Please email Dr. Jerry Kerlin, Program Director, at jk23@nyu.edu if you have any questions about the application process.

Program Overview

22nd Summer of Kodály Studies at New York University • Founded 1989
Endorsed by the Organization of American Kodály Educators
Cosponsored by the Department of Music and Performing Arts Professions and the Office of Academic and Global Initiatives and Summer Programs.

Learn the Kodály method this summer at NYU’s Washington Square campus in historic Greenwich Village. Attend concerts, theater, and museums in the world’s arts center. Participants in this Institute who satisfactorily complete the three levels of course work endorsed by the Organization of American Kodály Educators will receive a certificate of attendance. Students matriculated in the department’s in-service master’s degree program in Teaching Music may take a three-course sequence as part of their program of study:

E85.2146: Music for Children: Kodály Level 1
E85.2147: Music for Children: Kodály Level 2
E85.2148: Music for Children: Kodály Level 3

• Noncredit tuition: $1,190
• Credit tuition: 3 graduate credits available at about $1,203 per point. An additional amount of $95 for the choral packet, copying fees, and the Banquet is charged separately.
• For more information please contact Dr. Jerry Kerlin, Director of the Kodály Summer Institute, Department of Music and Performing Arts Professions, New York University, email: jk23@nyu.edu

Level 1, 2, and 3 • Noncredit or 3 Graduate Credits • Low cost NYU dormitory accommodations available

• Preschool Through Middle School Methodology
• Ear Training Using Movable Tonic Solfege
• Vocal Skills for Children, Adolescents, and Adults
• Choral Ensemble
• Choral Conducting
• Materials and Skills for Starting a Chorus at Elementary and Middle School Levels
• Traditional (Folk) Materials and Research
• Movement through Singing Games
• Extending Kodály to the Recorder

INTRODUCTION AND SUBJECT AREAS

New York University remains the only campus in metropolitan New York offering Kodály certification on a noncredit and graduate credit basis. Students who satisfactorily complete the course work in this program, which is spread over three summers, are eligible to receive certification endorsed by the Organization of American Kodály Educators for Kodály Levels 1, 2, and 3. Daily coursework meets from 8:30 a.m. to 4:30 p.m. and is divided into the following seven subject areas:

Voice Pedagogy (daily, 30 minutes) offers students a thorough warm-up of the voice—the main musical medium in Kodály-based work. Students learn the physiology of the voice and techniques of posture, breath management, phonation, resonant tone production, diction, and expression. Students also explore activities to use in the classroom appropriate for young voices toward the goal of singing with confidence.

Solfege (daily, 75 minutes) develops a teacher's ability to use the tools of the Kodály concept—movable tonic solfege and rhythm syllables. These tools are used with the development of skills of conducting, inner hearing, dictation, improvisation, and part work. Solfege is divided into three levels.

Kodály Methodology (daily, 75 minutes) introduces the teacher to the philosophy and practice of a Kodály-based curriculum. Supportive traditional song (folk-song) literature, including singing games and dances, is explored toward helping students derive music comparatives (timbre/tone color/tone quality, dynamics, tempo, duration, pitch, texture), beat, rhythm, meter, pitch patterns, simultaneity, and form—music literacy. Listening experiences are included in this study. The transition to composed music is made. Students explore curriculum development by writing starting points, song lists, yearly flow charts, daily lesson plans, and activity plans (strategies). Kodály Methodology is divided into three levels.

Chorus (daily, 60 minutes) gives the student experience in choral performance. All choral repertory, much of it a cappella, is rehearsed for a performance at the end of the course.

Traditional (Folk) Materials and Research (daily, 60 minutes) offers the student experience in the areas of traditional (folk) song colleting and analysis and the relating of these skills to the ethnomusicological understanding of music as culture. Students from all three levels of the program meet together to focus on certain topics. Summer 2009 focuses on Culture Studies and World Musics in the Classroom 3: Historical and Living Traditions of the United States.

