Session Descriptions

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Educating Teachers of Teachers Track (ETT)
Focus: Cultural Diversity
Focus: Cultural Responsiveness
Focus: Instructional Diversity
Focus: The Singing Classroom
Instrumental Track (IT)
Secondary Choral Track (SCT)


Educating Teachers of Teachers Track (ETT)

ETT Forum #1: Completing the Annual Report: Updates and New Information
Carol Forward

Do you complete the annual reports for your program? This session is for current Program Directors, Seedling Program Directors, and Directors seeking OAKE Program Endorsement. This session will explain and review the Guidelines for Kodály Teacher Education Programs, as well as explain the process as to which programs are reviewed annually.

ETT Forum #2: Materials and Social Justice Issues
Christopher Roberts, Sarah Bartolome

In recent years, many Kodály-inspired educators are taking a closer look at traditional elementary song repertoire, viewing it through a critical lens that considers issues such as gender, race/ethnicity, culture, and historical context. This forum will focus its attention on these topics as they pertain to those teaching in Levels Programs. All are welcome.


Focus: Cultural Diversity

Popular Music In the Kodály-Inspired Classroom
Rita Alway

Kodály-inspired teachers often find themselves facing a huge gap between the folk music and art music we study in our classrooms and the popular music our students listen to and enjoy. Popular music is the native musical language of many of our students, and excluding this music from our classrooms sends the message that we don’t believe their music is valuable. The occasional use of pop (or hip-hop, or rock, or country) music in the classroom can be a powerful tool to help students see the connection between music they know and love and the musicianship skills they’re building in class. This workshop will cover the use of popular music to reinforce melodic, rhythmic, and harmonic concepts, as well as other considerations and best practices for using popular music in the Kodály classroom.

Exploring Oregon’s History Through Song
Karen Arlen, Douglas Card, Nancie Kester

Two Kodály music educators and specialists on California History Through Song join with an Oregon historian/sociologist in this presentation. Our purpose is to encourage and enable music and classroom teachers to include history through song as part of the 21st century Kodály Music Education curriculum. We follow in the footsteps of Zoltan Kodály who collected old songs from remote villages to discover the true music of Hungary. We invite fellow Kodály educators to delve into the history of their own states and regions to find appropriate traditional songs that were sung during pivotal time periods. In this process, history is told in the voice of people and songs are considered primary source material. Using Oregon as a model, we will present diverse and carefully researched songs significant to this area and place them in historic context. This rich song resource can easily be included in the Kodály curriculum, particularly at the 4th grade level, when students are involved in state history. They also offer opportunities to teach across the curriculum. Presenting programs and musical plays based on historic periods is an excellent way to reach out into the community. Authentic songs of Oregon and other states and regions add a rich emotional component and make history come alive. They should be an important part of the curriculum. We feel that Zoltan Kodály, with his strong emphasis on root music would agree.

A Culturally Relevant Kodály-Inspired Classroom with Emphasis on Somali
Becca Buck, Qorsho Hassan

Inspired by Cecil Sharp, Zoltán Kodály, and Béla Bartók, participants will receive an overview on how to collect songs from their students to create a culturally relevant repertoire selection for their specific demographic. They will also receive an introduction to Somali culture and how it fits into music education, along with several fully notated Somali songs collected directly from Becca’s K-5th grade Somali-American students to use within in their own classrooms.

Global Soundscapes: Teaching with World Music Recordings
Colleen Casey-Nelson

Explore world cultures through authentic recordings thoughtfully integrated into the classroom setting. As we prepare students to be global citizens, experiencing music from around the globe affords the opportunity to understand peoples from near and far. Listening is fundamental to learning and growth, highlighting the wonderful musical diversity this planet offers as well as demonstrating what connects us all. By taking advantage of technology and recordings, we can easily access a vast variety of music to share with students. Selections will highlight ways to use this music to Create, Perform, Respond, and Connect in meaningful ways, honoring the integrity of the cultures while supporting the teaching of curricular concepts. Open ears – Open minds.

