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Kodaly Orff Gordon Dalcroze WMP

History: Who, what, Zoltan Kodaly (1882- Carl Orff (1895-1982) was a “Music learning theory was developed in the Emile Jaques-Dalcroze, was a This movement of
1967) was a Hungarian German composer who spent 1970s by Edwin E. Gordon. As a result of his professor of music with radical multicultural consciousness
when, where, how, composer who organized the latter part of his life applying the general education and ideas that would lead to his in the United States can be
why? multiple practices of developing a process for psychological research literature concerning approach in music education. traced to the early decad.es
pedagogy into an inclusive teaching children. Orff’s how children learn generally to music learning This turn started in 1905. Born of the 20th century.
form of music education. technique focuses on specifically, his own research concerning in 1865 of Swiss parents, Beginning with the flow of
His philosophy stemmed movement because of the music aptitude, and his work explaining these Dalcroze an accomplished immigrants from Europe and
from a time that held similarities between the ideas with children in the classroom.” education from Paris and then the rise of Latin
many different approaches teaching materials in Vienna Conservatory. He was American immigrants began
to music education. beginning music and a child’s then the professor of Harmony, to diversify the populations
Kodaly saw a need for mind. Solfege and Composition at the of children in American
unification and Geneva Convention. schools. Like the society and
organization and did just culture around them,
that, in a time where teachers began to adapt, first
music education needed by becoming sensitive, then
structure. changing curriculum to
include. Although, early off
in this process, the inclusion
only referred to repertoire
and did not take into account
the musical nuances of the
performance tradition, the
meaning of the music, or the
manner in which the music
was taught and learned
within the culture. The
Society for Ethnomusicology
made a large impact on this
movement as it fueled
interest at the university
level which then trickled
down to schools.

World Music Pedagogy is a

label given to a teaching
process by Patricia Shehan-
Campbell, ethnomusicologist
and music educator at the
University of
Washington/Seattle. While
the history stems from the
1960s, Campbell developed
this approach in its current
form in the 2000s, based in
the diversification and
globalization of today's
students.
Philosophy: What are Kodaly’s method can be One of the primary beliefs is This theory draws on the correlation between The primary beliefs are ear World Music Pedagogy
boiled down into three that music education should learning language and music. “Music teachers training and solfege, seeks to provide students
the primary beliefs philosophical beliefs. 1) be an active approach. are charged with helping students realize their eurythmics (movement), and with an understanding of
behind this method? Music is essential for Integrating music and potential to learn music and become improvisation. Students’ music as a culturally

What is the goal of this human development, 2)
music education should
method for children? begin with the musical
mother tongue, and 3)
music education should
begin with singing—an
activity that is as natural
to a child as speaking.
Other philosophies that fit
within these three are:
-all people capable of
lingual literacy are also
capable of music literacy
-music education to be
most effective must begin
with the very young child
-only music of the highest
artistic value should be
used in teaching
-music should be at the
heart of the curriculum (it
improves other subjects)
movement. The goal is that
children are doing the same
things they do in their play
when learning music.
independent music learners and makers. involvement in music
Moreover, teachers adapt their instruction to throughout their lives will
the needs of individuals” “All children are probably be either as listeners
musical” The goal is that the students become or performers. The goal is that
independent (being able to make their own some will become enthusiastic
musical decisions) supporters of cultural and
ethnic music organizations =
music literacy
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differentiated human
expression, which requires
specially trained music
educators and teaching
musicians. It grew from the
interactions of music
educators with
ethnomusicologists and from
their intrigue with the sonic
features of musical
expressions so far from
home, and it is enriched by
considerations of music as
not only sound but also
behavior.

Goals:
-to develop to the fullest
extent possible the innate
musicality present in all
children
-to make the language of
music known to children;
to help them become
musically literate in the
fullest sense of the
word—able to read, write,
and create with the
vocabulary of music
-to make the children’s
musical heritage—the folk
songs of their language
and culture—known to
them
-to make available to
children the great art of
music of the world, so that
through performing,
listening, studying, and
analyzing masterworks
they will come to a love
and appreciation of music
based on knowledge about
music.
Elements/Components: As stated before the Speech is one fundamental One of the main components within this Ear training and solfege – One of the main components
Kodaly method is derived element used in this method. theory is audiation— “we translate sounds in our Directly correlates with to WMP in the classroom is
What elements are from a combination of Before a student can sing they minds and give them meaning”. This is developed movement/gestures. Inner the teacher’s ability to
multiple different must speak. This element can first by listening, which in turn we develop schemas hearing is discussed heavily in prepare themselves to teach
included in this methods. Three main be used to teach rhythm from those previous musical experiences. (1. this area. “A muscular their students the material by
methodology, and Acculturation 2. Imitation 3. Assimilation) “All
components are (1) tonic through ostinato patterns. It musical utterances are valued and encouraged, as
sensation in the back of the studying with
can also lead into the basics throat when one thinks a ethnomusicologists and

