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IKS Symposium and Music Festival 2017 Paper, Poster and Workshop Schedule (Revised June 10, 2017)

Wednesday, August 9, 2017

Session 1: 9:30 – 10:30

PAPERS Andrea Asztalos (HUNGARY): Children's Singing Voice Production Problems at Primary Schools in Hungary Every child has the ability to sing! Singing is an essential part of childhood and of growing up. The purpose of this presentation is to present the different problems of children’s singing voice production and to demonstrate how we can correct singing voice problems and how we can develop children’s singing voice quality in primary school. In the research process attended 260 primary school music teachers. Research methods were observations, semi-structured interviews and questionnaires. Data were analyzed using qualitative analysis. Results: There are five different kinds of children’s singing voice building problems: 1. isolated chest-voice in singing; 2. “pressed” singing voice; 3. “too airy”, “veiled voice”; 4. “skinny” voice; 5. poor pitch singing. During the presentation will be described the reasons, characteristics of different kinds of vocal production problems and will be demonstrated several vocal exercises for all singing voice production problems.

followed by

Beth Mattingly (USA): Katalin Forrai and the Development of the Kodály Concept in Early Childhood Music Education Hungary developed one of the most effective music education systems known as the Kodály Concept, an approach that has been recognized internationally since the 1960’s. Many people know of Zoltán Kodály (1882-1967), the man who instigated these pedagogical ideas, but few know of Katalin Forrai (1926-2004), a student of his who became an international figure, sharing the Kodály Concept around the world. Forrai is one of the most recognized early childhood music educators who devoted her entire professional life to music education. She was able to effectively establish the field of early childhood music education in Hungary and throughout the world. She was a preschool music teacher her entire career and she worked for the Hungarian National Pedagogical Institute, where she developed the national curriculum for the music education of children between the ages of three and six. WORKSHOPS Sherryl Sewepagaham (CANADA): First Nations Drum Songs for Children Join Sherryl Sewepagaham, in an interactive workshop of First Nations drum songs. Sherryl will share originally composed drum songs and social songs gifted to her from various First Nations singers in Canada. Songs will be taught in the oral tradition using traditional hide drums, rattles, and sticks. All songs vary in complexity, chant syllables, and languages. Cultural protocol and song histories will also be shared. Please bring a recording device to capture the songs sung in their original style.

=CircleofSinging

=CircleofTeaching&Learning

ThemesLegend:

=CircleofMusiking

=Kodály’sExpandingCircle

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David Vinden (UK): The importance of 2-part hearing development (A very practical workshop) This very practical workshop will examine ways of developing 2 part musicianship skills in the light of Kodály’s pedagogy and is relevant to students and teachers of all ages. 1. Rhythm…. The use of flash cards should be used in such a way that 2-part hearing is taking place and fully developed. 2. Melodic 2-part hearing…. Nick-named “Follow the Lieder” a teacher sings a canonic melody for students to follow. We will examine the many wonderful skills that can be developed including the memory, 2 part hearing, dictation, sing & play skills, and modal transformation. 3. Harmonic Hearing…. It should almost go without saying that the ability to hear harmony should be done through singing and in this case playing as well. The simple children’s songs we teach in the first grades make fabulous teaching material for laying the fundamental steps of understanding harmony. Deborah Wilson (AUSTRALIA): Circle Time in Early Childhood - An Opportunity to Build Necessary Skills for Success at School In the past, generations of children have learnt rhymes and songs at the knee of parents and grandparents and singing games out in the playground or playing with friends in the street. Children now live in a busier, less safe, more digital world and some of these childhood traditions have diminished. The valuable interaction between adult and child, through song and rhyme, was and still is, a solid foundation upon which to build the skills necessary for success at school. Using rhymes, songs, singing games and stories in circle time, teachers can improve and develop the skills that are decreasing in students as they approach school age. Circle time provides us with an opportunity to teach social and emotional skills through sharing, partner work, turn-taking; fine motor skills through finger rhymes and songs; gross motor skills through circle games and movement activities and pre-reading and writing skills through the introduction of rhythmic patterns, syllables and notation.

Poster Session: 10:50 – 12:00

POSTERS Chantal Bigot-Testaz (FRANCE): La Schola cantorum de Paris et son influence dans le monde musical au début du 20ème siècle Le nom de cette prestigieuse école reprend celui des ensembles de chantres destinés aux églises qui fleurissaient au Moyen-Age en Europe. Il évoque la priorité absolue donnée à la voix. A regarder : quatre posters pour vous en raconter l'histoire depuis sa fondation, en 1896, jusqu'aux années trente. A découvrir : de grands compositeurs et pédagogues, souvent méconnus, très impliqués dans l'organisation et le développement de cette Schola, vouée d'abord à la musique religieuse mais devenue, dès 1900 une école supérieure de musique, la seule en France à l'époque, qui accueillait des étudiants étrangers. De Henri Duparc à Albert Roussel, en passant par Isaac Albeniz, Erik Satie et bien d'autres, vous ferez connaissance avec quelques-uns des musiciens, héritiers de César Franck qui, autour de Vincent d'Indy, on fait le succès de la Schola. The Schola cantorum of Paris and its influence on the world of music at the beginning of the 20th Century The name of this prestigious school evokes that of the groups of singers in

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churches which flourished in Europe in the Middle Ages. It also evokes the absolute priority given to the voice. To look at: four posters for you which tell the story from the founding of the Schola in 1896 up to the nineteen thirties. To discover: great composers and teachers, often little known, highly involved in the organisation and the development of this Schola, devoted first to religious music, but who became, from 1900, the only music school in France at the time which welcomed foreign students. From Henri Duparc to Albert Roussel, passing by Isaac Albeniz, Erik Satie and many others, you will get to know some of these musicians, the heirs of César Franck who, assembled round Vincent d'Indy, brought success to the Schola. Marilyn Brouette (USA): Expanding the Circle: Healthy Kids and the Power of Professional Partnerships in the Kodály Music Classroom In this study, 200 children in a parochial setting were studied over a ten-year period to discover whether or not partnerships with professional arts organizations impacted the emotional and physical well- being of students. These children received vocal music instruction, music theory and music history in a bi-weekly thirty minute allotment of time from a music specialist. Partnerships with the San Francisco Opera, Lamplighters and other professional arts organizations supplemented the curriculum and professional vocal artists came to the school site to perform an opera and Gilbert and Sullivan operetta each semester. Students were fully involved in all aspects of the productions and visual arts experiences were incorporated as a means of assessment. Cheng-Lin Hsueh (TAIWAN): A Study on the French Horn Pedagogy of a listening-oriented method Since French horn is a transposing instrument, in the history of teaching and learning horn, listening has been a significant part. In terms of horn pedagogy, “fixed-do solfège” is used in most schools in Taiwan, while in many prestigious pedagogies “movable-do solfège” is used. As a horn teacher, the author is interested by this discrepancy on teaching horn. This study aims to explore the application of a listening-oriented method on the pedagogy of French horn. This thesis takes an interview method. With interview outline created by herself, the author interviews 12 horn teachers. It attempts to understand, from the viewpoint of horn teachers, the present situation and teaching strategy of a listening-oriented method. The research tools in use of the interview method include interview outline, transcript, transcript correction form, and transcript analysis form. The interview outline is created with an integrated knowledge of research purpose, research questions, literature review, and teaching experiences. The interview outline is reviewed and evaluated by professionals and voluntary interviewees. Its validity is thus guaranteed by the professional opinion. After finishing the interview, all the conversation is first transcribed into a document, and then double-checked by the interviewees to make sure the transcript is faithful to the responses by the interviewees. The author finally analyzes the transcript, extracts the key points, and summarize them into a result and conclusion.