Japanese Songs and Singing Games in the Kodály Classroom
Minami Cohen

As a native of Okinawa, Japan, the presenter will share her musical heritage, authentic songs, and singing games from both Okinawan and Japanese traditions. This will include a variety of songs, such as those that are accessible to young students, those that are sung at playgrounds, traditional singing games that engage older students, shoka, and choral arrangements. The session will include the historical and cultural background of songs and pedagogical connections that can be applied in your classroom. This session relates to the theme of the conference in that Kodály visioned authentic folk songs as a foundation of children’s music education.

Multicultural Musical Role Models: Inspiration through Engaged Listening
Adam Epstein, Richard G. Saunders

Most commercially available general music listening curricula exclusively focus on European classical music composed by men before 1900. This does not match the demographic of the students we serve, and the curricular scope does not adequately capture the richness and variety of musical traditions present in the U.S. and the world. In response, Somerville (MA) Public Schools music educators have created monthly listening units on diverse musicians with whom our students can identify in order to inspire them toward a lifetime of active music-making. This session will explore the “Musician of the Month” listening framework which presents a balance of genders, musical styles, and cultures throughout each year across all grade levels, preK-12. Many schools have adopted this model since it was first presented at the 2017 OAKE conference. This year, the presenters will share an exciting new development, funded by a Boston University Consortium Grant: a comprehensive, web-based curriculum that includes planning guides, instructional resources, and a searchable database of listening units. Participants will learn how to access and contribute to this living curriculum on an ongoing basis.

Living Traditions: Children’s Songs and Singing Games from Central America
Rachel Gibson

Come sing, play, move, create, and experience joy with living musical traditions from Central America. Participants will engage in repertoire that the presenter recently collected from playgrounds, classrooms, and families while living in Guatemala and Nicaragua. The music represents diverse practices that span from traditional songs and singing games to contemporary children’s music that utilizes recorded media. The activities allow for musical play and movement, encourage lyrical improvisation, and foster community. The Spanish texts are accessible to learn and field videos will be shown to demonstrate the songs’ authentic contexts. ¡Ven a cantar y jugar! Come sing and play!  Note: This session will have an entirely new set of songs and singing games than presented at OAKE (Columbus, OH) last year. I am proposing this again after receiving feedback from many teachers who were looking for more songs and singing games in the Spanish language, to meet the needs of the diverse populations in their schools.

Sticks and Stones: Multi-Cultural Musical Games Children Love to Play
Julianna Gylseth

What child doesn’t love to play with sticks and stones?! What’s better than to mix those with authentic children’s songs games from around the world? From the stick games of Polynesia to the Morris Dances of England, we will delve into ways to help the students draw personal connections between the music and the cultures they are exploring. We will focus on engaging learning experiences for the middle to upper elementary grades.

Let’s Have Fun with Japanese Folk Songs and Games
Shinji Inagi

The Japanese culture has been developing and nurtured for over a millennia. Although we do not know the origin of these folk songs and games in terms of when and how they were created, we believe that they were formed rather spontaneously by the children in olden times. In this session, you can learn and enjoy some truly Japanese folk songs with games. You will also learn some unique characteristics of the Japanese scales of these folk songs.

International Songs of Peace and Love
Kathe Lyth

There is, in our 21st Century, an ever growing planetary need for connecting all people, young and old with their diverse beauty of culture, race and religion through the universal link of peace and love. The gift we humans share is our unique natural ability to sing. International songs of peace and love have been carefully selected with the hope that they will continue to unify us. In this presentation, the songs will be be sung in unison and in two and three part arrangements (similar as presented in the newly published OAKE collection, “Turtle Dove: 60 Two-Part American Folk Songs” by Kathé E. Lyth). They will be taught with a focus on the Kodály methodology as well as authenticity of style and language. These gems of music should be sung by many age groups. They may be presented within the context of the music classroom or sung by children’s choruses.

