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A case for relative solmization with...

Sumner, Mark Derrik.

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A case for relative solmization within the Kodaly context and its application in secondary school music education.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	A case for relative solmization within the Kodaly context and its application in secondary school music education./
作者:	Sumner, Mark Derrik.
面頁冊數:	120 p.
附註:	Source: Dissertation Abstracts International, Volume: 58-11, Section: A, page: 4122.
Contained By:	Dissertation Abstracts International58-11A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9816118
ISBN:	9780591673036

A case for relative solmization within the Kodaly context and its application in secondary school music education.
Sumner, Mark Derrik.

A case for relative solmization within the Kodaly context and its application in secondary school music education. - 120 p.

Source: Dissertation Abstracts International, Volume: 58-11, Section: A, page: 4122.

Thesis (D.M.A.)--University of Southern California, 1997.

Relative solmization, particularly as it is used within the Kodaly context, is a valuable sight reading tool that has been a part of many elementary school curriculums for several decades. Its application when introduced to students of music at the secondary school level however, has not been amply reviewed nor have specific sequencing guidelines been established even for the Kodaly trained educator. The theoretical advantages of the relative solmization system as well as explanations of the other tools of the system: hand signs, rhythm duration syllables, and descriptions of methodological procedures are best addressed within the method developed in Hungary in the 1940's and 1950's by Zoltan Kodaly, his colleagues, and his students, as a comprehensive system of music education. Kodaly's solutions are eclectic, combining the best of each system and making minor changes where inconsistencies occur. The Kodaly Method is highly structured and sequenced, with well-defined skill and concept hierarchies in every element of music. These sequences are both drawn from and closely related to child development as shown through research.

ISBN: 9780591673036Subjects--Topical Terms:

516178
Music.

A case for relative solmization within the Kodaly context and its application in secondary school music education.
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245 1 2 $a A case for relative solmization within the Kodaly context and its application in secondary school music education.
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500 $a Source: Dissertation Abstracts International, Volume: 58-11, Section: A, page: 4122.
500 $a Chair: William Dehning.
502 $a Thesis (D.M.A.)--University of Southern California, 1997.
520 $a Relative solmization, particularly as it is used within the Kodaly context, is a valuable sight reading tool that has been a part of many elementary school curriculums for several decades. Its application when introduced to students of music at the secondary school level however, has not been amply reviewed nor have specific sequencing guidelines been established even for the Kodaly trained educator. The theoretical advantages of the relative solmization system as well as explanations of the other tools of the system: hand signs, rhythm duration syllables, and descriptions of methodological procedures are best addressed within the method developed in Hungary in the 1940's and 1950's by Zoltan Kodaly, his colleagues, and his students, as a comprehensive system of music education. Kodaly's solutions are eclectic, combining the best of each system and making minor changes where inconsistencies occur. The Kodaly Method is highly structured and sequenced, with well-defined skill and concept hierarchies in every element of music. These sequences are both drawn from and closely related to child development as shown through research.
520 $a At the junior high level, the adolescent intellectualizes more easily, but generally cannot develop as fine an intervallic tonal memory as would have been developed had singing and ear-training been started at three or six years of age. For secondary school students, an approach to the musical literacy may come best as an automatic by-product of having creativity as the focal point of the curriculum. The quality of music used for teaching is as important at this level as at any other. Through the careful amalgamation of appropriate literature, a thoughtful lesson plan skewed towards the creating experience and a flexible and slightly altered sequence with relative solmization, musical comprehension can best be served at the secondary school level and beyond.
520 $a The Kodaly Method must not continue to be thought of as something we do with little children. It must become a way of life from infant to adult. This can best be realized by providing opportunities for satisfying musical experiences through a large variety of choral music and choral ensembles. These singers equipped with relative solmization refine their acuity for pitch relationships, intonation, and the structure of music itself. They improve their ability to remember pitches throughout long musical passages. More important, they acquire a language that allows them and the conductor to communicate what they are learning about tonality.
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