 1 Framing a Curriculum Based on the Kodály Concept • 1 The Kodály Concept • 1 Multiple Dimensions of Music • 2 Grade 3 Music Curriculum • 4 Prompt Questions for Constructing a Music Curriculum • 8 Lesson Planning • 10 Key Components of Lesson Plan Design • 11 2 Developing a Music Repertoire: Students as Stewards of Their Cultural and Musical Heritage • 17 Selecting Repertoire • 17 Grade 3 Song Lists • 18 Lesson Planning • 45 3 Teaching Strategies • 57 Eighth Note Followed by Two Sixteenth Notes • 57 low la • 64 Two Sixteenth Notes Followed by an Eighth Note • 70 low so • 75 Internal Upbeat • 82 high do • 86 External Upbeat • 93 Developing a Lesson Plan Design Based on the Teaching Strategies • 97 4 Students as Performers: Developing Music Skills and Creative Expression • 113 Tuneful Singing Skills • 113 Reading Skills • 117 Inner-Hearing Skills • 124 Writing Skills • 125 Improvisation Skills • 127 Musical Memory • 130 Understanding Form • 132 Part-Work Skills • 134 Instrumental Performance Skills • 145 Creative Movement Skills • 147 Listening Examples Connected to Grade 3 Concepts and Elements • 151 Lesson Planning • 153 Contents 5 Unit Plans and Lesson Plans • 160 Transitions in Lesson Plans • 161 General Points for Planning Lessons • 167 Evaluating a Lesson • 168 viii Unit Plans • 168 Unit 1: Grade 2 Review • 169 Unit 2: Teaching Eighth Note Followed by Two Sixteenth Notes • 182 Unit 3: Teaching low la • 195 Unit 4: Teaching Two Sixteenth Notes Followed by an Eighth Note • 207 Unit 5: Teaching low so • 219 Unit 6: Teaching Internal Upbeat • 231 Unit 7: Teaching high do • 243 Unit 8: Teaching External Upbeat • 255 6 Assessment and Evaluation • 267 Grade 3 Assessments • 267 Notes • 289 Index • 291 Acknowledgments ix We owe a debt of gratitude to the many individuals who inspired, encouraged, and helped us along the way. Both of us were fortunate enough to study at the Franz Liszt Academy/ Kodály Pedagogical Institute in Hungary and at the Kodály Center of America with world-renowned Kodály experts, many of whom were Kodály’s pupils and colleagues, who shared their knowledge with us over many years. Among them were Erzsébet Hegyi, Ildikó Herboly-Kocsár, Lilla Gábor, Katalin Komlós, Katalin Forrai, Mihály Ittzés, Klára Kokas, Klára Nemes, Eva Vendrai, Helga Szabó, Laszlo Eősze, Peter Erdei, and Katalin Kiss. We are especially indebted to Katalin Forrai for her support and encouragement for the research contained in this publication. Our research is grounded in their many valuable insights and research. Special thanks are due to these individuals for critically reading portions of the man- uscript, field-testing lesson plans, and insightful suggestions regarding this approach to instruction and learning: Nick Holland, lower school music teacher at St. Paul’s School in Baltimore, Maryland; Lauren Bain, elementary music specialist in the Northeast School District of San Antonio, Texas; Georgia Katsourides, music specialist in the Lancaster City School District, Pennsylvania; Meredith Riggs and Loren Tarnow, music specialists at Bernice Hart College Prep and Brentwood Elementary School; and Vivian Ferchill, retired music specialist from Round Rock, Texas. Special acknowledgment must be made to Patty Moreno, director of the Kodály Certification Program at Texas State University, San Marcos, for her support and continued encouragement of this project. We would also like to thank Holly Kofod and Lisa Roebuck for their comments, which helped us bring this book to completion. Many of our students in Kodály Certification Programs at Texas State University; Belmont University in Nashville, Tennessee; and the Eastman School of Music in Rochester, New York, have all helped us shape our approach to instruction and learning presented herein. Kristopher Brown, José Pelaez, Rebecca Morgan, Loren Tarnow, and Meredith Riggs deserve special mention. Gratitude is due Jennifer Alfaro for her work on the game directions and Rebecca Seekatz for her work on the accompanying glossary of terms. Our many years working together have not only contributed to the information we present but also served as a continuing source of inspiration in working with the pedagogical processes we have shaped. Regarding practical matters, we would like to thank our students at Millersville University of Pennsylvania for helping us with initial drafts of the manuscript. Special thanks are due Jamie Duca for her technical and hands-on assistance. This book would not be so complete in terms of pedagogy and educational content were it not for readings and comments from Blaithín Burns, Kodály instructor at the Blue Coat School. She provided invaluable assistance in the initial design of Kodály in the Third Grade