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Rubric 0-5 points each
Kodaly Project identifies at least some elements of the
Summary history, philosophy, elements, processes,
limitations and benefits of the Kodaly approach,
but these elements may be incomplete, inaccurate,
OR contain too much information to be called a
summary—the project rambles.
Orff Project identifies at least some elements of the
Summary history, philosophy, elements, processes,
limitations and benefits of the Orff approach, but
these elements may be incomplete, inaccurate,
OR contain too much information to be called a
summary—the project rambles.
Dalcroze Project identifies at least some elements of the
Summary history, philosophy, elements, processes,
limitations and benefits of the Dalcroze approach,
but these elements may be incomplete, inaccurate,
OR contain too much information to be called a
summary—the project rambles.
Gordon Project identifies at least some elements of the
Summary history, philosophy, elements, processes,
limitations and benefits of the Gordon approach,
but these elements may be incomplete, inaccurate,
OR contain too much information to be called a
summary—the project rambles.
World Project identifies at least some elements of the
Music history, philosophy, elements, processes,
Pedagogy limitations and benefits of the WMP approach,
Summary but these elements may be incomplete, inaccurate,
OR contain too much information to be called a
summary—the project rambles.
Comparison The project accurately identifies some obvious
(similarities similarities between the methods, but does not
of the describe how they are similar to each other in a
approaches) detailed manner.
Contrast The project accurately identifies some of the
(differences unique elements of the five musical approaches,
between the but does not provide description that explains
approaches) these distinctions.
6-8 Points each
Project identifies and describes the key elements
of the history, philosophy, elements, processes,
limitations, and benefits of the Kodaly approach;
but one or two categories may be lacking in
completeness or identifies elements that are
peripheral and not critical.
Project identifies and describes the key elements
of the history, philosophy, elements, processes,
limitations, and benefits of the Orff approach;
but one or two categories may be lacking in
completeness or identifies elements that are
peripheral and not critical.
Project identifies and describes the key elements
of the history, philosophy, elements, processes,
limitations, and benefits of the Dalcroze
approach; but one or two categories may be
lacking in completeness or identifies elements
that are peripheral and not critical.
Project identifies and describes the key elements
of the history, philosophy, elements, processes,
limitations, and benefits of the Gordon
approach; but one or two categories may be
lacking in completeness or identifies elements
that are peripheral and not critical.
Project identifies and describes the key elements
of the history, philosophy, elements, processes,
limitations, and benefits of the WMP approach;
but one or two categories may be lacking in
completeness or identifies elements that are
peripheral and not critical.
The project accurately identifies most of the
similarities between the methods (3-5), or might
be lacking in detailed synthesis, descriptions, or
analysis. This could be because not enough
writing is present—it is a good start but needs to
go further to provide an analysis that synthesizes
the similarities in a cohesive manner.
The project accurately identifies unique
elements of the approaches where they occur,
but the description either fails to illuminate the
distinctions between these approaches or is
disorganized and unclear.
9-10 Points each
Project comprehensively identifies and
describes the key elements of the history,
philosophy, elements, processes, limitations,
and benefits of the Kodaly approach.
Project comprehensively identifies and
describes the key elements of the history,
philosophy, elements, processes, limitations,
and benefits of the Orff approach.
Project comprehensively identifies and
describes the key elements of the history,
philosophy, elements, processes, limitations,
and benefits of the Dalcroze approach.
Project comprehensively identifies and
describes the key elements of the history,
philosophy, elements, processes, limitations,
and benefits of the Gordon approach.
Project comprehensively identifies and
describes the key elements of the history,
philosophy, elements, processes, limitations,
and benefits of the WMP approach.
Project accurately links the five musical
methods/approaches, identifying at least 6
similarities in the areas of philosophies,
elements, teaching processes, limitations, and
benefits where they occur. The presentation
synthesizes the similarities in a way that
demonstrates thoughtful analysis of the
methods.
Project accurately identifies unique elements
of the approaches where they occur in each
methods’s 1) Goals and elements, 2)
Approaches to student creativity, 3) Use of
movement, 4) Instrumental training/use, 5)

Evaluation Project identifies the student’s preferred approach
(or a hybrid) but the rationale does not make
connections between the chosen approach and the
student’s preferred mode of teaching and lesson
planning.
Project identifies the student’s preferred
approach (or a hybrid) to teaching in the
elementary music classroom, but does not
provide a complete rationale, detailing how the
elements of the approach mesh with the
student’s preferred mode of teaching and lesson
planning.
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Music reading and writing, 6) Teaching
processes and music used in instruction? The
description provided illuminates these
differences clearly.
Project identifies the student’s preferred
approach (or a hybrid) to teaching in the
elementary music classroom and provides a
clear rationale, making a case for the use of
this approach that details the elements of the
approach and how they mesh with the
student’s preferred mode of teaching and
lesson planning.