They Brought Their Songs with Them: Songs of the West
Gail Needleman, Anne Laskey

They came by land and by sea, fleeing drought and persecution, seeking gold and freedom; and they brought their songs with them. From the first immigrants from Siberia 20,000 years ago to current refugees from Central America, the American West has always drawn people from across the country and around the world. In this session we will present railroad songs and sea shanties, play parties and singing games, ballads and lullabies which we have found while researching folk songs for the Library of Congress’s Teaching with Primary Sources: Western Region. Songs have been chosen for classroom use from the many cultures that populated the West: Native American, Spanish American, Anglo-American and African American, along with others of our many immigrant communities. Come to hear historic field recordings, play singing games, learn about the history and background of the songs, and explore teaching resources from the Library of Congress. Join us in celebrating the unity and diversity of people in the West through the songs they have shared.

Be Your Own Arranger: Transforming Simple Songs into Performance Pieces
Will Skaff

In this interactive session, participants will sing through a culturally diverse selection of folksongs and melodies and explore creative, tried and true methods of turning those beloved tunes into arrangements perfect for the modern audience of any choral concert! This includes use of instruments, solo singers, body percussion and more. This session is perfect for those teachers who are struggling to find a published arrangement of a song that they love, or who might have a limited school budget, or who just want to tap into their own creative mind! Discussion will include matters of authenticity when performing diverse cultural music. As we propel the Kodály philosophy into the 21st century, it is important that we preserve treasures of our past.


Focus: Cultural Responsiveness

Songs of Peace, Protest and Change for Upper Elementary
Elizabeth Anderson

Do you want to engage your students in current issues of injustice, but don’t know where to start? Do you feel like in your busy schedule, it is hard to find time to teach students about empathy and conflict? Peace and protest songs from the 1960s and 1970s offer a great starting point that engages students in quality music making while resonating with students’ experiences and emotions, and opening doors to conversations about the past, present, and future of civil rights and diversity. This repertoire also as provides a natural connection to a ukulele or guitar program. In this session, you will sing and play repertoire that engages with issues of oppression, freedom and change, and learn strategies for tying music making to meaningful conversations between students about injustice, both in their own lives and in the world around them.

Focus on Neuroscience in the 21st Century Kodály Classroom
Sean Breen

This presentation focuses on current research into the neuroscience of music, how the research connects to the Kodály methodology, and how this research can be of value to Kodály educators in the selection and appraisal of teaching materials and teaching techniques. Though most educators express an interest in current brain research, many are discouraged when they discover that the information is misrepresented, over-simplified, or not readily adaptable to the music classroom. It is vital that music educators become knowledgeable about methods and strategies that teachers may employ to help determine the value of recent research and how it may affect our teaching. Of equal importance is an appreciation of how our collective teaching knowledge has the power to focus real-world light on clinical research. Mr. Breen’s background in music education as well as educational neuroscience allows him to serve as a bridge between these worlds. Utilizing engaging audio-video materials, this presentation presents current, relevant research findings in a concise, connected, and clear manner.”

Navigating LGBTQ+ Issues: Guiding Principles for 21st Century Classrooms
Nick Holland-Garcia

Embracing all aspects of diversity is essential in developing Kodály’s notion of the “well-trained heart” as part of a comprehensive musicianship. Although many elements of diversity are addressed in schools, teachers often find themselves being faced with questions or situations involving LGBTQ+ issues, and not knowing how to best respond or act. In some cases, teachers may be bound by state, district, or school policy, or silenced by oppressive voices in their community. This session for LGBTQ+ teachers and allies will present research, engage participants in discussion, and address common concerns regarding creating safe spaces for students and teachers, initiating courageous classroom conversations, and confronting erasure and other marginalizing phenomena. Participants will leave this session with guiding principles for making their classrooms and school communities welcoming spaces, where music is used as a tool of liberation for all.

Overcoming Myopia: Female Composers in the Kodály-Inspired Classroom
Logan McKinney

For over two millennia female composers have been subjugated to a half-life, with countless arguments being made as to why their music has rarely attained the same public status as the works of their male counterparts. Silenced by societal stigma, forced to compose in private, resigned to the historical “anonymous,” or constantly and condescendingly compared with men, female composers have been hidden by the prevailing ignorance of a androcentric society. The purpose of this workshop will be to correct the horrible shortsightedness of our current music educational system by introducing attendees to over 100 works by female composers that can be easily and meaningfully used in the classroom. The music will be presented through multiple disciplines with a focus on differentiation and age-appropriateness.

