The Kodaly Approach with Elementary Music i

THE KODALY APPROACH: ITS EFFECTS ON ELEMENTARY MUSIC

Except where reference is made to the work of others, the work described in this thesis is
my own or was done in collaboration with my Thesis Advisor(s). This thesis does not
include proprietary or classified information.

______________________________________________________________________
Tamika LaShawn Freeman

Certificate of Approval:

_____________________________ ___________________________
Donald R. Livingston, Ed.D. Sharon M. Livingston, Ph.D.
Associate Professor Assistant Professor
Thesis Co-Advisor Thesis Co-Advisor
Education Department Education Department
 The Kodaly Approach with Elementary Music ii

THE KODALY APPROACH: ITS EFFECTS ON ELEMENTARY MUSIC

A thesis submitted

by

Tamika LaShawn Freeman

to

LaGrange College

in partial fulfillment of

the requirement for the

degree of

MASTER OF EDUCATION

in

Curriculum and Instruction

LaGrange, Georgia

July 29, 2011

 The Kodaly Approach with Elementary Music iii

Abstract

This study compares the effectiveness of the Kodaly Approach with the

Traditional (combined) method of teaching music to elementary children. The research

process lasted a total of eight weeks and was divided into two four week phrases. During

phase one, research subjects studied and demonstrated music based upon a combination

of different techniques (Traditional Method). During phase two, research subjects

studied and demonstrated music based upon the Kodaly Approach. The study was

conducted with a total of 11 first grade students, 4 girls and 7 boys. Concurrently with

training in rhythm and beat, attention was given to in-tune singing using mostly familiar

nursery rhymes, simple songs, singing games and chants. An independent t-test was used

to determine if there was a significant difference between the means of the two groups.

Although the mean score of the traditional group was higher than that of the Kodaly

group, there was no significant difference between the two groups.

 The Kodaly Approach with Elementary Music iv

Table of Contents

Abstract…………………………………..………………………………………………iii

Table of Contents………………………………………………………………………...iv

List of Tables……………………………………………………………………………...v

Chapter 1:
Introduction…………………………………………………………………………….…1
Statement of the Problem……………………………………………………….....1
Significance of the Problem…………………………………………………….…1
Theoretical and Conceptual Frameworks…………………………………………2
Focus Questions……………………………………………………………….…..3
Overview of Methodology……………………………………………….………..4
Human as Researcher………………………………………………………….…..4

Chapter 2: Review of the Literature…………………………………………………….....6

The Significance of Proper Music Training…………………………………….....6
Zoltan Kodaly……………………………………………………………………..7
Kodaly Approach……………………………………………………………….....8
Student Achievement…………………………………………………………….10
Student Attitudes…………………………………………………………………12

Chapter 3: Methodology…………………………………………………………………14
Research Design……………………………………………………………….....14
Setting…………………………………………………………………………....14
Subjects and Participants…………….…………………………………..………15
Procedures and Data Collection Methods………………………………….....…15
Validity, Reliability, Dependability and Bias ………………………….……......21
Analysis of Data……………………………………………………………….....22

Chapter 4: Results………………………………………………………………………..25

Chapter 5: Analysis and Discussion of Results………………………………..………...32

Analysis………………………………………………………………….……….32
Discussion…………………………………………………………………..……37
Implications………………………………………………………………..……..38
Impact on Student Learning………………………………………………..…….39
Recommendations for Future Research………………………………….………39

References………………………………………………………………………....……..41

Appendices……………………………………………………………………..………...43
 The Kodaly Approach with Elementary Music v

List of Tables
Tables
Table 3.1 Data Shell…………………………………………………………….…..16
Table 4.1 Multiple Choice Test Outcomes…………………………………………28
Table 4.2 Performance Test Outcomes……………………………………………..29
Table 4.3 Chi Square………………………………………………….…………….30
 The Kodaly Approach with Elementary Music 1

CHAPTER ONE: INTRODUCTION

Statement of the Problem
Most elementary music students are able to perform familiar songs, rhythms and

chants without the use of music notation. These students have been taught through

repetition and rote teaching (imitation), by hearing examples such as follow the leader,

and or echo me. The methods are usually repeated until the student can perform the song,

rhythm or chant independently. Although these methods should not be taught throughout

the students' entire elementary music experience, it is appropriate during the early stages

of music acquisition. Campbell and Scott-Kassner (2006), authors of Music In Childhood,

consider rote teaching to be one of the most popular ways teachers present songs to

elementary students. This method is valuable; it meets the Georgia Performance

Standards; “it nearly guarantees the development of a large repertoire of songs”