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Pyng-Na Lee (TAIWAN): Participation Structures and Indigenous Children's Learning in Music Classes This study attempts to understand how the teachers employed various participation structures to facilitate indigenous children’s learning in music classes. It took two years to observe two fields of indigenous children’s music classes. A non-indigenous teacher taught one classroom, and an indigenous teacher taught the other. This study found that different participation structures may affect student’s learning attitude and singing. The arrangement of seats in rows that interferes students’ eye contact and interactive opportunity. After removing desks and re-arranging the seats as semi-circle, students were more willing to sing and perform in the front because thus seat arrangement creates supportive atmosphere. Furthermore, students were aware of their peers’ need and provide instantaneous help to facilitate peer interaction. On the other hand, various seat arrangements may also affect children’s singing quality. This study suggests that teachers design appropriate participation structures may enhance students’ learning. Kathleen Plastow (AUSTRALIA): Kodály Methodology and Data Analysis: Differentiation and equity in classroom music education This presentation examines the interim findings of an ongoing, four-year, classroom music project in an Australian Independent, ELC – 12 parallel education setting in Melbourne. Consisting of three discrete yet inextricably linked components of teaching and learning (pedagogical practice, formative assessment and curriculum design for differentiation) in the music area, this research looks at the inclusion of data analysis within the Kodaly methodology to ensure differentiation and equity in the classroom. Although this research is tracking student learning over a four-year cycle (years 5 – 8), the focus is on year 7, where the intake of new students doubles the year-level population creating extremes for the capacity for differentiation. It explores formative assessment for diagnostic purposes to ensure that all student needs are met and addresses the inequities that socio-economic considerations bring to music education. Lynn Rechel (USA): The Class within a Class: The Musical Child for Undergraduate Music Education Majors In the Fall of 2014, Shenandoah University in Winchester, VA (USA) introduced new courses as part of the curriculum revisions in the Undergraduate Music Education program. One of the new courses is The Musical Child, which is a lecture/lab course. The course extends the skills and concepts addressed in the elementary methods course. As part of the course, the undergraduate students teach elementary aged home-schooled children from the community during the lab classroom portion of the course. This course benefits both the undergraduate students, as they receive teaching experience before student teaching, and home-schooling families in our community, as the elementary aged children get the opportunity to participate in general music classes. This poster will present the evolution of the course, the current format of the course, examples from the course, and the challenges of maintaining the lab classrooms.

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Mike Ruybalid (USA): Will they stay or will they go? An examination of potential predictors of student intentions to continue participating in school music classes. An understanding of what factors would influence student decisions to continue (or discontinue) school music participation is an important topic to consider as music educators. An increased understanding of this topic could help lead to increased enrollment in our elective music classes. This study examined potential predictors of student intentions to continue in school music when entering the secondary grades, where music commonly becomes an elective choice. The participants (N = 278) were general music students from six elementary schools located in a state in the southern United States. All participants were in their final year of elementary school. Results revealed that student attitudes, subjective norm (i.e. student perceptions of the opinions of important others regarding school music participation) and parental attitudes towards music study were significant predictors of student intentions towards school music enrollment. Dennis Wang (MACAU): The Feasibility of Using Selected Asian Folk Songs to Enhance Students’ Awareness of Pitch In the study, the researcher analyzed series collections of folk songs from Asian countries, such as Korea, Japan, and China. The author applied these folk songs with Kodaly music method as a recommended teaching material in the general music classroom. The result of this study advices music educators a new direction and perspective on music teaching. The study findings are: 1) Music class with Kodaly music approach make the class more inspired and motivated. 2) According to the intervals and structures of music, some of the Asian folk songs can be suitable teaching tools to enhance children’s awareness of musical pitch. 3) Teaching traditional folk songs in general music classes a good way to promote cultural heritage to children around the world. 4) Including more music activities and body movements in music class can make general music classes become more interesting and efficient.

Session 2: 13:45 – 14:45

PAPERS Christina Svec (USA): A Meta-Analysis Regarding the Singing Voice Development in Childhood Ages 5-11 Research regarding the effects of instruction on the development of singing abilities in childhood has yielded conflicting results. The meta-analytic process may provide a systematic and empirical synthesis that utilizes primary data in order to illustrate the extensive body of information. The current meta-analysis will include cross-sectional research studies that have been excluded from previously published meta-analyses on the topic. Results will have implications for singing voice development with and without regard to instructional effects. Conclusions will address implications for teaching, research pedagogy, and research practice within the field of music education.

followed by Renáta Darázs (Hungary): 19th Century Vocal Methods and Their Use Nowadays In my paper I introduce and analyse vocal methods written by members of the Garcia family and some others (for example Mathilde Marchesi and

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Giuseppe Concone). They are fine examples of a highly accomplished empirical knowledge. In my analysis I give a physiological description and explanation of their methods. Their exercises (messa di voce, scales and scale fragments, portamento exercises, arpeggi) arose from the ones designed by Porpora almost two centuries before, but theirs are more elaborate and put in a systematic order. These vocal methods also contain many vocalises. The genre of vocalise and solfeggio was common in the 19th century and had a revival in the first half of the 20th century, especially in France. The works written by Kodály in this genre can be related to this process. WORKSHOPS Cathy Benedict (CANADA): Honouring Awe and Wonder: Facilitating the Space of Song In the case of singing, and the introduction of song, particularly in school spaces that are filled with noise, confusion and disturbance, the words we use or don’t use to begin a song, the silence we leave after a song, the stillness of presentation (listening and contemplating), constitute, and thus initiate, the possibility of awe and wonder. Certainly, children might very well leave primary programs matching pitches, and reading and writing music at varying levels. Yet, that which we hold most dear, children and song, are too often deprived of the new beginnings a pedagogy that honours the wondrous could bring. In this workshop participants will engage in a primary music lesson that demonstrate deliberate pedagogical encounters that facilitate both the aesthetic and critical encounter within a Kodály framework. Denise Gagne (CANADA): Listening lessons that will engage your students In this session, Denise will teach several listening lessons that use active and silent listening strategies. Denise will share a variety of teaching strategies including listening maps, pointing pages, listening logs, response journals, and movement with and without props such as scarves, plates, tennis balls, balloons and ribbons. All activities in this session are very engaging for the participant and for 21st century students. Heidi Saario (USA): Colour Keys PIANO ABC - An Innovative Method for Young Beginner Piano Students Colour Keys PIANO ABC created by Arja Suorsa-Rannanmäki offers an alternative method for teaching young beginners. This method was developed using the principles of Kodály pedagogy and adapts ideas from internationally recognized Colourstrings approach. Participants will take part in an interactive workshop providing an introduction to Colour Keys. When using the Colour Keys method, different musical concepts are introduced in the simplest manner possible. New ideas are offered and studied gradually. The octave ranges of the keyboard are illustrated with individual colours and different characters from Musicland serve as symbols for each octave. The coloured staff is constructed gradually from a single-line staff into a five-line staff. The rhythm and solfa names as well as the hand signs help a student absorb new musical notation material. Regular transposition will make moving around on the keyboard as well as playing in different keys feel natural. Learning is designed to progress from concrete to abstract.

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Session 3: 15:00 – 16:00

PAPERS Reka Csernyik (AUSTRALIA): The Circle of Cultures: Tradition - Conversation - Transformation: Implementation of a Kodály program in a secondary school for musically gifted students The Conservatorium High School is a musically selective secondary school in Sydney, Australia with a hundred years long tradition. This paper investigates the ongoing process of implementing a new philosophy, namely the Kodály principals into the existing music program. How does a school’s music program change by the introduction of sequential classroom pedagogy? How does continuous conversation with staff and parents contribute to the program’s accomplishments? How do the students receive the change and what do they think about it? In this presentation, a Hungarian music pedagogue who has taught in Australia for over a decade describes the road of the past few years leading to a successful implementation of the approach in a secondary school. The desired outcome is that introducing the Kodály approach in the whole school not only revitalises teaching and learning by providing a strong framework but also enhances students’ performance in many areas. followed by Dominika Lenska (POLAND): The Role of Parents in Introducing the Child into the World of Music This article raises important issues of parent’s participation in informal child music education. First of all, it states home as a major place of this education and form of parents activity in making music. Going through music psychologists' research we should point out the essence of early contact with music, especially the singing of people who are in emotional contact with a child. Singing evokes the old tradition of family music making, learning music in a natural way, through participation. The exemplification of this consideration is the presentation of parents, who participate in authoring music classes for children in so-called Kindergarten Academy, feedback scores. To examine the attitude of parents to informal music education, I have conducted the questionnaire-based survey (Likert scale based on fifty statements). This questionnaire examines parents’ relation to classes, their expectations, changes in the behavior of a child under the influence of the classes, and children relation to the classes. WORKSHOPS Rebecca Brown and Sarah Landis (AUSTRALIA): I can play that! Multi-level beginner string arrangements inspired by an aural-based methodology The workshop will present simple pieces arranged specifically for use with multi-level string players in the beginner string classroom by teachers using an aural-based methodology, but who are not necessarily Colour Strings trained. The repertoire focuses on developing technical ability through the use of folk and quality composed music in order to provide teachers with works that are well within the various capabilities of students in an instrumental program, yet still sounds satisfying for early beginners without the use of backing tracks. The workshop will feature model lesson segments, discuss ways of teaching the various concepts in the arrangements and provide links between the singing-based classroom and the instrumental string program.

