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i
Choral Artistry
ii
Choral Artistry
A Kodály Perspective for
Middle School to College-Level Choirs
Volume 1
DOI: 10.1093/oso/9780197550489.001.0001
1 3 5 7 9 8 6 4 2
vii
Contents
Acknowledgments • ix
Introduction • xi
2 Getting Started: Launching the Academic Year for Beginning, Intermediate, and
Advanced Choirs • 19
3 Laying the Foundation of Choral Singing Through Folk Songs and Folk Song
Arrangements • 64
4 Sequencing Part-Work Skills in the Choral Rehearsal for Beginner (Level 1),
Intermediate (Level 2), and Advanced (Level 3) Choirs • 82
5 Sound Ways to Develop Music Theory Skills Through Audiation in the Choral
Rehearsal • 117
Notes • 397
Bibliography • 405
Index • 421
viii
ix
ix
Acknowledgments
We owe a debt of gratitude to the many individuals who inspired, encouraged, and helped
us along the way. We were fortunate enough to study at the Franz Liszt Academy/Kodály
Pedagogical Institute in Hungary with world-renowned Kodály experts, many of whom
were the composer’s pupils and colleagues, who shared their knowledge with us over the
course of many years. Among them were Erzsébet Hegyi, Ildikó Herboly-Kocsár, Katalin
Komlós, Lilla Gábor, Katalin Forrai, Mihály Ittzés, Klára Kokas, Klára Nemes, Eva Vendrai,
Helga Szabó, Laszlo Eősze, Peter Erdei, and Katalin Kiss. Our research is grounded in
their many valuable insights and research.
Many of our students in Kodály certification programs have helped us shape the ap-
proach to instruction and learning presented herein. Our three decades of working to-
gether have contributed to the information we present and serve as a continuing source
of inspiration in working with the pedagogical processes we have shaped. Special thanks
are due to our students in graduate Kodály choral programs for critically reading portions
of the manuscript, field-testing choral plans, and making insightful suggestions regarding
this approach to choral pedagogy.
Special acknowledgment must be made to Patty Moreno, director of the Kodály
Certification Program, San Marcos, Texas and director of Fine Arts for the Hays
Consolidated School District for her support and continued encouragement of this pro-
ject. Esther Hargittai, Guildhall School of Music and Drama and faculty at the Ferenc
Liszt Academy of Music in Budapest, Hungary, for her careful reading of the initial man-
uscript and her helpful suggestions regarding both form and pedagogy. We also thank
Melinda Stanton and Jamie Barnett for their comments, which helped us bring this book
to completion.
Richard Schellhas deserves special thanks for his patience, understanding, and words
of encouragement and advice throughout this manuscript’s writing.
We wish to thank Norm Hirschy, Executive Editor, Sean Decker, Editorial Assistant,
Suzanne Ryan, former editor-in-chief for humanities and executive editor of music at
Oxford University Press, for their encouragement and critical guidance. We thank Cheryl
Merritt, project manager who oversaw editing and production. Thanks to our editor, Jane
Zanichkowsky for her impeccable scrutiny and thoughtful editorial assistance with our
manuscript.
x
xi
xi
Introduction
Choral Artistry. Micheál Houlahan and Philip Tacka, Oxford University Press. © Oxford University Press 2023.
DOI: 10.1093/ oso/ 9780197550489.001.0001
xii
Introduction
Sonority: Teaching Music Reading in the Choral Classroom provides guidance on teaching
xii warm-ups and sight-reading skills derived from choral literature according to the Kodály
philosophy. The suggested sight-reading sequence emphasizes a traditional Kodály orien-
tation to learning rhythm and diatonic major solfège syllables.10
Focus discussions and surveys conducted with choral directors reveal their concerns
regarding the lack of specificity in choral pedagogy books relating to teaching repertoire
alongside music theory, part-work, and sight-reading skills. Many choral directors strive
to develop a more holistic approach to teaching choral music, moving beyond activities
and toward developmental skill building. They are looking for more guidance on how to
• use the Kodály perspective to create a choral music curriculum,
• teach choral repertoire from all style periods, including global folk music and
contemporary and commercial music using a more holistic approach to teaching,
• select repertoire for choirs that can support students’ knowledge of music theory,
sight-reading, and part-work skills,
• create vertical alignment between elementary, middle school, high school, and
college-level choral programs,
• build student’s audiation skills to improve choral singing and sight-reading skills,
• teach music theory using rhythm syllables, counting with numbers, and singing
with solfège syllables, letter names, and scale degree numbers without confusing
students,
• incorporate sight-reading into the choral rehearsal so that students can learn and
perform more repertoire, and
• develop a choral rehearsal plan that, in addition to teaching repertoire, allows for
the sequential development of music theory, sight-reading, and improvisation skills.