Reframing Kodály-Inspired Practices Towards Culturally Responsive Teaching
Meredith Riggs and Panel Members

In this session, we consider the ways in which common US Kodály-inspired pedagogy is both inclusive and exclusive to our racially diverse student populations. The majority of US music educators identify as White and have backgrounds steeped in Western classical music traditions. Kodály was also a Western classical musician, pedagogue, and philosopher; thus, the pedagogical philosophy and associated practices require some interrogation, particularly for the ways in which our racially diverse student population in the US may be excluded in classrooms where educators conform to norms and traditions without considering the biases embedded within the approach. In this session, each presenter will address a characteristic or facet of Kodály-inspired pedagogy. Together with participants, we will discuss how these common practices may perpetuate Whiteness in our curricula and how we may develop critical mindsets to actively work against marginalizing students of color in our classrooms.

Culturally Responsive Teaching in the Kodály Classroom
Melyssa Stone

Music educators are the gate-keepers to the world. As we develop global citizenship, we must take equal care to create learning communities that are conducive to learning for the many cultures represented in our classrooms. Combining a neuroscience-based understanding of cognition with Kodály-focused music education, we can better identify the impact and importance of relationships in our classrooms. This session is for those who are committed to the Kodály belief that “music belongs to everyone,” and who strive to reflect critically on topics of race, equity and classroom environments. Come ready to dive in!

Hocus Pocus the Magic of Focus: Social-Emotional Learning in Music
Loren Tarnow

School can be stressful for students and teachers alike! What can you do in your classroom to support students in their social-emotional learning journey? How can you help them to transition into music class? What strategies can you use to create a more positive, safe, and musical environment? How can you make sure you aren’t so stressed or worn out that you take it out on the students? This session will address mindfulness, mindset, the Social Emotional Learning Core Competencies Wheel, and other strategies to maintain mental health for you and your students. Come ready to feel relaxed, refreshed, and invigorated!

Beyond Multiculturalism: Creating a Culturally Relevant Kodály Classroom
Jennifer Wassemiller

Culture is SO much more than country of origin and ethnicity, so how can we as Kodály music educators foster an environment of inclusivity that further embraces the diversity of our students? This session will explore the nature of Culturally Responsive Teaching (CRT), how the implementation of CRT moves beyond the broad spectrum of multiculturalism, and the implications within the Kodály curriculum and classroom. In valuing the uniqueness that each student brings to the classroom, CRT further engages students in their learning in addition to providing enriching opportunities for student ownership and creation with the music classroom.


Focus: Instructional Diversity

Dalcroze Education and the Kodály Method: We Sing the Body Eclectic
William Bauer

The body is our first instrument; singers know this elemental insight from experience. Dalcroze Education expands on it, leveraging the dynamic power of physical movement and perception-action coupling to deepen our listening skills, so we can truly embody our musical understanding. Because singers produce sound directly from our primary instrument, we need to intensify our mind-body connection just as much as instrumentalists. This experiential session engages participants in a series of games and exercises that prompt their spontaneous physical and vocal responses to music, showing how Rhythmic Solfège, a core branch of Dalcroze Education, can supplement the critical learning that the Kodály Method promotes.

Apply Kodály’s Vision: Foster Executive Functions with Visual Manipulatives
Elaine Bernstorf, Amanda Vanausdall

This session revisits classic Kodály=inspired teaching techniques with recent updates on brain function. The presentation will include an emphasis on best practices for choosing and using visual manipulatives in the 21st Century Kodály teaching context. We also will consider students with special learning needs, especially related to their executive functions in the classroom. A discussion of the difference between using far-point and individual visual inputs will be included.