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Ewa Krzatala and Mary Stouffer (CANADA): The Circle of teaching and learning: experiencing music in early childhood, from prenatal to age 8, following Hungarian master pedagogue, Katalin Forrai’s philosophy This workshop focuses on experiencing music as an art form, which, for the young child, is the foundation for future musical learning. Often, in Canada, music in early childhood is misunderstood resulting in many young children learning only the most popular songs and rhymes without the associations of aesthetic development, the social/emotional context or the development of musical skills. Implementing Forrai’s ideas of the “true game” as an art form for children, which inspires a joyful, physically active and interactive program, and illustrating the development of musical elements and skills, we will share some of our favourite musical materials. Jill Trinka (USA): Children’s Singing Games in the North America African Diaspora (Part 1 of 2) The focus of this back-to-back two-part workshop is on children’s singing games arising from the diffusion of African identity in North America and their potential use in music literacy-based curricula (e.g., elementary programs and collegiate ear training and sight-singing courses). In Part I, children’s singing games from West Africa, Gullah-Geechee culture in the Southeastern United States, the Deep South, the Caribbean, and Boston will be taught to participants. Selected field recordings will be presented. Part II is devoted to discussion of selected performance styles, music notations, music analyses, potential didactic functions in teaching music literacy skills, and use of the abstract in bridging the sound gap between “real” music and what we ask students to read and write.

Session 4: 16:15 – 17:15

PAPERS Carolyn Watson (USA): The Orchestral Works of Kodály Arguably more quintessentially ‘Hungarian’ than the compositions of his colleague Béla Bartók, the orchestral works of Kodály are in and of themselves a study in the Hungarian folk music idiom. Bartok supported this notion stating, Kodaly’s music was “the most perfect embodiment of the Hungarian spirit.” 1 This presentation will focus on four selected works of Kodály’s orchestral canon, namely the Dances of Galánta, Suite from Háry János, Marosszék Dances and the Peacock Variations. These works represent the most commonly performed works of Kodály’s orchestral compositions. In addition to considering the direct enthnomusicological influences in aspects of each composition, each work will be evaluated from a pedagogical perspective. While aspects of these works are virtuosic and technically challenging, there is much that is nonetheless accessible by young orchestral players and as such, these works represent excellent repertoire choices for high level youth and high school orchestras. Furthermore, there is much that recommends these works for study in the secondary school classroom setting. followed by Ákos Windhager (HUNGARY): The Personal, the National and the Sacral Aspects in the Creeds of Zoltán Kodaly The paper sheds light on the comparative interpretation of Zoltán Kodály’s most profound creeds: Psalmus Hungaricus (1923), Te Deum (1936),

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Missa Brevis (1945), Hymn of Zrínyi (1955) and Missa Hungarica (1966). Kodály’s anniversary is a good occasion to re-discuss the personal, national and sacral aspects of his music, which have still been (mis)interpreted ideologically by many scholars. For Kodály personal identity derives from the collective identity which depends on secular sacredness. However, sacredness is related beyond the divine sphere to the culture of peasant societies and the European traditions, as well. Thus, he used both the phenomena of nationalism and sacredness independently from the churches and politics. It was Kodály’s greatest compositional achievement that he could authentically synthesise the personal, national and sacral registers in the 20th century. WORKSHOPS Gilbert De Greeve (BELGIUM): Zoltán Kodály’s “Méditation sur un motif de Claude Debussy” Zoltán Kodály’s piano oeuvre is too little known, which is a shame. Eight piano compositions were published during his lifetime, of which four are “Cycles”. The complete piano oeuvre was written between 1907 and 1945. Méditation sur un motif de Claude Debussy (Meditation on a Motif of Claude Debussy) was written in 1907. The piece has an impressionistic atmosphere but the specific elements of Kodály’s harmonic and rhapsodic approach are already very present. In that “symbiosis” of styles lies one of the interpretation challenges. How should the work be approached? As a “French” piece? As an “Hungarian” piece? Or…? Answers can be found IN the score, in the way Zoltán Kodály expressed his intentions. The workshop concentrates on the analyzes of the piece with examples performed at the piano and an integral performance at the end of the session. Eila Petersen (CANADA): Hearing Harmony: Using Anchor Tones to Determine Functional Categories This musicianship workshop will explore a system for employing tonic solfa to hear harmonic function in any tonal context, whether it be SATB chorale-style, jazz combo, or orchestra. Rather than depending on a clear identification of a bass line or chord qualities, the focus is on “anchor tones” using “do” and “ti” (in major, “la” and “si” in minor) to categorize chords functionally. Kate Thompson (AUSTRALIA): Squaring the Circle: Picture books in the music classroom Going beyond using picture books for the purpose of teaching listening manners and concert etiquette to broach the subject of how music can represent the world and how students can create music to represent these ideas. Using picture books from a range of cultures, times and locations, this workshop will outline a number of learning experiences that will provide students with the opportunity to extend their understanding of the elements of music as they develop their aural skills. It will unpack activities to allow early childhood, elementary and even the lower secondary students to explore their own identity as an emerging student musician as well as the identities and music of a variety of cultures around the globe, including that of indigenous Australians and of the Asia region, using picture books as a platform for highly musical, engaging, cross-curricular activities for students of all ages.

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Jill Trinka (USA): Children’s Singing Games in the North America African Diaspora (Part 2 of 2) The focus of this back-to-back two-part workshop is on children’s singing games arising from the diffusion of African identity in North America and their potential use in music literacy-based curricula (e.g., elementary programs and collegiate ear training and sight-singing courses). In Part I, children’s singing games from West Africa, Gullah-Geechee culture in the Southeastern United States, the Deep South, the Caribbean, and Boston will be taught to participants. Selected field recordings will be presented. Part II is devoted to discussion of selected performance styles, music notations, music analyses, potential didactic functions in teaching music literacy skills, and use of the abstract in bridging the sound gap between “real” music and what we ask students to read and write.

Thursday, August 10 Session 5: 9:30 – 10:30

PAPERS Michalis Patseas (GREECE): Zoltán Kodály’s Compositions for Children Choirs: a 21st Century perspective Zoltán Kodály was one of the most important Choral Composer of the 20th

Century. His compositions for Choir and Orchestra were very popular for many decades and his a capella choruses were very frequently performed in and out of Hungary in the original language as well as in translations. The first part of the 21 st century shows a (temporary) decrease of interest in his compositions outside Hungary. One reason may be the outdated translations (Michalis Patseas: Choral Compositions of Kodály and their translations, International Kodály Symposium 2015). Could one consider his music as old-fashioned as well? The author will try to show that Kodály’s choral compositions are alive, important, and interesting and that they deserve to stay in the core of the Classical Choral Repertoir. The author will show examples from Kodály’s Children Choruses and he will analyze them in order to show how much they are essential to the formation of the international musical language of the 21st century. followed by Iain Gillis and Liova Bueno (CANADA): “Deep Comprehension of the Spirit:” Exploring the Dominican Quintuplet at Different Structural Levels in the Music of Dominican-Canadian Composer Liova Bueno We, a musicologist and a composer, offer a collective response to Bartók’s 1920 essay “The Influence of Folk Music on the Art Music of Today.” Complicating the view that researchers are ‘Insiders’ or ‘Outsiders’, we occupy a space between these categories to co-author a thick description of how Dominican folk music manifests itself in the compositional practice of the Dominican-Canadian composer Liova Bueno. We borrow the Schenkerian notions of ‘foreground’ and ‘background’ structural levels and map these respectively onto ‘Outsider’ and ‘Insider’ roles. We structure our examination in two parts, with the Outsider-foreground investigation of Bueno’s Sinfonia setting the stage for the Insider-background description of the quintuplet in an a cappella carol and in a large chamber work, Poema místico. We propose that ‘deep comprehension of the spirit’ of inherited practices (folk and otherwise) is crucial to the vibrancy and continuation of the Western art music tradition.