Choral Conducting (M, W, F, 75 minutes) offers the teacher the development and practice of choral conducting techniques. Students practice posture, beat patterns, and signals for expressive singing (dynamics and articulation). Cueing entrances and cut-offs in polyphonic music are studied. Choral Conducting is divided into four sections.

Recorder Pedagogy and Ensembles (TU, TH, 75 minutes, elective) introduces the teacher to the chest of recorders—an extension of the Kodály concept to instruments. Teachers become proficient in recorder technique, learn teaching practices, and explore ensemble music for performance.

Kodály Study and New York City York City offers an exciting field to observe living traditional (folk) music and culture. Kodály students are invited to attend evening and weekend activities that explore various cultural scenes. Past fieldtrips included visits to an Irish pub to listen to a seisiún and to try set dancing and to Brighton Beach to sample the Russian American experience—activities that situate traditional (folk) studies among living New Yorkers of the twenty-first century.

KODÁLY AND MUSIC EDUCATION

Following his folk-song collecting with Béla Bartók in Hungary in the early 1900s, Zoltán Kodály had a vision—a monumental idea that music, like language, could be taught artistically using the authentic traditional (folk) materials of any given culture. Gathering talented, creative teachers around him, Kodály developed a philosophy:

Music is the core of the curriculum. The ancient Greeks believed that music was at the center of all learning, because music was a natural synthesis of thinking, feeling, and moving.

The body—singing voice, body idiophones, and movement—is the best medium for making music. The body and the voice are custom made for every individual. Song and movement are united in traditional (folk) games and dances. Singing with confidence is a main goal.

Traditional (folk) musics leading to other musics are the best materials for becoming literate in Western music. Everyone has a mother tongue—the language spoken at home. The traditional (folk) music of that language should be the song source from which the facts and concepts of music literacy are drawn. In a complex culture, such as that in the United States, any music of a culture group or subculture group should be considered. In Kodály practice the repertory of materials should take four directions:

• Preservation of authentic traditional (folk) songs of the native culture(s).
• Exploration of musics of other cultures.
• Bridging traditional (folk) songs with all styles of composed music.
• Exploration of both historical and living traditions.

Music literacy is like language literacy. Everyone has the ability to hear, speak, read, and write a language. Therefore, everyone has the ability to hear, sing, read, and write music. Music literacy is something that everyone can and should enjoy.

Quality music is the best material for teaching. Kodály believed that only the best music by the greatest composers and traditional (folk) music most representative of the culture are good enough for children.

Experiencing music—hearing, developing skills, preparing to derive concepts—cannot begin too early. Kodály said music training should begin "nine months before the birth of the mother."

The Kodály philosophy has been adapted worldwide. Emphasis on the continuing upgrade of the teacher's own musicianship continues to be a strong feature of this movement. It is a living philosophy constantly being reshaped by research in how children learn music in cultural settings. Kodály's vision complements the emerging focus on world musics by today's music educators.

LEVELS

Level 1, Level 2, Level 3: Each Level takes one summer to complete—three summers for all three Levels. Each student receives a Letter of Course Work Completion for the successful completion of each Level. Successful completion of all three Levels (three summers , hopefully consecutive) earns a Kodály document from New York University.

KODÁLY STUDY AND NEW YORK CITY

New York City offers an exciting field to observe living traditional (folk) music and culture. Kodály students are invited to attend evening and weekend activities that explore various cultural scenes. Past fieldtrips have included visits to an Irish pub to listen to a seisiún and to Brighton Beach to sample the Russian American experience—activities that situate traditional (folk) studies among living New Yorkers of the twenty-first century.

SPECIAL WEEKEND AND EVENING ACTIVITIES

• An evening workshop in making materials for the Kodály-based classroom.
• Lunchtime video reviews of Kodály-based lessons.
• Picnic in Washington Square Park.
• An evening at South Street Seaport to participate in sea chanties.
• An afternoon in Chinatown to have dim sum.
• An evening at O’Neill’s Pub to enjoy an Irish seisiún.
• Dinner on the Boardwalk at Brighton Beach to sample the Russian American experience followed by fun at Coney Island.
• Closing Concert and Banquet.