Improvisation In General Music: Dalcroze, Gordon, Orff
Judy Bond, Diane Lange, Steven Robbins, Julie Scott

Following a brief introduction to the philosophy, mission, and goals of the Alliance for Active Music Making, activities in improvisation will be presented by three master teachers representing the approaches of Dalcroze, Gordon, and Orff. Participants will experience a Eurhythmics lesson in movement improvisation, a Music Learning Theory activity with vocal improvisation, and a beginning improvisation activity with Orff instruments. The session will conclude with discussion of similarities and differences in the ways teachers with a background in Dalcroze, Gordon, and Orff may teach improvisation in the general music classroom. The session supports the OAKE 2020 Conference theme by presenting 21st century skills of collaboration among teachers representing different approaches to music teaching and learning.

Sequencing Movement in the Elementary Music Classroom
James Bowyer, Ben Munisteri

Pre- and in-service teachers are generally familiar with movement in folk idioms like square dances, games, and play parties. Because such movements are prescribed teacher-as-expert endeavors, the instructional sequence is straightforward and intuitive. However, teachers often perceive “creative” or non-choreographed movements to be challenging for two reasons. First, the process might seem chaotic. Second, creative movement requires some semblance of a curriculum that is suitable for the non-dance teacher. What would the scope of such a curriculum include? How might such a curriculum be presented in “child-friendly” language? We will discuss dance literacy practices (artistic autonomy, embodied knowledge, and multimodality) and offer a movement vocabulary of 13 dance concepts that may be infused easily through traditional and modern musical experiences.

Integrating Dalcroze Eurhythmics into the Kodály Classroom
Marla Butke

Participants will experience meaningful movement activities that strengthen rhythmic integrity and expression but also teach skills needed in today’s world. The core of the Dalcroze approach will be addressed: Students who engage in eurhythmics activities solve problems, predict, and transfer knowledge, all in real time. By relating activities to time, space, and energy, participants turn the abstract concepts of music into concrete realization through movement. The social nature of eurhythmics provides students the opportunity to work with partners, and in small and large groups to engage in purposeful movement. Benefits include the development of nonverbal communication, spatial awareness, and social interaction. A natural outcome of a eurhythmics experience is joy. Based on the research of Csikszentmihalyi, a carefully balanced combination of skill level and challenge can produce flow, an optimal state of awareness, focus, and concentration.

Concept-Based Learning Centers
Ashley Cuthbertson

Gone are the days of the teacher as the “sage on the stage”! To ensure that Kodály-inspired teaching will continue to thrive, we must find ways to adapt to a more student-centered learning approach. Concept-Based Learning centers are just what music teachers need to support the 21st century learning skills of communication, collaboration, critical thinking, and creation. In this session, teachers will learn about the numerous benefits of incorporating small group work and music learning centers into their lessons to support student-centered learning. Specifically, teachers will learn how centers focused around a particular unit, concept, or skill lead students towards independence, mastery, and better command of concepts. Teachers will learn a step-by-step process for setting up the learning environment, creating centers that are linked to specific literacy concepts or skills, and management. Additionally, teachers will have the opportunity to experience a full centers rotation first-hand complete with hands on materials and resources!

Solutions for the Top Ten Challenges for Teaching Recorder
Anita Edwards

10. Finding an Easy to Use Motivational Reward Program
9. Selecting Playable Pieces for Your First Concert
8. Convincing Principals the Value of Teaching Recorder
7. Incorporating Different Methodologies
6. Easily Incorporating Technology
5. Keeping Everything Affordable
4. Teaching Music Reading Skills
3. Motivating Students to Practice at Home
2. Avoiding Overblowing
1. Keeping the Left Hand on Top of the Recorder

Whether you are encountering these challenges or have additional issues you would like to solve, you will enjoy this hands-on, information-packed session. Solutions will be presented and questions will be encouraged. Each attendee will receive a complimentary recorder and free interactive trial code. If you can, bring your laptop!

Playing With a Purpose
Tiffany English

The Orff Schulwerk approach is based in exploration, improvisation, and creativity. In order to facilitate these characteristics successfully in a music classroom, teachers need a “tool kit” to provide structure for students’ ideas and choices. Incorporating these strategies results in a higher level of musical understanding, student buy-in, and enjoyment. Providing expectations and structure throughout creative experiences will help you to successfully include more improvisation your classroom. Come sing, dance, and play!