We address the above topics from a Kodály perspective in this publication. The philosophy and
teaching processes align with the content in Kodály Today, From Sound to Symbol: Fundamentals
of Music, and national standards in music that promote twenty-first-century music learning.11
There are excellent choral pedagogy books that offer in-depth insights into traditional choral
pedagogy. We do not address these topics in this book except to help clarify some aspects of
the Kodály approach to the choral singing. (In Chapter 2 we include information about re-
cruitment, auditioning, and classroom management). Our book is a detailed guide to helping
choral directors at all levels improve the choral singing and the musicianship of their students
according to the Kodály philosophy. We delineate teaching procedures and demonstrate their
specific application within the choral rehearsal in considerable detail. Choral directors should
use these ideas as a point of departure for their creativity and apply these suggestions in a way
that is responsive to their students’ needs, backgrounds, and interests. We expect that choral
directors will combine these ideas with their local, state, regional, and national benchmarks
for teaching.
Chapter Summaries
Chapter 1: Framing a Choral Curriculum Based on
the Kodály Philosophy
This chapter provides an overview of the Kodály approach as it applies to the choral
rehearsal. It defines musicianship using the concept of “multiple dimensions of musi-
cianship” defined in Kodály Today and the Kodály in the Classroom series. The multiple
xiii
Introduction
dimensions of musicianship, in combination with the Kodály concept, provide the foun-
dation for developing a music curriculum for choirs. We provide several model choral xiii
curriculum templates and choral rehearsal plans.
Keywords: performance goals, sight-reading goals, audiation, inner hearing, choral
curriculum, multidimensional musicianship
Introduction
Introduction
Introduction
Sound Analysis (PTSA) and Performance Through Sound Analysis and Notation (PTSAN)
xvi models of learning, taught during the section of rehearsal devoted to learning choral
repertoire; and practice activities, taught during the part of the rehearsal for practicing
octavo repertoire. The chapter concludes with a guide to long-and short-term planning.
Keywords: choral strategies, rehearsal plans
Outstanding Features
Research-Based and Field-Tested
We are fortunate to work with choral directors who have field-tested the materials and
teaching sequences in this book. We have combined these ideas with current research
findings in music perception and cognition to develop a model for music instruction and
learning that will promote students’ musical understandings and metacognition skills.
We have worked to present a clear picture of how one develops a choral music curric-
ulum based on the philosophy of Kodály, as well as the teaching and learning processes
required to execute this curriculum.
Introduction
to the repertoire; choral conductors often view these as innate talents. Our text provides
a systematic approach to the development of both skills. (See Chapter 4.) xvii
Introduction
skills for standard choral repertoire. This publication provides the music and follows the
xviii process outlined in Chapters 6-8 of Volume one for teaching music theory concepts
Organic Pedagogy
This guide provides choral directors with a curriculum and rehearsal models that place
performance, audiation, part-work, music theory, and sight-singing skills at the heart of
the choral experience. Our “sound thinking” approach to teaching results in greater effi-
ciency in creating independent choral singers and performing a more varied repertoire.
Vertical Alignment
The pedagogy used in this book offers a compelling example of how to achieve ver-
tical alignment between the elementary, middle school, high school, and college choral
programs. The approach we delineate develops routines and procedures common to
choral rehearsals regardless of level and teaching philosophy.
Writing Style
The writing style is accessible; it is clear and descriptive. We provide many examples and
activities that translate theoretical learning and an instruction model into a practical
handbook for teaching choral music.
Introduction
Chapters 2 and 3 demonstrate how folk songs can be used for teaching part-work skills
and basic “sound” music theory skills during the first few weeks of choral rehearsals. xix
Author Background
Micheál Houlahan is a professor of music theory and aural skills and chair of the Tell
School of Music, Millersville University of Pennsylvania, and is a visiting professor of
music at the China Conservatory of Music, Beijing. He was awarded an Irish Arts Council
Scholarship for graduate studies in Hungary and a Fulbright Scholarship for doctoral
studies at the Catholic University of America. His research has been supported by an
international research exchange grant awarded by the National Endowment for the
Humanities. He holds a PhD in music theory with a minor in Kodály studies from the
Catholic University of America, a Kodály Diploma from the Kodály Pedagogical Institute
of the Liszt Academy of Music in Hungary and from the Kodály Center of America, and
fellowships in piano performance from Trinity College and London College of Music,
London. He has lectured extensively on music theory, music perception and cognition
and Kodály studies in China, Ireland, Italy, Denmark, Finland, Hungary, Estonia, The
Netherlands, and England. He currently serves as a visiting evaluator and team leader
as well as a member of the Commission on Accreditation for the National Association of
Schools of Music.
Philip Tacka received his doctorate from the Catholic University of America and
completed postdoctoral work at the Kodály Pedagogical Institute of the Liszt Academy in
Hungary. He is a professor of music in The Tell School of Music at Millersville University
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