Kodaly Orff Gordon Dalcroze WMP

History: Who, what, Zoltan Kodaly, Carl Orff, 1920’s, wanted Edwin Gordon, (1927- Named after Emile WMP was
when, where, how, 1940-1950’s, to incorporate ways for 2015) Jaques Dalcroze created from a
why? wanted to re- students to interact with Gordon believed that (1865-1950), mix of
establish the music at its simplest form everyone had musical pianist, composer, immigrants in
national music with “elemental” music, aptitude towards music, actor; devised a 20th century
culture of movement and speech. but even more so before teaching strategy America, and a
Hungary. Founded The Guntherschuled was the age of 9 years old. He through movement. need to educate a
in 1973, the a place where Orff also believed in audiation Geneva variety of
organization of instructed students in his of the music with conservatory did cultures at once.
American Kodaly new approach to music comprehension of the not support the Public schools
Educators made education in the 1920’s, music rather than imitation innovative began to look for
sure all the and even demonstrated of the music. teaching. His ways to educate
teachers knew with many students at the 1) conservatory did these diverse
what they were Olympic games in Berlin, not last long due to cultures. With
doing. 1936. WW1 which made the inclusion of
him flee from the schools in the
Germany back to 1950-60’s, there
Geneva in 1915. became a
motivation to
explore and
feature different
styles of music
called the
Society of
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Ethnomusicolog
y in 1953 that
was dedicated to
exploring music
of the world.
Musicologists
blend the
pedagogical
studies of music
with the
culturally
responsive needs
of any given
culture.
Philosophy: What are 1) All people 1) Exploration: Gordon created a theory of His students WMP is
the primary beliefs capable of discovery of the musical learning that had demonstrated primarily on
behind this method? lingual possibilities 4 categories: proficiency in ear educating
What is the goal of literacy are available in both 1) Audiation training and students on the
this method for also sound and “hearing” the music solfege, broad spectrum
children? capable of movement. without audibly producing improvisation, of music in our
musical 2) Imitation: the pitches. and Eurhythmics world. This is
literacy. developing basic 2) Whole-Part-Whole Improvisation – done respectfully
2) Singing is skills in rhythmic Teaching a lesson in give students the and pays tribute
the best speech, body chunks where the whole is ability to move to their culture.
foundation percussion, and introduced, then broken freely through a
for in rhythmic and down into a part, and given space.
musiciansh free movement finished with a whole Eurythmics are the
ip. through a space again. connections
3) Music in singing and 3) Skill learning between the
education playing sequence musical rhythm
to be most percussion and Discrimination learning and natural body
effective Orff instruments. - Aural rhythm.
must begin 3) Improvisation: - Verbal Ear
with the extending the - Symbolic notation Training/Solfege –
very young skill with the - Reading/writing trains the inner ear
child. components notation of students to
4) The Folk where standards Inference learning differentiate
songs of a can make their - Creativity between different
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child’s own - Improvisation pitches.
own combinations and - Reading/writing
linguistic contribute to the - Theory of music
heritage group.
constitutes 4) Creation: 4) Tonalities:
a ‘mother combining - Movable tonal
tongue,’ any/all materials center
and should from the past
therefore steps into small
be the forms such as
vehicle for rondos, theme
all early and variations, or
instruction. anything to get
5) Only music them creating
of the something from
highest what they have
artistic just learned.
value, both
folk and
composed,
should be
used in
teaching.
6) Music
should be
at the heart
of the
curriculum,
a core
subject,
used as a
basis for
education.
Child approach:
must use the
child’s capability
with teaching
material but can
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push them to grow
slightly.
Elements/ Rhythm syllables: Instruments, Speech, Understanding of music Improvisation – Students need to
Components: Ta-ka, Ta-ka-di- dancing, singing and theory, audiation of music,physical know beyond the
What elements are mi, etc; applying improvising. steps to learn skill are manifestation of “how” and
included in this syllables to given through WPW, and self-expression, “why,” they
methodology, and rhythmic patterns neutral syllables help individuality, and need to ask the
explain each one Solfege syllables learning rhythmic notation creativity. overall meaning
(syllable systems, La and Do based as well as embouchure Eurythmics – puts of the music,
movement elements, minor solfege formation of early music (sonic and with cultural
improvisation, etc)? articulations. rhythmic) into contexts, and
external stimuli; how does this
hence dealing with music fit into
kinesthetic education.
movements
enhancing musical
instruction.
Teaching process: Dupal before Totality, Activity, Whole, Part, Whole! Exercises: Active listening
What does the triple, minor thirds Creativity, Motor Audiation – teaching Following – focused
teaching process and major Activity, Theory, mnemonics for the music, attention on
include (What is seconds, before Community, and Child remembering syllables and expressing tempo musical
taught first, second, minor seconds, Centeredness. tonal centers. and tone quality, elements.
third)? Child development - Simple to syncopation, Engaged
is universal complex. “Realization” of listening – active
Frequency of - Whole-part-whole: give rhythms, participation in
occurrence in the the whole song, then independence of the listening of
musical material. break it down into parts, control music.
then put it all together (polyrhythm). Enactive
with the pitch and song. listening – the
performance of
music and
listening
intently.
Creating world
music –
invention of
music from a
new learned