What’s Your Focus? 21st Century Skills in Early Childhood Centers
Kelly Lynch, Beth Berridge

Many elementary music teachers, especially in their first years of teaching, are unsure of how to plan for early primary music classes. Forty-five or even fifty minutes can seem to be a long time with a large group of young musicians with short attention spans, so Berridge and Lynch will present in this session a lesson plan idea of traditional whole-group instruction followed by centers-based learning to allow for a diversity of instructional delivery in a Kodály-inspired classroom. The activities included in the centers fall in the categories of vocal exploration, song sequencing, listening, and instruments. The centers activities presented allow students to build on their musical skills as well as the 21st century skills of collaboration, creativity, critical thinking. Attendees of this session will receive several ideas for each of the four categories of centers, procedures on how to implement centers in their classrooms, video clips of Lynch’s own students engaged in centers, and will be able to experience the centers themselves during the session.

Creating Musical Communities for the 21st Century: OAKE and CDSS
Robbin Marcus, Katy German

The Country Dance and Song Society (CDSS) and OAKE are natural partner organizations. Come see why being a member of both groups is beneficial to you personally, to your teaching, and to creating “lifelong musical learners” through the living tradition of dance and song from the American Heritage. Learn materials to take back to your classroom and, discover opportunities to learn more about combining folk song performance styles and the Kodály methodology in community at a CDSS camp this summer. Together we can create local communities that help children appreciate, understand and value folk music, thereby creating enthusiastic music learners in our schools. Join our vision!

Mother Tongue: Re-Imagining a Key Tenet of the Kodály Philosophy
John Martha-Reynolds

Join John Martha-Reynolds, Music Educator with the Cambridge Public Schools (Cambridge, MA) and Conductor with the Boston Children’s Chorus, in this highly interactive session. Learn strategies to connect with your students and their families and how to make your classroom a reflection of your learners. Additionally, learn how to approach diverse music from a Kodály lens and how incorporate it into your general music and choral curricula.

Music Maker Space: A Place for the 21st Century Child
Lucia Schaefer

Take a moment to imagine all of the tools, materials, and tactiles you have in your music room. Think about the popsicle sticks, the cube and foam counters, the beat charts and so on. Now think about all the time in your class that has been lost to handing out and cleaning up materials. I know that in past years, I have shied away from big messy projects due to my fear of lost instructional time but I know that our students need these kinds of activities. Research has shown over and over that they need to work with their hands in order to physically realize the complex concepts we teach in music. What if I told you there was a way to have all of your materials out and accessible to students that wouldn’t leave your room a disaster at the end of the day? It is possible to create a dedicated space in your room where students can explore a variety of tools to show you what they know in their own unique way. In this session, attendees will learn how to organize a Maker Space, how to teach students to use the Maker Space, and how to utilize the Maker Space to maximize student voice. The Music Maker Space is something you can do and your students will benefit greatly from it!

Let’s Move! Movement Activities to Support Musical Goals
Berta Yee

This session will incorporate a variety of movement elements and activities for use in physically expressing music and practicing musical elements. We will examine the use of movement to support music goals, as well as the use of music to introduce and explore movement elements. Musical selections from Latino/a, folk, European classical, popular, and Blues/R&B styles will extend Kodály’s vision of quality repertoire into the 21st century. This will be a highly interactive session, so please wear comfortable clothing and shoes!


Focus: The Singing Classroom

Practice Skills: Envisioning the Future While Focusing on the Process
Amy Carter, Jennifer Kimock

This audience participation workshop will focus on exploring creative and fun ways in which we practice the elements while assessing individual student achievement. Songs, games and resources featuring practice activities and sequences to be used for formative and summative assessment in the elementary classroom will be shared. Group participants will find a balance between traditional approaches to practicing rhythmic and melodic elements and those which encourage the use of technology, manipulatives and student-centered activities. Listening activities and games designed to increase musical independence, active listening and skill development will also be featured. Come experience activities rooted in tradition that will be used to help drive future instruction while exploring creative and fun ways to increase student engagement and individual accountability.