MASTERS STUDY AND KODÁLY AT NEW YORK UNIVERSITY

Students matriculated in the department’s in-service master’s degree program in Teaching Music may take a three-course sequence as part of their program of study:

• E85.2146: Music for Children: Kodály Level 1
• E85.2147: Music for Children: Kodály Level 2
• E85.2148: Music for Children: Kodály Level 3

For more information on master’s degree programs please contact Dr. John Gilbert, Director of Music Education, Department of Music and Performing Arts Professions, New York University, telephone: (212) 998-5424, email: john.gilbert@nyu.edu. Check the NYU Music Education website at steinhardt.nyu.edu/music/education/.

KODÁLY FACULTY

• BS, MA Music Education, Washington University, St. Louis
• PhD Music Education, The Steinhardt School of Culture, Education, and Human
• Development, New York University
• Kodály Diploma, University of Calgary
• Associate Professor of Music, Music Education Studies, Manhattanville College, Purchase, New York
• Former Music Faculty, The Spence School and Third Street Music School Settlement, New York City
• Cofounder and Past President, Kodály Organization of New York
• Eastern Division Past President, Organization of American Kodály Educators
• Former Director on the Board and current Reviewer for Alla Breve: Journal of the Kodály Society of Canada
• Kodály workshop clinician in Canada and the United States
• Research presenter at the University of Illinois, Music Educators National Conference in Phoenix, New York State School Music Association, University of Notre Dame, College Music Society in Montréal, American Hungarian Association at St. John’s University, and Manhattanville College
• Bronze Medal, Men Singing in Irish, Fleadh Cheoil na hÉireann (Music Festival of Ireland known as he “All Ireland”), 1996
• Comhaltas Ceoltóirí Éireann (Association of Irish Musicians) Aer Lingus Living Tradition Award,1997
• Author of a new monograph: The Transmission of Song Among the New York Irish:
• Teaching, Learning, and Irish Sensibility. Saarsbrücken, Germany: Verlag Doktor Müller, 2008

• BA Music, State University of New York at Binghamton
• MM Music Education, Manhattan School of Music
• EdD Music Education, Teachers College, Columbia University
• Kodály Summer Certificate, Kodály Musical Training Institute
• Music Education Adjunct Faculty, The Steinhardt School of Culture, Education, and Human Development, Department of Music and Performing Arts Professions, New York University
• Music Teacher, Gateway School, New York City
• Cofounder and Past President, Kodály Organization of New York
• Eastern Division Past President, Organization of American Kodály Educators
• Conductor and Founder, Glass Menagerie, a Greenwich Village Community Chorus
• Music education consultant and Kodály clinician throughout the United States
• Performing member of Cerddorion, a vocal chamber ensemble

• BM Music Education (cum laude), San Francisco State University
• MM Music Education (Kodály emphasis), Holy Names University, Oakland, California
• Doctoral studies, Doctor of Education in Music Education, Teachers College, Columbia University
• Faculty, Chorus Conductor, Pre-College Division, The Juilliard School, New York City
• Choral Director, leading the high school and middle school choral programs, Packer
• Collegiate Institute, Brooklyn, New York
• Former Adjunct Professor, Supervisor for music education student teachers at New York University, The Steinhardt School of Culture, Education, and Human Development, Department of Music and Performing Arts Professions
• Past Vice President, Kodály Organization of New York
• Former Conductor and Chorus Advisory Committee with the Children's Aid Society Chorus, New York City
• Former Music Faculty, Trevor Day School and The Spence School, New York City
• Former Guest Choral Conductor, Redeemer Presbyterian Church, New York City
• Former Clinician, Eastern America Association for Chinese Church Music
• Choral and Kodály clinician, New York area