Limitations: What, if There could be Students might not feel
any limitations, do problems for faster safe to improvise in this
you see to this passages where the class setting right now. It
approach? tongue can’t say might take years for
the words that fast. them to be fully
comfortable to move
around and dance. Some
students might learn
music differently than
movement which is fine,
it just might not work for
them to use this system.
Benefits: What Musical literacy, Actively engaging with
benefits do you see to active music the music allows
this approach? making, spiral students to learn the
learning, music more efficiently,
structured lessons. recalling the music is
also improved, and it can
invite creativity and self-
expression to emerge.
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style.
Integrating
world music –
examine music
and its cultural
connections
Hard to transfer If any student(s) Making labels
dispositions from other have physical for groups of
disciplines of musical limitations it could people or calling
learning. Various learning be harder for them “world”
styles that can conflict participation musics can be
with this approach to through movement. egocentric and
music instruction. This requires offensive. Some
students to be disrespect can be
independent with perceived.
improvisation; I
can’t teach how to
improvise, it comes
from within.
Large room for The possibilities I also think it has
improvisation and for individual some great
creativity for younger and creation are rewards to share
older students. endless! Allowing and celebrate
students to move other culture’s
how they want to music in a
through the music respectful way.
is all about
improvising and
self-expression.
This is a physical
manifestation of
the music that can
be evaluated too.
Not only are
students interacting
with the music,
they are learning
the music and
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using their whole
body to experience
the music.
Compare: 1) What elements do you see as similarities between the approaches? (List and describe at least 6)
Dalcroze and Suzuki use ear training to focus on hearing the music

I see several similarities between these disciplines in music. I can see that Gordon teaches about music theory, audiation,
and aptitude which are all things that Suzuki uses. I can see that Orff also has connections with Gordon in relation to
audiation when teaching by rote, singing and exploring in music.

I also observed a few connections between Kodaly, Orff and Gordon. Kodaly also uses musical literacy, with structure and
sequencing. Kodaly also uses Orff strategies by teaching whole/part/whole, using instruments for learning and
improvisation.

Dalcroze has a unique method for instruction that can encompass all of these styles in music education, but even more so
with Suzuki and World Music Pedagogy. Dalcroze is all about movement and using your body as the instrument to
connect the mind to the body to deepen the understanding of the music. Dalcroze is similar to Suzuki from how much of
the pedagogy is just surrounding the students at all times. Students are given music like it is a language where they are
immersed through the instruction, the listening, and even the creation of music.

Orff has a traditional feel to the instruction where students learn music by rote, improvise music, explore through the
spaces in a variety of mediums. Orff is similar to Gordon in regards to the theory behind the learning, the audiation, and
the sequence of instruction. Kodaly is also similar to Orff such that the form of Kodaly is mapped out and uses specific
resources that enhance the lesson like instruments, improvisation, rhythmic elements, etc.

Suzuki is primarily used with strings or more traditional instruments like the Piano or Organ. Suzuki to me feels closer to
Dalcroze, but has strong ties with Orff, Kodaly, and Gordon. Dalcroze uses their body as the instrument and this transfers
over to Suzuki well in regards to audiation of the music, ear training skills, and complete involvement with the music
making process. Orff, Kodaly, and Gordon all have great connections with Suzuki as well. For example, Orff teaches by
rote just like how Suzuki teaches by ear training. Gordon uses aptitude and audiation for its learning which is exactly what
Suzuki utilizes.

World Music Pedagogy (WMP) was created to broaden the horizons of students and people to other forms of music made
around the world. WMP uses folk dances that use Dalcroze methods for instruction. WMP also uses teaching chants by
rote which incorporates Orff. WMP also uses instruments from around the world which encapsulates the Kodaly approach
to not only folk songs, but rhythmic elements to the music.