From Traditional to New: Using Folk Material to Inspire Creativity
Andrew Ellingsen

In the National Core Arts Standards released in 2014, having students create original material is given equal importance to having students perform and respond to music! In this session, participants will explore a variety of ways to have students use the traditional folk material they learn in the music classroom as the entry point to creating new material. We will also look at ways to make the process of creating new music and movement serve as a culminating learning experience for students.

SongWorks: Perceptions of Pitch, Can I Really “Have It All?”
Molly Feigal

What might happen if we use a playful, sound-to-symbol pathway to pitch study? Moving from folk song to popular music (“Have It All” by Jason Mraz), participants will be guided to decode mi re do “sight patterns” within the songs. Participants will also interpret a bridge notation score as a visual representation of a song, will physicalize pitch relationships using movement, verbalize perceptions and learnings using describing words and solfa pitch names, and transfer those pitch relationships to xylophones. A playful and enjoyable sound-to-symbol approach will be at the forefront of the entire study. All of this in one melody study? Yes, we really can “Have It All.”

Focusing on Sequence: The Spiral Curriculum in Kodály-Inspired Classrooms
Brent Gault

Advocacy for a curriculum that moves logically across age levels is a vision that Kodály-inspired educators share with others who have written about this area in the greater educational community. This session will focus on Jerome Bruner’s Spiral Curriculum model and illustrate how it might be applied to a Kodály-inspired setting. Attendees will participate in sample lesson activities that model the development of both music skills and conceptual understanding with increasing sophistication at each level of experience.

Empowering Students with Notation as Play: SongWorks Literacy Practices
Jake Harkins

Session participants will experience spirited ways to introduce and unfold a folk song game as they explore music literacy practices. The session will focus on playful exploration with literacy techniques from the SongWorks approach. These practices will include pathways for study using mapping, song dotting, ideographing, and blended notation. Participants will experience a variety of ways to incorporate student conducting and student leadership at the elementary level. Experiences will highlight student-centered learning, effective teacher gestures, and playful interactions. Incorporating 21st century skills, the session will embody collaboration and teamwork within an environment of creativity and imagination.

Focus on Beautiful Tone: Kindergarten and Beyond
Sandy Knudson

Beautiful choral sound for elementary honor choirs can be achieved with ease if started early. The presenter will present strategies for teaching choral tone in the regular music classroom and demonstrate how to use the same strategies later with honor choirs. How do you build success for an honor choir in your school? Begin early and FOCUS on good choral singing in the every day warp and woof of the classroom. Techniques include: Vocal exploration, solo singing, developing head voice, diction and syllabic stress, vowels, canons, phrasing, intervals, consonants and beautiful listening examples.”

SingAble: We Love to Sing Because We are Able
Ardelle Ries

Inspired by the 2017 International Kodály Symposium theme, Singing the Circle: Kodály-Based Music Education from Birth to Adult, SingAble-a multigenerational inclusion choir-was established in Western Canada in the autumn of 2018. Regardless of ability or disability, ethnicity or socioeconomic status, SingAble welcomes over 100 choristers at all ages and stages of life to explore musical expression in a meaningful and rewarding way. From repertoire to music literacy to composition to research, through song and through story, this session examines how a diverse community of singers can successfully be brought together to truly embody Kodály’s manifesto that “Music is spiritual food for everyone.”

Focus on Function: Functional Harmony in General Music
Roger Sams

We explore active, hands-on lessons integrating Kodály, Orff, and Dalcroze that help students understand the construction of I, IV, and V chords and the role of functional harmony. Students will sing, play instruments, and create chordal accompaniments for folk songs from diverse cultures.

Fostering Vocal Improvisation in Elementary Music
Heather Shouldice

The first step to improvisation is developing the readiness to improvise. This session will share activities to help elementary music students develop the tonal and rhythm “vocabulary” and skills that will prepare them to vocally improvise, as well as strategies for how to approach vocal improvisation with young children.

