Kodály Summer Institute

Summer Programs

Kodály Summer Institute

2018 30th Summer of Kodály Studies at New York University (Founded 1989)

The Kodály Summer Institute is open to students as a noncredit summer course. Students may also take the course for 3 graduate credits. Students who enroll in the Summer Masters Degree Program may take all three Levels of the NYU Kodály Summer Institute toward fulfillment of degree requirements, ending with both a Masters Degree in Music Education and Kodály Certification.

The Kodály Summer Institute is endorsed by the Organization of American Kodály Educators.

Program Dates: July 2 - July 20, 2018
Student Orientation: July 1, 2018 

Application Deadline:

Priority: April 2, 2018
Final: May 4, 2018
Applications will be accepted past the deadline on a rolling basis for U.S. students who are NOT in need of on-campus housing

Costs & Fees:

$55 (Non-Refundable Application Fee)
$1,500 (Non-Credit Course Fee)
$5,607 (Graduate Credit Tuition, 3 Credit Course)
$1,275 (3 Weeks On-Campus Housing and Required Meal Plan)
International Applicant/Student Fee Information

Intended For:

Post-College and Graduate Students
Continuing Professionals

The Kodály Summer Institute serves both graduate musicians-educators and those who have worked in the field—all who would like to enrich their skills in creating curriculum and delivering pedagogy in a Kodály-inspired music classroom. Participants experience and collect traditional (folk) materials that can be sequenced with the intention of leading their young music makers toward the goals of music literacy and musical understanding. Course work includes:

  • Levels 1, 2, and 3; One Level Each for Three Summers
  • Noncredit or 3 Graduate Credits Available for Each Level
  • Preschool Through Secondary 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

The Kodály Summer Institute is open to students as a noncredit course (like most MPAP Summer Programs). If qualified, students may also take the course for 3 graduate credits. Students who enroll in the Summer Masters Degree Program may take all three Levels of the NYU Kodály Summer Institute toward fulfillment of degree requirements, ending with both a Masters Degree in Music Education and Kodály Certification.

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 at 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.

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 musicians-educators.

Course Descriptions

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-inspired 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-inspired 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, articulation), 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 collecting 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 2018 focuses on Culture Studies and World Musics in the Classroom 3: Historical and Living Traditions of the Americas.

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 (based on conducting experience).

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.

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, Chair of the Music Department, School of Arts and Sciences, Music Education Studies, Manhattanville College, Purchase, New York
  • Music Education Adjunct Faculty, The Steinhardt School of Culture, Education, and Human Development, Department of Music and Performing Arts Professions, New York University
  • Summer Study, Kodály Institute of the Liszt Ferenc Academy of Music, Kecskemét, Hungary
  • Former Music Faculty, The Spence School and Third Street Music School Settlement, New York City
  • Cofounder and Past President, Kodály Organization of New York (KONY)
  • 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
  • Curriculum and pedagogy clinician for The Bronxville School and the Port Chester-Rye School District, Westchester County, New York
  • eacher Education Presenter for Organization of American Kodály Educators National Conferences
  • Research presenter at the University of Illinois, National Association for Music Education in Phoenix, New York State School Music Association, University of Notre Dame, College Music Society, American Hungarian Association, 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 the monograph The Transmission of Song Among the New York Irish: Teaching, Learning, and Irish Sensibility. Saarbücken, Germany: Akademiker Verlag, 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/choral director at Little Red School House and Elisabeth Irwin High School, New York City
  • Recipient of OAKE 2015 Outstanding Educator Award
  • Cofounder and Past President, Kodály Organization of New York (KONY)
  • 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
  • EdD Teachers College, Columbia University
  • Doctoral studies, Doctor of Education in Music Education, Teachers College, Columbia University
  • Summer Study, Kodály Institute of the Liszt Ferenc Academy of Music, 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
  • Adjunct Faculty, Kodály Summer Institute, Steinhardt School of Culture, Education, and Human Development, Department of Music and Performing Arts Professions, New York University; Course Instructor, NYU Kodály Week in Hungary
  • Faculty/Former Faculty in Summer Kodály Certification 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 (KONY)
  • Kodály clinician throughout the United States, Hungary, France, and Germany
  • Founding director of the Berlin International Music Project, an international music festival

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
  • Summer Study, Kodály Institute of the Liszt Ferenc Academy of Music, Kecskemét, Hungary
  • General music teacher and choral conductor, Claremont School, Ossining Public Schools, Ossining, New York
  • Staff pianist: EMBARK Peekskill, Unitarian Universalist Congregation of the Hudson Valley, Theater O, Ossining, New York
  • Organist, St. Ann’s Church, Ossining, New York
  • Founder and Director, Ossining Sings! A Community Chorus for All, Ossining, New York
  • Former Board Member, Kodály Organization of New York (KONY)
  • Kodály workshop clinician in the New York City area

Special Initiatives and Workshops 2018

KODÁLY CURRICULUM AND PEDAGOGY WORKSHOP

Esther Liu Harris and Giocille Shaw, Instructors.