(Campbell & Scott-Kassner, 2006, p.86) and it leads to musical performance, but at what

point is it inappropriate? If rote teaching is emphasized too heavily, it handicaps the

students by causing them to rely only upon the teacher's ability to demonstrate music.
Significance of the Problem
Extensive rote teaching creates an environment in which students will always be

dependent upon the teacher, not their own abilities and strengths. In such cases, if the

students are never exposed to other methods of teaching, they will not understand the

proper use of music fundamentals nor will they understand how to apply these

fundamentals to music reading, thus, creating performers and not skillful musicians.
The purpose of this study is to test Zoltan Kodaly’s Approach and its effectiveness

in the elementary general music classroom. The Kodaly Approach to music education

strives to achieve a synthesis of all the skills necessary to develop complete musicianship

(Bacon, 1993) and to cultivate a love and appreciation for music that is supported by

understanding and direct musical experience (Choksy, 1999).

 The Kodaly Approach with Elementary Music 2

Theoretical and Conceptual Frameworks

This thesis is based upon the philosophy and concepts of Zoltan Kodaly, a

prominent musician, composer, conductor and music educator. It is imperative to note

that Kodaly created music environments in which real, meaningful musical experiences

took place. His practices also enthusiastically engaged his students. Enthusiastic

engagement in learning, whether in music or any other subject, should be a goal for all

educators. Therefore, this thesis relates to the first tenet of the Georgia Framework for

Teaching, entitled Enthusiastic Engagement in Learning.

Social constructivism, a theoretical base from which teacher education candidates

learn how to be critical educators who can create learning environments in which

learning is both enjoyable and rigorous, is the guiding philosophy of the LaGrange

College Teacher Education Program (LaGrange College Education Department [LCED],

2008, p.3). Learning in these types of environments require teachers to be learning

facilitators, rather than lecturers or dispensers of information, and it requires them to

organize, manage, and create learning environments in which students can be actively

involved in the teaching and learning process (Tomlinson as cited in LCED, 2008, p.3).

Regelski (2004) compares the music classroom environment to a science lab; “A science

lab conducts experiments that investigate scientific theories concerning the world and

how it works. Similarly, then, a laboratory for developing general musicianship engages

in experiments, explorations, discoveries, and other active learning concerning how

music works” (p. 72).

The first Competency Cluster of Tenet 1, Knowledge of Content, from LCED’s

Conceptual Framework, states that candidates understand the central concepts, tools of

inquiry, and structures of disciplines needed to create learning experiences that make

these aspects of subject matter meaningful to students (LCED, 2008, p. 4). The LaGrange
 The Kodaly Approach with Elementary Music 3

College Education Program enables candidates to build on their already strong

knowledge of subject matter by offering advanced pedagogical knowledge and theoretical

constructs specific to educational practice (LCED, 2008 p. 4). The NBPTS Core

Propositions for Experienced Teachers Proposition 1 states that teachers are committed to

students and learning (LCED, 2008 p. 12). The Georgia Framework for Teaching

Domain 1 entitled Content and Curriculum states that teachers should demonstrate a

strong knowledge of content area(s) appropriate for their certification levels (LCED,

2008 p. 11). Therefore the National Board, Georgia Framework for Teaching and

LaGrange College are all intertwined concerning Content, Curriculum and teacher

commitment.
Focus Questions
The research process has been unpacked into three main areas of focus:

Pedagogical Content Approaches, Student Learning Outcomes and Reflective Practices.

The following questions were used as guide for this research.

Focus Question 1: Pedagogical Content Approaches
How can the teaching concepts of Zoltan Kodaly be incorporated into the general music

classroom?
Focus Question 2: Student Learning Outcomes
How will the concepts of Zoltan Kodaly influence student achievement?
Focus Question 3: Reflective Practices
How did the teaching concepts of Zoltan Kodaly affect students’ attitudes towards music?
Overview of Methodology
During phase one of the action research study, research subjects studied and

demonstrated music based upon a combination of different techniques. During phase

two, research subjects studied and demonstrated the concepts of Zoltan Kodaly. All

subjects had had prior music instruction based upon the Georgia Performance Standards.

The setting design for this study is an elementary school, grades 1-5. However, the study

was only conducted with 1st grade students.