explain each one solfa (2) hand signs (3)
rhythm duration syllables.
(syllable systems, Tonic solfa – teaches
movement elements, students how to read and
write music by first
improvisation, etc)? teaching them basic
intervals through the use
of solfa in songs. Once
intervals are established,
students learn the note
names the correlate.
Hand signs – Pairing with
the solfa, hand signs
provide a physical aspect
that promotes
memorization
Rhythm Duration
Syllables- like solfa, this
provides a bridge to
understanding note values.
Not note names, merely a
way of voicing rhythms.
Again, it is taught by
identifying patterns in
songs (not isolated, none
of this is isolated)
Teaching process: This method allows for
sequencing to take place
What does the very easily. For example,
teaching process students begin learning
solfa by learning
include (What is simple/easy-to-hear
taught first, second, intervals such as sol-do
(perfect 5th), then later,
third)? more complex intervals
are introduced. For hand
signs the teacher could
eventually sequence
(progressively get more
difficult) by using both
hands to create harmonies
between students while
promoting independent
singers. Other examples of
sequencing (scaffolding)
are teach duple meter
before triple, or “there can
only be one sound on beat
before there are two”
of vocal technique. Body
percussion is another key
element and is huge in
teaching rhythm as the
students literally feel the beat.
Motion is another key
component and is used in
body percussion and learning
songs. Improvisation is
another essential element in
this methodology. This is
done by setting parameters
and then creating open-end
responses through body
percussion, instruments, and
speech.
This teaching process is very
much scaffolded as it goes
from simple to complex.
Imitate, explore, improvise,
and create. The order may
vary due to what the teacher
wants to teach that day. It
may start by learning some
sort of speech ostinato, then
adding body percussion to it,
then add bordun to that,
finally open it up for
improvisation.
they are an important part of the developmental melody.” Singing can be used
music learning process in the same way that language to help students internalize the
babble is an important part of the language learning
process.” What is key is that students are able to
aural image of a musical sound.
analyze what they hear. “Gordon calls the brain a
This is audiation.
“pattern-making system” that is always looking for Eurythmics – Simply put,
similarities and differences between what it is eurythmics is the natural
processing and what it has processed in the past.” movement of students. This is
First, aural/oral learning, then discrimination learning how they learn, express, create.
which includes verbal and symbolic association. Movement also helps create
Finally, students can make inferences on what they musical connections and
have learned (Inference Learning)
relationships through
movement. Music stimulates a
response that is instinctive and
personal. Children instinct is
usually physical. Children
move naturally
Improvisation – Improvisation
can: help the student synthesize
what has been learned from an
experience; demonstrate what
the student has learned or
understands; motivate students
to want to express musical
ideas of their own; stimulate
students’ imagination and
exercise their musical thinking;
bring about a since of
accomplishment and
satisfaction to the one who is
improvising
1. Audiation The teaching
a. Acculturation process/sequencing is not
b. Imitation specifically laid out in this
c. Assimilation method of learning, rather it is
2. Discrimination just said that it should be done
a. Verbal association while teaching this way. It does
b. Symbolic association say start easy and progressively
c. Composite synthesis get more complex.
3. Inference
a. Generalization
b. Creativity/improvisation
c. Theoretical
understanding
The teaching process is scaffolded, and the
instruction is whole-part-whole
- ZPD is used considered throughout
for instruction
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traditional artists to gain a
better understanding of the
musical process all the while
become sensitive towards it,
and learning how to present
it sensitively (and with
respect). Other components
are then taught in the
following phases:
1) learning by listening,
2) using multiple notational
systems (or none),
3) oral/aural techniques
4) improvisatory methods in
each style and
5) engaging culture bearers.
(1)Attentive Listening –
multiple directed listening
experiences focused on
structures
(2)Engaged Listening –
active participation while
listening
(3)Enactive Listening –
continued listening to
performance level
(4) Creating World Music –
invention of extensions,
improvisation, compositions
(I see this as really
submersing into the culture)
(5) Integrating World Music
– connection of music to life
(and curriculum)
The sequencing for this
method is clearly stated in
the phases that are presented.
The phases scaffold well,
starting with a pretty simple
task, then getting the student
to think deeper, etc. It also
peaks towards the end of the
phases, with phase 4
including the highest level of
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Bloom’s Taxonomy –
creating, and then ultimately
being able to make a
practical (life) connection
that will help them
remember by also providing
them personal meaning. That
carries value, and speaks
volumes.
Limitations: What, if Because of how many I really do not see any This theory could include more instrumental Classroom management could There are really no
different methods are limitations to this method of improvisation. be an issue if there is not a limitations if done correctly,