Monday through Friday, 9–13 July 2018, 5:00–7:30 p.m. daily

Tuition: $200; nonrefundable application fee: $55; total $255. Register Here!  

This workshop is geared for Kodály-trained teachers who have been working in the field and who are interested in developing their vision and curriculum for a Kodály-inspired music education in the twenty-first century. Topics will include multicultural philosophy, sequence and practice, the use of manipulatives, expanded listening materials, and thematic integration of music with social studies. Throughout the course, the topics of motivational strategies and assessment will be addressed as well as important paramusical considerations: building trust in the school community, and educating administrators and parents. Lessons will be constructed for a wide range of children's ages and skill levels.

SOLFEGE SEMINAR

Anna (Panni) Kovács, Instructor

Monday through Friday, 9–13 July 2018, 12:30–2:00 p.m. daily

Tuition: $150; nonrefundable application fee: $55; total: $205.

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.

WORKSHOP PACKAGE

Both workshops described above may be taken together with Chorus, 2:00–3:00 p.m. weekdays. Participants are invited to return to Chorus the final week and sing in the Kodály Concert, Friday, July 20, 2018, 7:00 p.m. The two workshops with Chorus are offered at the special tuition rate of $300; application fee: $55; total: $355.

Special Weekend and Evening Activities

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 field trips 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.

  • Two evening workshops in making materials for the Kodály-inspired classroom: Poppo Shoppe, a workshop to build a puppet in a cone to be used for audiation (inner hearing) with young students; Feltboard Workshop, a workshop to build a feltboard, used to teach music literacy to students.
  • The Annual Lecture Based on Kodály-Inspired Curriculum and Pedagogy.
  • Kodály Cafe–Lunchtime video reviews of Kodály-inspired lessons.
  • An afternoon in Chinatown to have dim sum.
  • Picnic in Washington Square Park.
  • Dinner in the Meat Packing District, a walk on the Highline, and a trip to the new Whitney Museum of American Art.
  • An evening at an Irish pub to enjoy an Irish seisiún.
  • Closing Concert and Banquet.

Housing & Meal Plan Information

Minimum age allowed in NYU on-campus housing for a MPAP Summer Program is 15 years old.

Housing
  • Housing is not required, students may commute and will not be charged for housing/meal plan. Residential students will be housed in Weinstein Hall.
  • Summer housing application instructions are provided to admitted students only.
Meal Plan
  • Students staying in housing are required to have a meal plan (automatically assigned to student accounts when assigned a room in a residence hall).
  • 10 meals and 30 Dining Dollars per week (if desired, admitted students can increase meal plan)

Costs and Fees

 US StudentsInternational Students
Application Fee (paid at the end of Acceptd application) $55 $55
Non-credit Tuition Cost $1,500 TBD $1,500 TBD
Graduate Credit Tuition Cost (Estimated) $5,607 $5,607
Housing and Meal Plan (if on-campus) $1,275 $1,275
Health Insurance Not Applicable $347 Comprehensive Plan

Accepted students will confirm their attendance once they have paid the enrollment deposit (detailed instructions provided in acceptance email). Residential students will have successfully registered for housing once they have paid the housing deposit and completed the housing application (sent via email after student confirms their attendance).

$150 Enrollment deposit:
  • Accepted applicants will make an enrollment deposit of $150 in order to confirm their attendance to their NYU MPAP Summer Program. Payment instructions are provided within the initial acceptance email.
$500 Housing deposit:
  • If staying in on-campus housing, students are required to pay a $500 deposit to reserve a space in housing.
  • The housing deposit is a portion of the housing charges, and is NOT a separate or added fee.
  • The housing deposit is applied to any housing charges on your bill. Any excess balance remaining will be applied to tuition fees or refunded to the student.

Please note: Application Fee, Enrollment Deposit and Housing Deposit are not refundable.

Paying the remaining balance

After paying the deposit(s), students are responsible for paying the remaining balance prior to the start of the program. While the remaining tuition may be posted immediately after deposits are made, the remaining housing bills are not sent until 2 weeks prior to the start of the program. Payment by credit card is not accepted by the Bursar's office to pay remaining balances, please contact the Bursars Office directly for questions about payment.

All fees, tuition and housing costs are charged to the students eSuites (online student billing system and personal account) via the NYU Bursars Office. Read instructions on accessing the eSuites account.

For information, see the Summer Finances page.

Receiving Your Admission Decision

All communications and admission decisions are provided via email (email account used when application was created).

Many program directors make admission decisions on a rolling basis once a completed application is received. However, applicants can expect to receive a final admissions decision email no later than two weeks after the final application deadline date.

Scholarship & Financial Aid

Students interested in financial aid should complete and submit the Scholarship Application that is sent to you once you complete the application process.


Contact Us

Program Administration
Summer Programs
212 998 5438
mpap.summer@nyu.edu

Academic Content
Dr. Jerry Kerlin
Kodály Summer Institute, Director
212 998 5774
jerry.kerlin@nyu.edu