 The Kodaly Approach with Elementary Music 4

The research process lasted a total of eight weeks. During that time, qualitative

and quantitative data were collected. Data sources include: an instructional plan/ rubric,

a reflective journal, student survey, test scores and student performances. All data were

analyzed. Written data were coded for themes. Numerical data were analyzed using

descriptive and /or inferential statistics. Specific data were analyzed using a statistic t-

test for independent means. A Chi-Square was used to analyze survey data. At the end of

the study all subjects were given a teacher-made test, which consisted of two parts, a

traditional multiple choice portion and a performance-based portion.

Human as Researcher
I am qualified to do this study because I am certified music educator as well as a

musician. It is important that a music teacher contain not only one, but both of these

qualities. I have four years of credible experience in the classroom and ten years of

experience as a church musician. I graduated from Albany State University in Albany,

Georgia with a 3.3 GPA. I am quite able to conduct this study. My teaching strategy has

been influenced by several different methodologies: Orff and Dalcroze, as well as

Kodaly. I have taken many concepts from each of these methodologies, combined them

and incorporated them into my classroom.

 The Kodaly Approach with Elementary Music 5

CHAPTER TWO: REVIEW OF THE LITERATURE

The Significance of Proper Music Training

How can students learn to appreciate music in all of its facets if they are only

exposed to the beauty of music and never trained in its depths? Music is more than its

lyrics and melodies or complex harmonies. It is much more than what you hear or see.

Such hidden aspects of music will only be unveiled through proper training. Proper

music training is to a good musician what phonics is to reading. You cannot have one

without the other.

Colleges of music all over the world have considered several methodologies to be

eminent in the field of Music Education. Such notable methods include, but are not

limited to: the Orff Method, Dalcroze Method, Suzuki Method, and finally, that which

this study is based upon, the Kodaly Method (Approach). Regardless of the method or

approach used to teach music, it is imperative that all students receive proper systematic

training, which consists of music fundamentals such as theory, ear-training and literacy.

These fundamentals are invaluable to comprehensive musicianship, which should

be the ultimate goal of every music teacher. Although comprehensive musicianship is not

achieved in elementary or middle school and in some cases high school, if students

receive proper training at an early age, eventually, assuming that this systematic approach

to music continues he or she will develop musically and comprehensive musicianship

will be achieved.

Zoltan Kodaly believed and advocated that students should receive systematic

music training as early as nursery school. Kodaly stated, “For it is there, while at play,
 The Kodaly Approach with Elementary Music 6

that children will learn what it will be too late to teach them when they get to primary

school” (Eosze, 962, p.72). Modern psychologists have proven that, in the education of

the child, the period from three to seven years of age is of greater importance than the

succeeding years. Therefore, the future development of the child is decided during this

time.

Zoltan Kodaly

Zoltan Kodaly (1882-1967) was a preeminent composer, ethnomusicologist and

music educator who worked diligently to improve music education within the schools of

his own country, Hungary. During the 1930s, Kodaly started a singing movement which

soon brought about radical change in the manner in which elementary aged children were

musically educated in schools (Campbell & Scott-Kassner, 2006). Kodaly’s ideas on

pedagogy challenged generations of musicians as well as teachers to raise the music

potential of their students (Campbell & Scott-Kassner, 2006).

Kodaly’s goals consisted of the following: to raise the level of musical literacy

within the students of the Academy of Music in Budapest, to raise the level of musical

literacy within Hungarian communities (Chosky, 1999), to raise the general standard of

singing instruction (Szonyi, 1990), to develop inner hearing among musicians (Campbell

& Scott-Kassner, 2006), to encourage systematic music training as early as possible,

preferably at the nursery school level (Szonyi, 1990), and to restore Hungary’s own

musical heritage through the study of Hungarian folk music (Chosky, 1999).

Today Hungary has eight hundred adult concert choirs, fifty of the first rank and

another one hundred of radio or public performance quality (Chosky, 1999, p. 1). There

are four professional symphony orchestras in Budapest alone (Chosky, 1999, p.1).
 The Kodaly Approach with Elementary Music 7

Finally, the effects of Kodaly’s research and concepts are also evident in college and

university classrooms all over the world. Kodaly’s Approach, among others, is included

in a required course of study for all music educators.