any limitations, do you incorporated within this teaching. If anything, because good rapport with students, however, teachers are often
see to this approach? approach, I do not find it correlates so much with the teacher is not clear or concerned with authenticity,
there to be any limitations concept of play, students may consistent. representation, and context
at all. get out of hand if specific while teaching.
guidelines or rules are not set,
modeled, and upheld.
Benefits: What It encompasses a wide This approach allows teachers This approach includes a built-in scaffolding This approach is very beneficial Kind of like I briefly
scope of different the opportunity to be creative approach along with sound before sight in the way it teaches students to mentioned, towards the end
benefits do you see to practices and follows a with how they want to teaching. Teachers have the opportunity to just be music lovers and literate in the previous (sequencing
this approach? good sequence for sequence their learning. adjust difficulty for individuals in the area for their future. This box); the many splendors of
presenting information. energy comes from the activity the world’s musical cultures
the students have while are increasingly evident in
learning. local communities and
through the technology that
connects people to people
across the full gamut of
global cultures. In the
practice of music education
at every level, the onus is
evident for those who teach
that they must configure
learning in equitable ways
that create an awareness of
music as a cross-cultural and
pan-human practice.
The way I see it, why
wouldn’t you use this
method of teaching as a
vessel for music education in
your classroom? Not only do
your students still have the
opportunity to learn all the
same concepts the need to
like rhythms, harmony, etc.
but they also get to learn
more about another culture.
Compare: 1) What elements do you see as similarities between the approaches? (List and describe at least 6)
- Music literacy: no matter what approach is used, the goal of developing a love/appreciation for music in each student is common throughout every
approach.
- Starting at a young age: this concept is similar common amongst all the approaches. Since children begin speaking and moving at a young age, so music
involvement can begin as well
- Language learning: this element is similar across each approach because it is at the foundation a child’s development
- Movement: this element is similar in each approach because children naturally play regardless of the approach
- Scaffolding: Each approach progresses from simple to complex
- Creating/improvisation: is a common element in each approach as it serves as one of the final steps in the teaching process.
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Contrast: What elements do you see as unique to each methods’s 1) Goals and elements, 2) Approaches to student
creativity, 3) Use of movement, 4) Instrumental training/use, 5) Music reading and writing, 6) Teaching processes and
music used in instruction?
- The Orff method emphasizes the goal of students doing the same thing they do in their play when learning music.
- The Dalcroze method uses student creativity/improvisation as a way of assessing student understanding
- WMP’s use of movement is unique in that it challenges students to move in a way that is foreign to them, yet natural at the same time because children
naturally move.
- The Orff approach focuses the most on using instruments as a vessel to imitate, explore, improvise, and create
- The Gordon approach includes discrimination of notes (music reading and writing) which takes place after audiation.
- Kodaly uses a very unique teaching process as it scaffolds student learning from easy intervals to more complex intervals, duple meter to triple meter,
etc.
Evaluate: Is there one approach that stands out to you and how you like to teach and learn, or do you think a blend of
approaches is valuable? Name the approach that you feel works best, and describe why you feel this is the case; OR how
could you combine elements of the approaches to create a method that would work for you in the classroom? Add a few
details about what your future classroom might "look" or "sound" like, giving examples of activities the students might
do. Add a closing section that describes the overall goal for your students musically (what do you hope they might leave
your elementary classroom knowing or being able to do?)

I believe that a blend of approaches is valuable because not all students learn the same way. Therefore, if you are able to
present the material to them in a new way, they may be able to understand better. There are different strengths to each
approach. For instance, I personally feel like the Dalcroze approach works best for me because of the way everything
develops out of eurythmics. It is natural for children and all humans (grown-adults as well) to instinctively respond to
music in some way, and often that way is through movement. One way I could incorporate this in my future classroom is
by having students move to the music they hear. I might ask students to move to the beat they hear, then when the music
stops have them clap the beat they were moving to. Another activity that may take place in my future classroom would be
a plastique anime. In this activity students must respond to the music in some form of movement. Students’ involvement
in music throughout their lives will probably be either as listeners or performers. The goal is that some will become
enthusiastic supporters of cultural and ethnic music organization. In other words, the goal is music literacy will be
achieved through this process.