Contrast: What elements do you see as unique to each methods’s 1) Goals and elements, 2) Approaches to student
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creativity, 3) Use of movement, 4) Instrumental training/use, 5) Music reading and writing, 6) Teaching processes and
music used in instruction?

1. Goals and elements: I think that Gordon’s goals and elements are about learning the reasons behind the music,
specifically with the music theory and the audiation. Kodaly is also about musical literacy, but mainly uses
structure and sequence, with some improvisation as a goal. Dalcroze uses their body as the instrument to better
understand the music. Orff is about musical exploration through singing, improvising, games, teaching by wrote.
Suzuki is about total immure of the students with the content so they will become fluent in it like a language.
WMP is about broadening students musical experience to those that are non-European or western.
2. Approaches to student creativity: Gordon centers around the musical aptitude of children when they are most
creative. Kodaly allows for improvisation to occur which is the most creative learning can be. Dalcroze and Orff
have similar objectives with dancing and internalizing the music, but that’s where the similarities end. Orff has
many opportunities that make it distinct with improvising as well as using instruments. Suzuki is distinct in the
way of total immersion of music to the point where it is almost taught like a language. WMP deals with different
cultures exclusively. Kodaly deals with musical literacy and structured learning of music.
3. Use of movement: Gordon uses little movement from what I can find. Kodaly uses folk songs and even rhythmic
components that incorporate movement. Dalcroze is all about movement, this is what really sets Dalcroze apart
from every other discipline in teaching music. Orff utilizes a variety of movements such as dancing, playing games
and exploring. Suzuki can incorporate movement, but usually sticks with playing games that use movement. WMP
has a higher probability of using folksongs that are centered around movement when compared to the other
strategies of teaching music.

4. Instrumental training/use: Gordon doesn’t really use a whole lot of instrumental use. The only thing I can think of
that would use this would be in teaching theory or audiation in an ensemble setting. Kodaly doesn’t really use
instruments as much either. I would say the use of improvising would be a main category for this strategy of
teaching. Dalcroze could use instruments, even body percussion for instrument training. Orff would be a fantastic
approach for using instruments. Orff could teach by wrote, improvise, imitate, create; the possibilities are endless.
Suzuki is also a strong approach for teaching instruments, especially strings. WMP has a variety of approaches for
using instruments, especially because the range of instrumental use is so vast.

5. Music reading and writing: Gordon is prominent on music literacy in that practice. Gordon would be a strong
resource for teaching how to read and write music. Kodaly would use a little bit of notation with folksongs, but not
anything like Gordon’s approach. Dalcroze wouldn’t have written notation unless it was focusing on body
percussion, but even then the notation would be limited and nothing like reading notes and rhythms. Orff uses
teaching by wrote so there could be some reading and writing, but not as advanced as Gordon or the other previous
ones. Suzuki would be closer to Gordon in reference to musical literacy and reading/writing music. At first, music
would be taught aurally and then transferred to notation over time. WMP deals with a variety of cultures and each
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culture has their own approach to notation. It isn’t impossible to read/write music, there would be specific cases
for the types of notations.

6. Teaching process and music used in instruction: Gordon uses audiation when teaching music so it forces students
to hear the music before they play it. Gordon also uses sequential learning so that the music is presented in smaller
steps. Kodaly is all about structure and sequence, with movable Do and folk songs too. Dalcroze incorporates mind
and body connections that allow for creativity to deepen the understanding of the music. Orff is primarily done
with teaching by wrote where students can explore and improvise on melodic material and instruments as well.
Suzuki submerges students into learning music like a language. Suzuki forces them to read the music, write the
music, anything that deals with music fundamentals needs to be covered essentially. WMP deals with listening to
the music, evaluating, and in some cases creating music from a given culture.

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?

I think that I personally resonate with the Dalcroze the most, but I also have Gordon, Orff, Kodaly, and
Suzuki styles of teaching. I think I attribute all of these to all of the styles I was taught up until now. If I had to pick
one I definitely think that Dalcroze is my favorite to use. I also have ADHD so anything that keeps students (myself
included) engaged with the music constantly is always my goal. I think that Dalcroze is a great approach for having
students to physically interact with the music in a way that connects their brains with their bodies and with the
music too. This is also a great way for students to improvise and explore through the music.
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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 think I would definitely use movement with my musical instruction, even if that’s band. I would probably
have my students use body percussion for complicated sections in their music or use solfege if they are having a
hard time with finding partials. If I end up teaching secondary, I will probably not have my students walk around
playing quick reactions, but I would definitely use clapping, stomping, snapping, chanting, any tool that helps
enrich the musical instruction. My overall goal (elementary and secondary) is for my students to know that “we
are the instrument; we live what we hear.”