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WORKSHOPS Susan Harvey (USA): I Get by with a Little Help from My Friends Incorporating Kodály and Music Learning Theory based teaching strategies in the instrumental music classroom can develop student musicianship. Students enter instrumental programs with music skills learned in elementary school. Why not continue developing musicianship concurrently with learning the first note and rhythm in the method book? Research-based strategies that incorporate rhythmic and aural skills in the instrumental classroom allow students to develop musicianship skills while learning performance skills. Strategies include ways students utilize solfege, sight read, sing and perform chords, create chorales, and improvise in the instrumental classroom. Participants in this hands-on session will experience teaching strategies through moving, chanting, and singing based on the Kodály teaching concept and Music Learning Theory. Whether you teach band or orchestra, rehearsal techniques will be shared that allow students to make musical decisions in the ensemble. Sandy Mathias, Karla Cherwinski and Katie Wynkoop (USA): A Circle of Life through Teaching and Singing A Circle of Life Through Teaching and Singing will bring together three generations of music educators that are linked by a circle of teaching. This workshop will present songs, games and canons that have been passed between these educators. The three generations of teachers are based in the same ‘circle’ of learning but each brings their own twists and turns to their students through contemporary and ever changing student needs and educational expectations. Participants will learn circle games for grades 1-3, circle games and dances for grades 4-6, and rounds and canons for grades 3-8. Gabriela Ocadiz Velazquez (CANADA/MEXICO): No hablo español: Teaching and learning music in an unknown language This workshop aims to illustrate the difficulties of engaging in a pedagogical practice in an unknown language (Spanish or English). The context of the workshop is the cross cultural interactions between the participants of the Kids Do It All Summer Camp 2016 in Todos Santos, Baja California Sur, Mexico. The participants came from either an English speaking context in the US or a Spanish speaking context in Mexico; most of whom only spoke their home language. This experience led the participants toward an understanding of each other’s ways of living. In the workshop these experiences will be replicated with the use of a musical content based on a background of Mexican singing and clapping games, rounds, rhymes, stories, fables, and lullabies. We will also discuss the challenges of teaching music in, for and from a different country by emphasizing this particular bicultural involvement through Mexican folksongs.

Poster Session: 10:50 – 12:00 (Repeat)

POSTERS Chantal Bigot-Testaz (FRANCE): La Schola cantorum de Paris et son influence dans le monde musical au début du 20ème siècle Le nom de cette prestigieuse école reprend celui des ensembles de chantres destinés aux églises qui fleurissaient au Moyen-Age en Europe. Il évoque la priorité absolue donnée à la voix. A regarder : quatre posters pour vous en raconter l'histoire depuis sa fondation, en 1896, jusqu'aux

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années trente. A découvrir : de grands compositeurs et pédagogues, souvent méconnus, très impliqués dans l'organisation et le développement de cette Schola, vouée d'abord à la musique religieuse mais devenue, dès 1900 une école supérieure de musique, la seule en France à l'époque, qui accueillait des étudiants étrangers. De Henri Duparc à Albert Roussel, en passant par Isaac Albeniz, Erik Satie et bien d'autres, vous ferez connaissance avec quelques-uns des musiciens, héritiers de César Franck qui, autour de Vincent d'Indy, on fait le succès de la Schola. The Schola cantorum of Paris and its influence on the world of music at the beginning of the 20th Century The name of this prestigious school evokes that of the groups of singers in churches which flourished in Europe in the Middle Ages. It also evokes the absolute priority given to the voice. To look at: four posters for you which tell the story from the founding of the Schola in 1896 up to the nineteen thirties. To discover: great composers and teachers, often little known, highly involved in the organisation and the development of this Schola, devoted first to religious music, but who became, from 1900, the only music school in France at the time which welcomed foreign students. From Henri Duparc to Albert Roussel, passing by Isaac Albeniz, Erik Satie and many others, you will get to know some of these musicians, the heirs of César Franck who, assembled round Vincent d'Indy, brought success to the Schola. Marilyn Brouette (USA): Expanding the Circle: Healthy Kids and the Power of Professional Partnerships in the Kodály Music Classroom In this study, 200 children in a parochial setting were studied over a ten-year period to discover whether or not partnerships with professional arts organizations impacted the emotional and physical well- being of students. These children received vocal music instruction, music theory and music history in a bi-weekly thirty minute allotment of time from a music specialist. Partnerships with the San Francisco Opera, Lamplighters and other professional arts organizations supplemented the curriculum and professional vocal artists came to the school site to perform an opera and Gilbert and Sullivan operetta each semester. Students were fully involved in all aspects of the productions and visual arts experiences were incorporated as a means of assessment. Cheng-Lin Hsueh (TAIWAN): A Study on the French Horn Pedagogy of a listening-oriented method Since French horn is a transposing instrument, in the history of teaching and learning horn, listening has been a significant part. In terms of horn pedagogy, “fixed-do solfège” is used in most schools in Taiwan, while in many prestigious pedagogies “movable-do solfège” is used. As a horn teacher, the author is interested by this discrepancy on teaching horn. This study aims to explore the application of a listening-oriented method on the pedagogy of French horn. This thesis takes an interview method. With interview outline created by herself, the author interviews 12 horn teachers. It attempts to understand, from the viewpoint of horn teachers, the present situation and teaching strategy of a listening-oriented method. The

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research tools in use of the interview method include interview outline, transcript, transcript correction form, and transcript analysis form. The interview outline is created with an integrated knowledge of research purpose, research questions, literature review, and teaching experiences. The interview outline is reviewed and evaluated by professionals and voluntary interviewees. Its validity is thus guaranteed by the professional opinion. After finishing the interview, all the conversation is first transcribed into a document, and then double-checked by the interviewees to make sure the transcript is faithful to the responses by the interviewees. The author finally analyzes the transcript, extracts the key points, and summarize them into a result and conclusion. Pyng-Na Lee (TAIWAN): Participation Structures and Indigenous Children's Learning in Music Classes This study attempts to understand how the teachers employed various participation structures to facilitate indigenous children’s learning in music classes. It took two years to observe two fields of indigenous children’s music classes. A non-indigenous teacher taught one classroom, and an indigenous teacher taught the other. This study found that different participation structures may affect student’s learning attitude and singing. The arrangement of seats in rows that interferes students’ eye contact and interactive opportunity. After removing desks and re-arranging the seats as semi-circle, students were more willing to sing and perform in the front because thus seat arrangement creates supportive atmosphere. Furthermore, students were aware of their peers’ need and provide instantaneous help to facilitate peer interaction. On the other hand, various seat arrangements may also affect children’s singing quality. This study suggests that teachers design appropriate participation structures may enhance students’ learning. Kathleen Plastow (AUSTRALIA): Kodály Methodology and Data Analysis: Differentiation and equity in classroom music education This presentation examines the interim findings of an ongoing, four-year, classroom music project in an Australian Independent, ELC – 12 parallel education setting in Melbourne. Consisting of three discrete yet inextricably linked components of teaching and learning (pedagogical practice, formative assessment and curriculum design for differentiation) in the music area, this research looks at the inclusion of data analysis within the Kodaly methodology to ensure differentiation and equity in the classroom. Although this research is tracking student learning over a four-year cycle (years 5 – 8), the focus is on year 7, where the intake of new students doubles the year-level population creating extremes for the capacity for differentiation. It explores formative assessment for diagnostic purposes to ensure that all student needs are met and addresses the inequities that socio-economic considerations bring to music education. Lynn Rechel (USA): The Class within a Class: The Musical Child for Undergraduate Music Education Majors In the Fall of 2014, Shenandoah University in Winchester, VA (USA) introduced new courses as part of the curriculum revisions in the Undergraduate Music Education program. One of the new courses is The Musical Child, which is a lecture/lab course. The course extends the skills

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and concepts addressed in the elementary methods course. As part of the course, the undergraduate students teach elementary aged home-schooled children from the community during the lab classroom portion of the course. This course benefits both the undergraduate students, as they receive teaching experience before student teaching, and home-schooling families in our community, as the elementary aged children get the opportunity to participate in general music classes. This poster will present the evolution of the course, the current format of the course, examples from the course, and the challenges of maintaining the lab classrooms. Mike Ruybalid (USA): Will they stay or will they go? An examination of potential predictors of student intentions to continue participating in school music classes. An understanding of what factors would influence student decisions to continue (or discontinue) school music participation is an important topic to consider as music educators. An increased understanding of this topic could help lead to increased enrollment in our elective music classes. This study examined potential predictors of student intentions to continue in school music when entering the secondary grades, where music commonly becomes an elective choice. The participants (N = 278) were general music students from six elementary schools located in a state in the southern United States. All participants were in their final year of elementary school. Results revealed that student attitudes, subjective norm (i.e. student perceptions of the opinions of important others regarding school music participation) and parental attitudes towards music study were significant predictors of student intentions towards school music enrollment. Dennis Wang (MACAU): The Feasibility of Using Selected Asian Folk Songs to Enhance Students’ Awareness of Pitch In the study, the researcher analyzed series collections of folk songs from Asian countries, such as Korea, Japan, and China. The author applied these folk songs with Kodaly music method as a recommended teaching material in the general music classroom. The result of this study advices music educators a new direction and perspective on music teaching. The study findings are: 1) Music class with Kodaly music approach make the class more inspired and motivated. 2) According to the intervals and structures of music, some of the Asian folk songs can be suitable teaching tools to enhance children’s awareness of musical pitch. 3) Teaching traditional folk songs in general music classes a good way to promote cultural heritage to children around the world. 4) Including more music activities and body movements in music class can make general music classes become more interesting and efficient.