Implementing Your Perfect Vision: Initiating a Kodály-Based Program
Loren Tarnow

If you are a first year teacher, new to Kodály, or changing schools, building a Kodály-based program from scratch can be overwhelming and difficult. Where does one even begin teaching? How do you bring students up to grade level? How do you convince students to “buy in” to a rigorous curriculum? What if they don’t like the repertoire? What if they are used to learning music a completely different way? What if they lament the loss of their old teacher? Don’t Panic! This session will address these questions and provide curriculum and lesson planning ideas, relationship building strategies, and salesmanship tools that can help transition a school to the ‘Kodály way’!


Instrumental Track

Vocal-Instrumental Collaboration: Folk Songs that Inspire Instrumental Art
Herbert Marshall

One important domain for 21st century skills is collaboration/teamwork. By building bridges between vocal and instrumental musicians, we make all learners stronger and more versatile. We can enhance the common ground and transfer of knowledge between vocal and instrumental music through shared folk songs. Participants will learn about resources for art music based on folk songs and learn a variety of pieces. By exploring this repertoire, we enhance active listening lessons, application of vocal ability to instrumental media, and understanding of texture and timbre in compositions. The skill of collaboration can be further developed through student arrangements of accompaniments for songs or composition of movement activities coordinated with specific melodies.

Recorder Alternatives: Welcome to the World of Ocarina
Nicolas Miranda

Elementary music professionals overwhelmingly use the recorder to represent the woodwind family in their classroom. The ocarina is a wind instrument with a deep history in Europe, Asia and the Americas. Having recently resurfaced with innovative designs that are as affordable as recorder, begs the question: Should we consider adding variety to elementary music programs as 21st century Kodály-inspired educators? The ocarina has many benefits, from being a transition woodwind instrument to being lower pitched (protecting teacher and children’s ears from high decibels), to its design which makes squeaking much more difficult than on the recorder. It also fits a child’s singing range, aligning with our philosophy of only the best for children. Ocarina has helped me make meaningful connections with my students, in addition to collaborating with them to create beautiful student-centered melodies and ensembles. As Kodály-inspired professionals in the 21st century, what challenges will ocarina address or help us overcome? In this session I plan on answering these questions by providing resources and research supporting the use of ocarina in the music classroom.

The Great Extraction: Teaching Musicianship through Performance Repertoire
Royce Tevis, Lindsay Kellogg

Extractions will be based on music a director might choose to use for their spring concert and or festival. The process of teaching and the use of the extractions will be covered.

From the Past to There: Students Musical Instrumental Development Beyond K-5
Doug Towner

From the Past to There, What we know and can use for our students musical instrumental development for grades 6-12. Applying concepts and techniques to improve audiation and improvisational skills with beginning music theory concepts.


Secondary Choral Track

The Engaging Choral Classroom: Focus on Engagement
Sandy Knudson

This session will outline successful choral lesson plans that engage young singers. Many young conductors want help with how to teach a piece and how to plan a rehearsal. This session will give many ideas for the creative use of solfege, teaching strategies, pacing, kinesthetic involvement, and musicianship training based on repertoire. Participants will try some of these techniques! In addition, participants will learn how to build good choral habits with young singers, use spot practicing in rehearsal, and how to successfully ask for help. Finally, the clinician will address ways to help young singers “buy in” or take ownership of their repertoire and musical skills.

Transitions and Literacy in the Choral Classroom
Sarah Martinez

Kodály’s vision was for students of all ages and socio-economic backgrounds to become musically literate. Martinez will show participants how she uses folk songs, art music, and musical transitions to teach and reinforce musical concepts in a secondary choir class. These processes have allowed students in Title I schools to perform at the highest level of excellence.

Open Education Resources: Access to Multi-Cultural Sight-Singing Materials
Donna Menhart

Open Education Resources (OER) provide accessibility of materials for educators and students from financial and supply availability perspectives, positively impacting academic communities at all levels. This session will present four volumes of sequenced sight-singing materials collected from the folk music of numerous nations, which supports the folk songs to masterworks philosophy of Zoltán Kodály, and exposes our students to the similarities and differences of music from around the world. Attendees will be given access to the sight-singing resources to use and share, will sing many of the materials, and will participate in a round-table discussion on how to apply these materials in their classrooms and rehearsals. Attendees will also learn how OER materials are licensed, and the impact OER is having on 21st century academia.