Kodaly received musical training from the Academy of Music in Budapest, where

he later worked as a professor of theory and diction, composition and director of the

School of Folk Music (Eosze, 1962). He received diplomas in composition in 1904,

teaching in 1905 and a Ph.D. in 1906 for his thesis on the stanzaic structure of Hungarian

folksong (Sadie, 1980). Kodaly also composed much of the material used by his students.

Kodaly Approach

If there is a single underlying philosophy of the Kodaly Approach to music

instruction, it is that “music belongs to everyone, not just the talented few” (Campbell &

Scott-Kassner, p.49). “The best approach to musical genius is through the instrument

most accessible to everyone: the human voice. This way is open not only to the

privileged but to the great masses” stated Kodaly in his article, Children’s Choruses,

published in 1929 (Szonyi, 1990, p. 12).

Although primarily constructed to teach Hungarian children, today Kodaly’s

Approach is used to teach choral musicianship to children of all ages and cultural

backgrounds (Colwell, 1992). Using the folk music of his own country, Kodaly devised a

methodology that stresses the teaching of music-reading and writing skills to accompany

singing activities (Colwell, 1992). Kodaly’s methodology is systematic in its training of

musical and musically literate children at early ages through his own educational ideas

based upon singing, solmization, reading, and folk songs (Campbell & Scott-Kassner,
 The Kodaly Approach with Elementary Music 8

2006). Folk songs and nursery rhymes are first learned by ear and then demonstrated by

regular beat clapping, pulse walking etc.

Kodaly’s Approach begins with a child-developmental approach that tracks

normal child abilities at various stages of growth. The sooner a child is introduced to the

principles of rhythm and melody, preferably at the nursery school level, the more

securely will he retain them in his/ her memory (Szonyi, 1990). For these reasons, the

Kodaly Approach first introduces children to moving rhythms, quarter notes and eighth

notes, as they are more child-related than sustained ones (Choksy, 1999). Children can

relate to quarter notes because they are similar to the child’s own walking pace.

Likewise, eighth notes are related to the child’s own running pace. Children encounter

these rhythms each day during their regular activities. These rhythms are even

experienced during child singing games which are largely made up of quarter and eighth

note patterns in duple meter.

In the early stages of rhythm instruction, the Kodaly Approach introduces music

notes through words and sounds in which the quarter note is “ta” and the eighth note is

“ti.” These syllables are not names but expressions of duration (Chosky, p. 12) and are

only used as an assistance to overcome difficulties during the early stages of rhythm

reading. During initial stages, only note stems are used for rhythm reading. With the

exception of half notes and whole notes, the body of the note is not necessary. Finally,

music rests are taught as beats of silence. It is important to note that rhythm reading is a

major component of choral instruction and must be taught along with singing.

Solfa syllables, sol and mi, using the “movable do” system may be introduced

when basic rhythms are in place. Kodaly hand-signs are used to accompany interval
 The Kodaly Approach with Elementary Music 9

singing and provide a visual demonstration of each syllable. Kodaly attached great

importance to the singing of intervals and broken chords to develop aural abilities

(Szonyi, 1990).

As part of the focus on music reading and writing, a preparatory period of ear

training emphasizes rhythmic and melodic patterns that are encountered in songs and

later in visual form. These type activities lead to the development of inner hearing, the

capacity to think musical sounds without hearing or necessarily voicing them (Campbell

& Scott-Kassner, p. 50).

Kodaly’s Approach is one of great value, not only to music educators, but to

musicians and students as well. Although emphasis has only been placed on the early

stages, it is imperative to note that Kodaly’s Approach does advance to levels of

difficulty, making it an asset to all grades. Examples of activities using the Kodaly

methodology can be found in Appendix A.

Student Achievement

Kodaly’s Approach has influenced student achievement in many different ways.

Below are only a few of the expected outcomes of student achievement based upon

continuous instruction.

As stated before, learning during the early stages of the Kodaly approach, is

acquired by ear and not intellect (Szonyi, 1990, p.30). In each successive Kodaly class,

the child learns new musical concepts subconsciously. As a result, sight-reading is

eventually obtained (Szonyi, 1990). This method also exposes children to many different

songs and rhymes, thereby increasing the child’s music repertoire.

 The Kodaly Approach with Elementary Music 10

Hungarian teams which specialize in music, have provided opportunities to

examine the development of children both in normal classes on the one hand, and in

specialized music classes on the other. They confirm Kodaly’s principles, according to

which intensive musical education exerts a decisively positive influence on both the

emotional and intellectual development of the child (Szonyi, 1990).