Session 6: 13:45 – 14:45

PAPERS Hélène Boucher (CANADA): For a cultural adaptation of the Kodály approach: Using fixed Do and different rhythmic syllables Kodaly gave the folksong and the transmission of musical culture primordial importance. Could we consider using movable do solfa or fixed do solfege as an element of musical culture? Similarly, for the choice of rhythmic syllables: traditional Kodaly, beat based, or traditional French? Teaching moveable do solfa in a culture where the use of a fixed do dominates is very challenging. “The teaching of solfege in relative positions

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may never be possible until the Latin countries decide to replace do, re, mi, etc. by the alphabetical names C, D, E, F, G, A, B, C – and this replacement will be as difficult as to introduce the metric system to North America.” Legrady (1967). I propose a critical review of what has been written on this subject, and an alternative for countries where the use of fixed do is deeply rooted. I suggest the use of absolute solfege in combination with the use of movable numbers, equating to moveable do solfa, and I will share my personal experiences in proceeding this way. All of this is in view of seeing the Kodaly method flourish in the twenty-first century. followed by Cheng-Lin Hsueh (presenting on behalf of Fung-Ching Cheng) (TAIWAN): An Action Research on Applying Movable Do System into Piano Lessons for Very Young Beginners in Taiwan The majority of piano learners in Taiwan are young children; music teachers in Taiwan consider fixed-do system as the only tool for reading music scores. In addition, piano teaching in Taiwan has been regarding Beyer textbooks as the criterion for long and they practice one after another. For the past few years, many American teaching materials have been introduced, which inspires teachers to think about the importance of functional skills. However, the teachers who are used to fixed-do system have difficulties on transposition, impromptus and vamp. The studies prove that teaching fixed-do system is unfavorable for learning movable do system later. (Cheng, 2013) Therefore, this study aims at teaching movable do system in the period of very beginning for the teaching contents and strategies to develop functional skills later. WORKSHOPS Agnes Enyedi and Agnes Gergely-Gál (HUNGARY): Supporting the new generation – Musical Mentor Course of the Liszt Academy of Music, Budapest The legacy of Kodaly resulted in many excellent music teachers in the past who promoted his concept and brought up new generations of young musicians. To ensure the continuity of Kodaly’s heritage it’s essential to pass on this teaching philosophy and good practices to the next generation in a very different world. Teaching practice is an essential part of teacher education, during which student-teachers are supported by a mentor, an assigned music teacher at the hosting institute. The Liszt Academy of Music has established a new course for experienced music teachers, the Musical Mentor Course, with the aim to develop professional mentoring skills and competences. In the workshop the trainers of the course will give a practical insight into the sessions in the course. Donna A. Menhart (USA): Singing Folk Songs to Support Music Literacy Beyond Elementary School This audience-participation workshop will demonstrate the purposeful efficiency of singing folk songs, with strategies that identify rhythmic, melodic, and harmonic elements, drawing connections to performance repertoire. Many feel that singing folk songs is less effective once students leave elementary and enter middle school, and that limited rehearsal time does not allow this joyous activity. However, singing a folk song at the

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beginning of general music, band, orchestra, or choir provides the opportunity for students to warm up their voices and their ears, and assists them with recognizing various musical concepts, including pulse, tonality, unison pitch, ensemble intonation, and collaboration. The kinaesthetic experience of singing is different than listening or playing an instrument, and allows students to feel the rhythm and melody of the music as it travels through their body. Singing folk songs is a collaborative experience celebrating community, singing the circle inspired by Zoltán Kodály. Carla Trott and Emma Ritchie (AUSTRALIA): Emerging Music Teachers Network Carla Trott and Emma Ritchie (Brisbane, Australia) established the Emerging Music Teachers Network in 2015 as early-career teachers. Their aim was to equip other pre-service, graduate and early-career teachers with useful strategies, resources, practical advice and supportive networking opportunities for the first years of teaching. In this presentation, Emma and Carla will discuss the philosophy behind the group, how it was formed and is maintained and how they hope to continue to develop in the future. They will also highlight common areas for development in beginning teachers, provide practical examples on how to gain expertise and confidence in the classroom and some tips for developing a collaborative network in other teaching communities.

Session 7: 15:00 – 16:00

PAPERS Joyce Holoboff (CANADA): Only the Lonely: A Study of Rural Music Specialist Professional Isolation and Effects on Efficacy and Collaboration Collaboration with teaching colleagues for the purpose of improved student learning is considered to be an important element of professional development and best practice. Collegial collaboration proves challenging for music specialists, especially those teaching in rural school divisions. The purpose of this research was to explore music specialists’ experiences of professional isolation in rural Central Alberta public schools. This research addressed the question: What are music specialist teachers’ experiences of professional isolation in rural Central Alberta schools, and how do these experiences affect their efficacy as teachers? Data was collected via interviews with four teachers from two rural Central Alberta school districts. Emergent themes included the face of isolation, issues of efficacy and time, and possible solutions. School leadership may play a role, and music specialists themselves May need to take a proactive in making their collaborative needs known, and in using technology to forge alliances. followed by Angela Lee (AUSTRALIA): Kodály Approach to Promote Music Ability of In-service Teachers of Early Childhood Education The purpose of this study was to determine the efficacy of using Taiwanese folk songs in the Kodály approach to promote music ability of in-service teachers of early childhood education. For this study there was one class of nineteen undergraduate early childhood education major in-service teachers. Most of them had little musical experience. This group was part of an 8-week program that met weekly for 100 minutes. Each week lesson contained five musical objectives: singing skills, rhythmic

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skills, aural perception, music listening and percussion instruments. Folk songs from the local culture are most suitable to achieve the above musical objectives. This study utilizes interpretative phenomenological analysis (IPA) a qualitative research method and engagement that seeks participants’ understandings of their lived experiences. For these participants future music making was tied to their sense of self as musician and growing musical confidence. WORKSHOPS Georgia Newlin (USA): Developing Part-Singing Skills in School-Age Musicians The ability to perform independent voice parts is a requisite skill of middle and high school choral music students. It is expected that young adolescents be able to sustain an accuracy of singing in a choral setting with multiple divisions. This session is for music educators who wish to experience a higher level of success in leading school-age musicians to sing in multiple parts. Beginning with elemental skills for young singers, we will examine the sequential development of part-singing skills in order to help students acquire the ability to sustain a given voice part in a multi-part context. Purposefully teaching and consciously pointing out the name and definition of each discrete skill in a part-singing curriculum allows students to better engage in a mindful act of musicianship when they sing in parts. Anikó Novák and Katalin Körtvési (HUNGARY): ZeneZen, the Kodály-Piano-Kokas approach ZeneZen is a new approach in the teaching of piano performance that aims at increasing the technical and musical skills through the integration of a comprehensive and in-depth training of general musicianship according to the Kodály concept and through the possibilities of self-expression, communal creativity, and a refined sense of communication based on empathy manifested in the Kokas pedagogy. ZeneZen creates a unique opportunity for the participants to develop their stylistic awareness as well as their power of artistic expression in piano performance. Throughout this workshop, we will demonstrate how different aspects of teaching interact with each other and contribute to a holistic experience of music learning. We try to support students from two sides: one is supporting their conscious, analytical selves through Kodály’s concept, which is enhanced by the piano classes supporting their emotional, artistic selves through the holistic approach of the Kokas pedagogy. Katherine Ruhle (AUSTRALIA): Engage, Inspire and Sing: Australian choral repertoire and rehearsal strategies for children’s choirs The aim of the workshop is to introduce participants to new Australian children’s choral music and rehearsal strategies. During the workshop, participants will read through six Australian choral pieces, composed especially for children’s voices. With each piece introduced, a different way of engaging and inspiring young choristers will be modelled using games, drama, movement, listening or use of body percussion. Participants will actively experience original and very effective rehearsal strategies such as Bin it, Picture sounds, Boxing Diction and Soup. They will be given many original warmups, canons and rehearsal strategies that they can freely use with their choirs. At the end of the workshop participants should feel

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empowered to fully engage and inspired their choristers to be wonderful choral singers and musicians.

