Celebrating the 25th Summer of Kodály Studies at New York University

Program Features

• Levels 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

NYU KODÁLY 2013 TRIP TO HUNGARY

A fourth week is being planned in Hungary for Summer 2013.

TRIP TO HUNGARY

This offering will be similar to the trip to Hungary, Summer 2011. Participants will interact with the second week of the 27^thInternational Kodály Seminar and Kodály Art Festival, a biyearly summer program organized by the Zoltán Kodály Pedagogical Institute of Music (ZKPIM), Kecskemét, Hungary: Monday, July 22 through Friday, July 26, 2013 (leave Saturday, July 20, return Sunday, July 28). Please see the ZKPIM website: http://www.kodalyseminar.hu.

For more detailed information, please visit the website of NYU Steinhardt Study Abroad Summer 2013:

http://steinhardt.nyu.edu/study_abroad/programs/summer

2013 Special Workshops

Kodály Curriculum: Developing Ideas and Applications
Sarah St. Onge, Instructor
Monday through Friday, July 8–12, 2013, 5:00–7:30 p.m. daily.
Tuition: $250.00

This workshop is geared for Kodály-trained teachers who have been working in the field for a few years and would like to hone their lesson planning and curriculum development skills. Sarah will demonstrate and deconstruct a number of lesson plan models according to the needs of the participants. These models may include a methodology-based approach, a materials-first approach, a thematic approach, lessons geared for listening or instrumental activities, and/or for Special Education settings. Participants will have the opportunity to critique videotaped lessons and develop new lessons based on these ideas. Lessons will be constructed for a wide range of children's ages and skill levels. In addition, Sarah would like to provide support for teachers who are interested in working through a thorny issue in their practice or curriculum planning. Based on individual areas of interest and focus, teachers will try their hand at developing a new lesson plan technique, curriculum idea, or mode of practice, and present it on the final day of the program.  

Solfege Seminar: Renewing the Ear
David J. Xiques, Instructor
Monday through Friday, July 8–12 July 2013, 12:30–2:00 p.m. daily.
Tuition: $150.00

This workshop is directed toward Kodály graduates of the NYU Kodály Summer Institute or other training programs. Students will continue working with harmony approached through linear reading, arpeggiated chords and progressions sung in solfege, form and analysis, and structured listening. This seminar will be designed around one particular historical era or stylistic boundary.

Special Workshops Package

Both workshops may be taken together with Chorus, 2:00–3:00 p.m. Participants are invited to return to Chorus the final week and sing in the Kodály Concert, Friday, July 19, 2013, 7:00 p.m. The two workshops with Chorus are offered at the special tuition rate of $350.

Introduction and Subject Areas

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 course work meets from 8:30 a.m. to 4:45 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 2013 focuses on Culture Studies and World Musics in the Classroom 1: Africa, China, India, Indonesia, Ireland.

Choral Conducting (M, W, F, 75 minutes) offers the teacher the development and practice of choral conducting techniques, discovery of choral repertory, score strategies, and rehearsal planning. 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 three levels.

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 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. Music literacy is the first step of analysis toward the goal of musical understanding.

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

• Two evening workshops 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:

• MPAME-GE.2146: Music for Children: Kodály Level 1
• MPAME-GE.2147: Music for Children: Kodály Level 2
• MPAME-GE.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

KODÁLY FACULTY

Jerry Kerlin, Director

• 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
• Summer Study, Zoltán Kodály Pedagogical Institute, Kecskemét, Hungary

• Former Music Faculty, The Spence School and Third Street Music School Settlement, New York City

• 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 the “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. Saarbücken, Germany: Verlag Doktor Müller, 2008 

Susan Glass

• 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

Esther Liu Harris

• 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
• Summer Study, Zoltán Kodály Pedagogical Institute, Kecskemét, Hungary

• Faculty, Chorus Conductor, Pre-College Division, The Juilliard School, New York City

• Choral Director, High School and Middle School Choral Programs, Packer Collegiate Institute, Brooklyn, New York

• Adjunct Faculty, elementary methods course, former Supervisor of Music Education Student Teachers, 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

Anna (Panni) Kovács

• BA Music, Rutgers University

• Master of Music Education, Liszt Ferenc Music Academy, Budapest, Hungary

• MM Choral Conducting, Westminster Choir College of Rider University, Princeton, New Jersey

• Diploma, Budapest Teachers Training College, Budapest, Hungary

• Kodály studies in Budapest: Budapest Vigado, Budapest Kodály Music School

• Montessori Philosophy Certification, CMTE

• Music Together Certification, MT

• Music Faculty, Berlin Brandenburg International School, Berlin, Germany

• Faculty/Former Faculty in Summer Kodály 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, France, and Germany

Sarah St. Onge

• BM, University of Wisconsin, Madison

• MM Music Education (Kodály emphasis), Holy Names University, Oakland, California

• MA Child and Adolescent Clinical Psychology, Montclair State University, New Jersey

• PhD Clinical Psychology, Adelphi University, New York

• Certification in Orff-Schulwerk, Dalcroze Eurhythmics, and Suzuki Piano

• Former Director of the Middle and Upper School, City and Country School, New York City
• Former Administration and Music Faculty, Little Red School House and Elisabeth Irwin High School
• Former Music Faculty and Arts Coordinator, The Parkside School, New York City
• Former Music Faculty, San Domenico School, San Anselmo, California, and Shoreline Unified School District, Marin County, California
• Former Faculty of Summer Kodály Programs, Capital University (in Kecskemét, Hungary) and Ohio State University, Akron

• Past President, Northern California Association of Kodály Educators and the Kodály Organization of New York

• Kodály clinician throughout the United States

Giocille Shaw

• 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, Claremont School, Ossining Public Schools, Ossining, New York

• Former Board Member, Kodály Organization of New York (KONY)

• Clinician, Brotherhood Community, Bellevale, New York, 2010; KONY Sings Movement Clinician, 2009; Westchester County Arts Council for KONY, 2003

David J. Xiques

• BS Music Education, Millersville University, Millersville, Pennsylvania

• MM Music Education with Kodály Emphasis, Holy Names University, Oakland, California

• Musicianship and Stylistic Knowledge classes with Erzsébet 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 University, 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 Info

Application & Application Fee

Full enrollment in the Kodály Summer Institute involves the following processes:

1. Submit a general online summer application
2. Pay a $50 application fee (nonrefundable)
3. Fill out a workshop questionnaire (select Kodály)

Housing and Meals

Students stay in private or shared rooms in an NYU residence hall with one or two roommates. The residence hall, Founders Hall, is located near Washington Square Park, a short walk from campus buildings. Campus meal plans range from 8 to 12 meals per week and include a card with $30 of Dining Dollars. Linens are provided. Students should bring their own towels. The residence hall building has air conditioning and Internet access with an Ethernet cable. NYU Public Safety Services officers are on duty 24 hours a day. For more on Founders Hall, please visit the website: http://www.nyu.edu/life/living-at-nyu/on-campus-living/explore-the-residencehalls/Founders-Hall.html. 

Cost

The cost of the program is $1,250 for noncredit New York City participants. A nonrefundable $50 application fee creates a total of $1,300. Housing and meal fees are not included in the program fee.

Personal Expenses

A great benefit of the Kodály Summer Institute is the chance for students to experience life in New York City and Greenwich Village. The cost of living in the city is high. The activities fee students pay for the workshop covers only the primary cost of participating in the evening and weekend events and does not cover personal expenses. Students should budget for enough money to last the entire time they will be participating in the workshop. Students are encouraged to discuss expenses and decide upon a budget with their families prior to arriving in New York City.

International Students