• BA Music, Rutgers University
• Master of Music Education, Liszt Ferenc Music Academy
• MM Choral Conducting, Westminster Choir College of Rider University
• Diploma, Budapest Teachers Training College
• Kodály studies in Budapest: Budapest Vigado, Budapest Kodály Music School
• Montessori Philosophy Certification, CMTE
• Music Faculty, Berlin Brandenburg International School, Berlin, Germany
• Faculty in Summer Kodaly Certificate Programs, North Texas University, Portland State University, and Westminster Choir College of Rider University, Princeton, New Jersey
• Former Music Faculty, Little Red School House and Elisabeth Irwin High School, New
• York City, American International School of Budapest, and The Village School for Children,
• Montessori School, New Jersey
• Past President, Kodály Organization of New York
• Kodály clinician throughout the United States, Hungary, and in Nice, France

• BM, MM Piano Performance, Peabody Conservatory of Music, The Johns Hopkins University
• PhD studies in Music Education, Department of Music and Performing Arts Professions, The
• Steinhardt School of Culture, Education, and Human Development, New York University
• Kodály Certificate, Kodály Summer Institute, New York University
• General music teacher and choral conductor, Brookside School, Ossining Public Schools, Ossining, New York
• Former Music Faculty and Choral Director at The Tuxedo Park School, Tuxedo Park, New York, The Spence School (Lower School Chorus), New York City, St. Ann’s School, Brooklyn, New York, and The Berkeley-Carroll School, Brooklyn, New York
• Piano instructor, ensemble coach, and accompanist at the Stecher-Horowitz School,Cedarhurst, New York, the Mustard Seed School, Hoboken, New Jersey, and the Berkeley-Caroll School, Brooklyn, New York
• Secretary, Kodály Organization of New York (KONY)
• Clinician, KONY Fall Conference 2005

• BS Music Education, Millersville University, Millersville, Pennsylvania
• MM Music Education with Kodály Emphasis, Holy Names University, Oakland, California
• Musicianship and Stylistic Knowledge classes with Erzsebet Hegyi, Professor at the Liszt Academy, Budapest, Hungary
• Choral conducting with Vance George (San Francisco Symphony Chorus), Elmer Isler, Dennis Keene, Gregg Smith, and Richard Westenburg
• Associate Professor of Music, School of Music and Dance, San Francisco State University
• Professional singer, San Francisco Symphony Chorus
• Assistant Director, San Francisco Symphony Chorus: recently preparted Mozart's Mass in C minor for Maestro Ingo Metzmacher and the North American premiere of John Adams' A Flowering Tree, conduced by the composer
• Cofounder of the San Francisco State University School of Music and Dance's Colla Voce! Festival for solo voice and choruses
• Former music faculty, Holy Names College, St. Paul Elementary School, San Francisco, and Caesar Rodney Junior and Senior High Schools, Camden, Delaware
• Former conductor with the San Francisco Boys’ Chorus
• Clinician, California division of American Choral Directors Association
• Clinician, Bay Section of the California Association for Music Education
• Choral recording as director: Printemps on the CD Debussy Rediscovered, Arabesque label, with the San Francisco Ballet Orchestra, Emil de Cou, music director

Application Fee

If you would like to be considered for the workshop you must submit the following:

• a general online summer application
• application fee of $50 (non-refundable, checks payable to New York University)

Please be sure to include your contact information: phone number, mailing address, and your e-mail address. Send your application fee and contact information to:

Dr. Jerry Kerlin, Director
Kodály Summer Institute
Music and Performing Arts Professions
35 West Fourth Street, Suite 777
New York, NY 10012

Housing

Students stay in shared rooms in an NYU residence hall with one or two roommates. The residence hall is located near Washington Square Park, a short walk from campus buildings. The housing and meals cost includes a meal plan of 10 meals per week and a card with $25 declining dollars. Participants can eat meals in campus dining halls, Monday-Friday. Students should bring long (80 inch) twin bed size flat and fitted sheets, blankets, bedspreads, pillows, and their own towels. The residence hall building has air conditioning and Internet access with an Ethernet cable.

Cost

The cost of the program is $1,190 for non-credit NYC participants. Housing and meal fees are not included in the program fee.