Session 8: 16:16 – 17:15

PAPERS Nicole Lorenz (CANADA): The Hungarian Language in the Piano Music of Béla Bartók: Unlocking a Paradigm for Effective Communication This study argues that the piano music of Béla Bartók has suffered from the preponderance of readings through the lens of Western European tradition, and consequently from misunderstanding of his so-called idiosyncrasies. Highly influenced by Hungarian folk music, an interpretation of Bartók’s compositions relies on contexts outside of the editorial marks in a score, and, as such, the focus of this paper is the inevitable impact of language on folk music. Because of the individuality of its accentuation and rhythm, I argue that understanding particular prosodic features of the Hungarian language can help foreigners better interpret Hungarian folk music and, consequently, recognize articulatory and rhythmic idiosyncrasies in the composer’s piano works. It was imperative to first prove a language-presence in Bartók’s piano music, and this is done by linguistically analyzing Hungarian texts from selected folk song transcriptions in the first two volumes of For Children. The results are then compared to the associated music’s articulatory notation and rhythmic patterns, proving that spoken Hungarian indeed affected Bartók’s compositional process. Finally, to expand on these findings, these characteristics are isolated in non-transcribed piano music to show a far-reaching influence.

followed by

Allison Luff: (CANADA) Practical Approaches to Kodály Ear Training in the Private Studio As private music instructors, ear training can present its own unique challenges. The suggested material for ear training and sight reading is often packaged together in a book designed for at-home study. In our ever-increasingly busy lives, these books may seem tedious to young students compared to the excitement of practicing their repertoire. Furthermore, lessons are one-on- one whereas so much of ear training has been taught in a group setting accompanied with solfege. Considering that lessons consist of a limited duration and often take place only once per week, this paper will explore practical approaches to ear training in the private studio with the use of supplementary Royal Conservatory of Music books within a compact schedule. WORKSHOPS Janos Horvath (CANADA): Memorization, Dictation and Improvisation. Completing the Circle of Learning Memorization, dictation and improvisation are organically related and interdependent, yet often times they are dealt with separately and haphazardly in the musicianship class. In this workshop, participants will be lead through a series of integrated exercises towards developing these important musical tools. Beginning with pentatonic materials, moving through diatony, and then on to atonal music, the session will model a logical and simple process for teaching memorization, dictation, and improvisation in a way that is both musical and allows students to transfer the skills to their work as teachers and musicians.

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Sandy Knudson (USA): The Engaging Choral Classroom: Circle Up! The use of circles in music making is cross-cultural, with its roots in many ancient and indigenous cultures. Musical decisions can be shared and made by all who are included in the circle of rehearsal. One road to such student engagement is through the skill area of part work. Participants will experience part work in various formations of circles. Techniques demonstrated will include use of circles for ostinati and canon, chordal activities, and warm-up and breathing activities for building choral tone. Participants will also be led in ways to engage students in the choral classroom through the use of gesture and circular motion by the conductor/teacher along with kinesthetic participation by the singers themselves. A detailed handout will give descriptions of all techniques used in the session. Jonathan Rappaport (USA): Not So Simple: The History and Life of “Simple Gifts” This seminar will focus on a “deep dive” interdisciplinary unit centered around the American Shaker tune, “Simple Gifts.” Composed in 1848 by Joseph Brackett (1797–1882) in Sabbathday Lake, Maine, this tune is perhaps one of the most-loved American songs, best known in Aaron Copland’s variations as part of “Appalachian Spring.” Melodic antecedents of this song suggest the tune and form structure was in Brackett’s musical memory. Roots of this song originate in the mid 1500s in England, and in American popular songs and German opera of the early 1800s. German and Dutch “folk” songs are also melodically related, as well as a host of other English and American folk songs. The unit will culminate in studying several important American instrumental, vocal and choral compositions based on “Simple Gifts” by Aaron Copland, John Williams, Stephen Caracciolo, and others, as well as versions in popular American and Irish culture.

Friday, August 11 Session 9: 9:30 – 10:30

PAPERS Jason Goopy (AUSTRALIA): Beliefs, Values and Uses of Music by an Adolescent Boy, and School Class Music Practices that Support his Identity Work Recent literature has highlighted the significance of music in adolescent identity work, though few studies have specifically examined the role and impact of secondary school class music education on boys. This paper draws on a doctoral research project investigating the beliefs, values and uses of music by adolescent boys, and class music practices that support and shape their identity work. The narrative of one Year 12 class music student at the end of his schooling is analysed. An Australian independent F-12 boys’ school where class music practices were inspired by the Kodály philosophy was the research setting. The boy’s beliefs, values and uses of music are examined. How he uses music to shape and support his identity work now and into the future is considered. Findings provide insight into how class music practices can shape and support adolescent boys’ identity work in and through music-making.

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followed by Jody Stark (CANADA): Kodály was a Praxialist: Kodály Music Education as Praxis for the 21st Century In this paper, I argue that Zoltán Kodály was at heart, a praxialist. Kodály’s philosophy of music education centers around meaningful encounters with active music making, and Kodály exhorted music educators to teach in such a way that students would be compelled to participate in musicking beyond the music classroom throughout their lives. Given the paraxial nature of Kodály’s philosophy, this paper will also offer reflections on Kodály music education as praxis for the 21st century and what this might look like in a post-colonial multicultural context. WORKSHOPS Rachel Jean and Joanne Lamoureux (CANADA): La chanson de langue française – outil pour développer la langue, la culture et le langage musical où l’élève est engage pleinemat dans le processus! Cet atelier vise à démontrer comment se servir de petites chansons, danses et jeux pour amener les élèves à vivre une expérience musicale globale. Tout en expérimentant le plaisir de la chanson et des jeux, les élèves vivent la culture, et assimilent quasi par osmose les éléments syntaxiques, l’intonation et les idiomes de la langue française. Tess Laird (AUSTRALIA): “I do, We do, You do .... Ways to Enhance Music Pedagogy Using the Elements of Explicit Instruction in a Spiral Curriculum” “To teach a child an instrument without first giving him preparatory training and without developing singing, reading and dictating to the highest level

along with the playing is to build upon sand.” Zoltan Kodály In this session participants will actively engage in music making activities for Primary students designed to utilise some of the elements of Explicit Instruction outlined in “Effective and Efficient Teaching” by Anita Archer and Charles Hughes. Particular emphasis will be given to providing “Examples and Non-examples”, giving “Immediate Affirmative and Corrective Feedback” and “Providing Distributed and Cumulative practice”, while exploring a range of tasks and repertoire to develop musical skills at varied levels. Developing a common language for feedback and assessments can inform students on how to improve performance in all areas of their music education, and can motivate them to strive for higher levels of achievement as tasks are scaffolded for success. Michalis Patseas and Eirini Patsea (GREECE): Greek Choral Music for non-Greek Choirs Greek Choral Repertoire is limited in the boundaries of Greece and Cyprus due to the Greek language. Secular choral music is usually composed on vernacular Greek poetry while Church music is composed on existing Hymnography in ancient Greek. At the same time the absence of good publications made the propagation of good repertoire difficult even in Greece. The success of some Greek choirs at International Competitions, gave a temporary publicity to some Greek choral compositions. The workshop presenters intent to provide to the participants some good

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examples of Choral Compositions of the last 100 years by Giannis Konstantinidis, Manolis Kalomiris, Michalis Adamis, Stefanos Vassiliadis, Akis Baltas and Babis Kanas, in parallel Latin transliteration, accompanied by translations in English. They will analyze the compositions, show their particular Greek characteristics and teach them to the participants of the workshop using Kodály method tools.

Session 10: 13:45 – 14:45

PAPERS Nadia Chana (CANADA): The Voices We See: Towards a Framework for Ethical Listening Studies in linguistics suggest that listeners hear accents differently depending on what they are told about the (audio-recorded) speaker. Given that an act of listening involves not only our ears but also our biases, what are the implications for the way we listen to voices? These questions become vitally important in Western art music when they collide with beliefs about race. For visible minorities, because of dominant rhetoric about voices expressing a speaker’s “true self,” singing becomes a radically vulnerable act: it comes with the risk of being heard according to a listener’s biases. Therefore, listening to non-Euro-Westerners singing Western art music carries a strong ethical valence: we must listen well. Listening well, I argue, involves interrogating our own listening practices, understanding the difference between race and culture, and reversing the gaze: recognizing that how someone listens may say as much about the listener as the speaker. followed by Ardelle Ries (CANADA): True Reflections on John Barron's Reflections of Canada. Esteemed Canadian music educator, John Barron (1939-2014), commissioned and edited Reflections of Canada (RofC) – a 3-volume collection of 147 Canadian folk songs arranged for a cappella choirs between 1985 and 1991. Published by Frederick Harris Music, RofC contains folk songs derived from Indigenous, French, and English traditions and was considered to be a fine resource for music educators. In the late 1990s, RofC was declared out-of-print with publishing rights returned to the editor, composers of the arrangements, and other copyright holders. To celebrate confederate Canada at 150 and brought back by popular demand, a two-volume second edition of RofC has been created and will be released by Cypress Music in 2017. Through narrative and ethnographic inquiry, the factors that influenced the genesis and subsequent demise of the first edition will be discussed, followed by an examination of the process and challenges encountered in the creation of a culturally sensitive second edition that embodies a realistic reflection of 21st-century Canada. WORKSHOPS Chantal Bigot-Testaz (FRANCE): Tout en chantant ! Des salutations aux consignes en passant par les proverbes, 30 minutes de cours = 30 minutes de musique Soit quelques pistes pour compléter le rôle essentiel des chansons dans l'acquisition de compétences solfégiques de base et dans le développement de l'audition intérieure. Salutations et consignes sont presque toujours parlées. Ensemble nous les chanterons, ainsi que des

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proverbes qui présentent un triple intérêt culturel, linguistique et prosodique bienvenu dans un enseignement ouvert à l'interdisciplinarité. Cet atelier s'adresse plus spécialement aux enseignants qui interviennent dans des classes à effectif lourd et/ou qui déplorent le trop peu de temps réservé à l'éducation musicale. While singing! From greetings to guidelines via proverbs A 30 minutes' lesson = 30 minutes' music Here are several ideas for completing the essential role of songs in the acquisition of basic music theory skills and in the development of interior listening. Greetings and guidelines are almost always spoken. Together we will sing them, as well as proverbs which present a triple cultural interest, a linguistic and prosodic welcome in a teaching open to different fields of expertise. This workshop is aimed more particularly at teachers who have large classes and/or who regret the little time reserved for music education. Nancy Telfer (CANADA): How and Why the Canadian Choral Scene Has Flourished During the last 50 years in Canada, there have been a number of factors which have affected the growth of Canadian choral music and choirs. This overview of the reasons for dramatic changes will include a look at the advancement of choral pedagogy and literacy skills; new music created for schools, choirs with changing voices and women's choirs; changing perspectives on the difficulty of music for children and youth; the development of community children's choirs; the festival system; the participation of choirs in international competitions; the commissioning of new music; a short analysis of the ways that Canadian identity has become linked with Canadian music; the role of choral organizations; the transmission of information and encouragement across Canada; and recent developments looking toward the future. Merrill Tanner (CANADA): The Health Benefits of Singing & How to Keep Your Voice Healthy So You Can Sing Your Whole Life Long Singing is a fun, healthy, creative and often social activity. What a great way to spend your time! On the flip side, those who love to sing are often miserable if they have to stop singing. This presentation will demonstrate techniques that can maintain vocal health at all ages and show how singing can help enrich and extend one’s life. Research supports the health benefits of singing for all aspects of our lives – spiritual, emotional, mental, physical and metaphysical. Beneficial effects include reduced stress and anxiety, lower blood pressure, better breathing, enhanced immune system and mood, reduction of snoring, improved swallowing, better management of asthma, respiratory diseases and vocal cord dysfunction, maintenance of a younger sounding speaking voice, reduced doctor’s visits and use of medication. In addition, singing stimulates areas in the brain responsible for language and melody, hearing and vision, motor control and can help reduce cognitive decline.

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Session 11: 15:00 – 16:00

PAPERS Hilda Mercedes Morán Quiroz (MEXICO): Kodály’s Teachings in Everyday Life In this paper we explore the different terms by which we refer to Kodály’s ideas, relating them to what Kodály himself wrote (here, we have to limit ourselves to The Selected Writings…, and the IKS Bulletin, plus an interview and a video about music education in Hungary, according to Kodály’s “method” – see references). The aim is to identify specific contents for each of the terms, so that we can actually distinguish Kodály’s proposal from other methods. From there, we go on to explore the ways and means in which we can –or we already do– apply, adopt and adapt “Kodály” to education and life in general, be it in school or outside. followed by Connie Foss More (CANADA): Circling back: Fresh ideas in archives During the 1970s & 80s in Canada, Kodály’s then-new ideas resulted in numerous collections of teaching materials for schools and conservatories, some of which are archival resources on the website of the Kodaly Society of Canada. Likely other countries have similar historical items that are perhaps languishing on forgotten bookshelves. How can these archival materials be useful in the 21st century? As we “circle back” to our roots, we remind ourselves of what was important to us then. Using archival curriculum guides, song collections & video, we’ll consider questions like these: What is basic to a meaningful Kodaly adaptation? If we call it “Kodaly”, how much direct connection to his 1882-1967 lifetime activities do we need? What do “today’s children” need? Should our goals change? WORKSHOPS Glenda Crawford (CANADA): A Kodály program within the Community Children’s Choir: an approach for 5-7 year olds in a “training choir” in the multi-level Chorus Niagara Children’s Choir Program This workshop will share the author’s experience in implementing an inaugural 24-week training choir program based on Kodály pedagogy for 5-7 year olds in the Chorus Niagara Children’s Choir. It will follow the journey of 15 children who come to weekly 60-minute sessions from September to May for 24 weeks. The presentation will include the learning sequence of music skills/concepts, how weekly time was used to prepare the children to perform in 2 concerts. The presentation will include video and photos, lessons plans, and repertoire demonstrating the progression of the children over the season. It will conclude with a summary of the strengths and opportunities that arose from preparing young children to sing in a choir using Kodály pedagogy with goals for strengthening the program. Matthias Funkhauser (GERMANY): From Near and Far: the beginnings of scientific folk music research in Europe. The goals, principles and methods of the Berlin and the Budapest schools A plethora of political happenings and cultural currents from the middle of the 19th century onwards created the backdrop for the interest in folk

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music. With the invention of the phonograph in 1877 and the ability to record music for ethnographic purpose, and the elaboration of the cent system by Alexander J. Ellis, folk music became the object of scientific research. The first recordings in 1890 by Walter Fewkes in the USA were followed by a worldwide initiative to compile folk music. In Europe, two key centers arose which were pioneering in the field of folk music research: Berlin and Budapest. The session seeks to explore the different background and the goals of both schools and which methods they applied. Atsuko Omi, Shinji Inagi, Makiko Koyama, Tomoko Kurata, Sayaka Muromachi, Noriko Ninomiya & Shoko Oya (JAPAN): Let’s Sing Along & Play Japanese Traditional Folk Tune and Singing Games! The purpose of this workshop is to introduce Japanese traditional folk tune and singing games. We hope to be able to have cultural exchanges in music. Part 1: We explain briefly the musical structure of the Japanese traditional children's songs. Also we want to mention the classification and cultural background of them. Part 2: We invite the participants to the world of Japanese traditional singing games: a) ball-bouncing, b) rope-jumping, c) playing in a circle, d) gesture-mimicking game, e) going through the gate, g) guessing someone from voice, h) hand-clapping game, i) song of choosing the “it”. Part 3: We invite the participants to the world of Japanese traditional folk tune. Part 4: We sing several choral works, based on Japanese traditional folk tune and singing games, by Japanese composers, selected from the songs introduced in Part 2 and Part 3.

Session 12: 16:15 – 17:15

PAPERS David Stark (CANADA): In Search of a “Musical Mother Tongue" for Students in Alberta, Canada: The Schoolhouse Dance as Cultural Practice This presentation will share findings from an Kodály-inspired action research study in ethnomusicology that began with the question, “What could the musical mother tongue of students in present day Alberta, Canada be?” After no folksongs original to Alberta were found in a search of historical documents, the inquiry was reframed and the focus became looking for musical practices rather than specific pieces of music. Community dancing in the local schoolhouse was the only common thread in historical accounts of music in Alberta, and so a unit of study culminating in a historical re-enactment of a schoolhouse dance was developed and enacted. Data was collected through interviews, photos of the process and event, and journals kept by student and the researcher. The study provides a possible approach in teaching music as a musical mother tongue in a Canadian context and offers an exemplar of studying music as a musical practice. followed by Anna Waluga (POLAND): Social-spatial perspectives of music as determinant of the content of music education The aim of the speech is showing how it’s important in contemporary education of young generation creating the feeling of cultural identity, discovering ones roots as means of saving and protecting national cultural properties. Moreover, getting acquainted with domestic folk music of

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specific idiom can result in the overall musical education of a child song to great worldwide music masterpieces. In the context of pedagogical work of the teacher of music it can by real challenge. To achieves this -one must realize that a person is influenced by different cultural environments, among them musical ones-from nearest to the furthest - and what was named by the researches of musical culture as so called social-spatial perspectives. WORKSHOPS Laurier Fagnan and Larry Nickel (CANADA): La série enchantée: New Visions in French Canadian Choral Music Published by Cypress Music, La série enchantée is a collection offering a new vision in French Canadian choral music. It was created to assist conductors in finding quality French concert repertoire all in one place. This session will help delegates discover (and sing!) many of this exciting series’ brand-new compositions from some of Canada’s most luminary composers. You’ll find many original classical compositions as well as arrangements of favorite popular/folk songs and many new Christmas classics. There’s something for every type of ensemble, from two-part treble to SSA to eight-part mixed choir. So come discover and celebrate that special je ne sais quoi that can only be experienced when you sing en français! La série enchantée: un nouveau répertoire de chant choral canadien en français Publié par Cypress Music, la Série enchantée est une collection offrant une nouvelle vision sur le chant choral canadien-français. Cette collection a été créée pour aider les chefs à trouver un répertoire de langue française de qualité en un seul endroit. Cette session aidera les délégués à découvrir (et à chanter!) plusieurs compositions de cette série venant de la plume de compositeurs canadiens fort célèbres. Vous y trouverez de nombreuses compositions originales, des arrangements de chansons populaires et folkloriques ainsi que de nombreux nouveaux classiques du temps des fêtes. Il y a quelque chose pour chaque type de formation vocale, allant de voix égales à deux voix, SSAA, allant jusqu’à chœur mixte à huit voix. Alors venez découvrir et célébrer ce ‘je ne sais quoi’ qui ne peut être ressenti que lorsque vous chantez en français! Katherine Hickey (USA): Jenő Ádám: Kodály “First Circle” Innovator, Past, Present, Future Zoltán Kodály wrote the following about Jenő Ádám: “The author fortunately combines the highest musical qualifications with the direct experience of school practice. He knows the children’s soul, thinking, and the precise limit of their abilities. With thousands of minute tricks and witty games taken from practice, he makes the seemingly difficult material accessible.” [Preface to Ádám: Módszeres énektanitás a relativ szolmizáció alapján (Methodical Teaching of Singing Based on Relative Solmization), 1944]. The objective of the workshop is to examine the contributions of Jenő Ádám, member of Zoltán Kodály’s “First Circle,” to the elementary music curriculum known worldwide as the Kodály Method or Approach. The content of the presentation will include music examples and interactive music making in the discovery of beginning and advanced music elements for elementary school. The historical significance, present

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practice and future application of Ádám’s discovery learning ideas will be explored. Carolyn Neumann VanderBurgh (CANADA): Singing and Playing within the Circle Come join the circle as we play new and familiar singing games. Participants in this session will experience a variety of singing games from early childhood to upper elementary grades that can be incorporated into the regular music lessons. The session will also provide tips and teaching suggestions. Audio recording devices are welcome as musical notation for every song is not possible. Patricia Wisse and Suzanne Konings (NETHERLANDS): The Movable Do Disc: connecting relative and absolute dimensions of Western Music The Movable Do Disc is a new music learning and training tool that provides a visual overview of tone relations, based on an aural understanding of the diatonic scale. It allows us to playfully and independently investigate and to visualize, understand, and create music in all kinds of constellations, from tonal to modal to polytonal and polymodal. In the workshop, practical results of the research conducted at the Royal Conservatoire in The Hague will be demonstrated, through repertoire of different periods in music history. In line with the ideas of Guido of Arezzo, Sarah Glover, John Curwen and Zoltán Kodaly, the Movable Do Disc aims to make music accessible and insightful for all, from the very basic and simple to the most advanced and complex levels, individually or in a group setting, in a fun, practical and theoretically sound way. The Movable Do Disc invites everyone to sing!

Saturday, August 12 Session 13: 9:30 – 10:30

WORKSHOPS Jason Boron (AUSTRALIA): Reflecting on Practice: Kodály-inspired music education for the 21st Century The Australian National Curriculum (ACARA, 2015) includes “general capabilities” that are considered essential to live and work successfully in the 21st century. These capabilities include the development of critical and creative thinking, personal and social capacity, ethical understanding, intercultural understanding, and information and communication technology capacity. Kodaly-inspired music education has great potential to address these areas. This workshop will present a unit of work designed specifically for lower primary school students learning music in a daily music program. Through active engagement, participants attending this workshop will acquire strategies and ideas for facilitating Kodály-inspired music education programs that are responsive to the needs of 21st century students and curricula. Gail Needleman & Anne Laskey (USA): “The Spirit of Singing”: Traditional Music and Human Development Traditional song is one of the few activities we have that connects us to the collective wisdom of humanity. This is the “spirit of the village” that Kodály said we needed to bring to the classroom. It is not some old-fashioned model of human relations. It is a vision of what humanity needs to bring to

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our troubled earth. This workshop will be an experiment in creating community through music. Drawing on materials from the traditional cultures of North America, we will sing a sequence of songs representing the trajectory of a day from dawn to night, and of human relationships from the family to the world. Songs from the many cultures of North America will include little known and recently discovered folk songs from the archives of the Library of Congress. Donna Cianciosi (AUSTRALIA): Music of “Many Mother Tongues” The concept of the ‘Mother Tongue’ as championed by Zoltán Kodály can have new meaning when considered within the context of a culturally diverse country such as Australia. According to the Australian Bureau of Statistics the 2011 Census revealed that over one quarter (26%) of the population was born overseas and that a further one fifth (20%) had at least one overseas-born parent. An elaboration of Zoltán Kodály’s concept of the mother tongue this workshop will discuss how a single ‘tongue’ can be created in a setting where ‘many voices’ can be heard, as well as featuring a selection of songs, games, canons and dances from around the world. Music of “Many Mother Tongues” is designed to reflect the global classroom of the 21st century. Susan Creese (AUSTRALIA): Level Up! Progressive challenges for successful differentiation Are your advanced students getting bored or complacent? Are your struggling students giving up before they’ve had a chance to succeed? Are you providing enough opportunities for all your students to remain engaged? Based on Kodály’s philosophy that ‘music is for everyone’, this active workshop will explore innovative practice ideas that embody the principles of differentiation to enhance motivation and increase success in Primary aged students. With creative approaches for engaging the brain and body for all levels of ability, come along to see how students can ‘Level Up’ through progressive kinaesthetic challenges and experience joy and triumph in the elementary Music classroom. Logan McKinney (USA): Two Pillars: Creating a Circle of Folk and Art Music in the Kodály-Inspired Classroom In her book “Teaching Polyphony, Harmony and Form in Elementary School:” Ildikó Herboly-Kocsár states, “… musical culture is built upon two important pillars: the one being the tradition of living folk-music and the other being composed music.” The Kodály philosophy is to take the child from the beginning improvisations of his or her musical world to the intricate heights of the compositional tradition. The purpose of this workshop will be to provide tools to help the educator integrate art music into a Kodály-inspired music program. Through direct folk song quotation, partial reworking of folk song material, and strictly pedagogical application the teacher will receive inspiration and practical materials to introduce art music to the youngest—and oldest—of students.