Frequent singing of folk-songs exposes children to the rudiments of harmony,

which are soon inculcated into children’s mind, and even though a detailed analysis using

technical terms will be left to a later stage, children will already be familiar with this so-

called arch or ternary form of singing (Szonyi, 1990). They can recognize and name this

phenomenon when introduced to two-part singing and to two-part hand-signs and the

concept of intervals is also clarified (Szonyi, 1990).

Inner hearing is achieved through a combination of Kodaly’s choral instruction

concepts. Children as young as ages 6 and 7 are well able to distinguish pitch within the

solfa system by listening alone (Szonyi, 1990). Children develop into musically

independent individuals who can both read and write music.

Singing, as well as music instruction in general, has also been proven to effect

student achievement in other content areas. To be able to sing with correct intonation,

singers must be able to do three things: to listen, think and sing. The ability to listen

simultaneously develops the ability to concentrate, the ability to understand what you are

listening to and the capacity to remember sounds and sound sequences (Heyning, 2010).

As a result, listening skills are developed and enhanced.

Characteristics of repetition, vocabulary, pattern and rhythm in chants and songs

assist in developing students’ oral language skills. The predictive and repetitive value
 The Kodaly Approach with Elementary Music 11

reflected in song text and recurrence of words within a song is highly beneficial, because

repeated exposure to words ensure reading fluency (Heyning, 2010). Singing and the use

of songs, that is the initial reading of the words, may also motivate disadvantaged readers

who may not like to read more traditional forms of texts (Heyning, 2010).

Contrastingly, studies have compared the Kodaly Approach with other methods of

music instruction. As Colwell (1992) presents, such comparisons would be McDaniel's

Threshold to Music materials, and Richards' musical activities found in Making Music

Your Own music books by Landeck et al. Results showed no significant differences

between the groups in posttest or mean change scores, although the non-Kodaly group

did have higher mean improvement scores (Colwell, 1992).

Unlike Zoltan Kodaly, who believed that singing should be taught based upon a

child’s developmental stage with specific guidelines of instruction, some researchers have

found that singing accuracy is related to age, regardless of instruction (Hornbach &

Taggart, 2005). Others, however, believe that singing is a learned behavior and support

the need for vocal instruction to develop singing skills in children (Hornbach & Taggart,

2005).

Student Attitudes

Students’ attitudes concerning music, in most cases, are directly related to song

choice and song likeability, as well as the methods by which music is taught and the ways

in which music is learned. Allowing students to make choices concerning songs and

certain music activities promote positive attitudes towards learning in music, therefore

making choice a powerful educational tool (Heyning, 2010).

 The Kodaly Approach with Elementary Music 12

Beasley and Chuang’s Web Based Music Study (2008) supports the idea that

student attitudes concerning songs and music in general, are positively linked to the

student’s level of enjoyment for a particular learning method. As a result, students rate

the enjoyableness of certain learning activities low after being required to listen to songs

they dislike and vice versa. Consequently, attitudes emerge in response to musical

experiences.

A student’s attitude toward learning plays a major role in the amount of learning

the student will actually pursue (Popham, 2011). Therefore, all educators should concern

themselves with influencing students’ attitudes and values about learning. In most cases,

recruiting music students based upon their own personal interest, voluntary basis and

encouragement of teachers and or peers have a more positive and lasting effect on

students’ attitudes towards learning music (TAN & Woei-Chee, 2003).

Affective assessment focuses on a student’s attitudes, interests and values, such as

the student’s self-esteem, risk-taking tendencies, and or attitudes toward learning

(Popham, 2011). These affective variables are important because they typically influence

future behaviors (Popham, 2011).

Because attitudes are learned over time through one’s experiences, they tend to be

highly personalized. Disagreement exists as to whether this in fact makes them persistent

over time, or fluid and prone to change from day to day as more knowledge is gained

(Colwell, 1992).
 The Kodaly Approach with Elementary Music 13

CHAPTER THREE: METHODOLOGY

Research Design
Action research is a process of self-study and improvement. As professionals, it

is our responsibility to seek out and apply techniques that will promote a positive change

within our profession. Action research does exactly that. It is the means by which

practitioners investigate and improve their own practices (Hendricks, 2009). In action

research, practitioners look systematically at ways to deal with issues that they are often

confronted with on a day to day basis. As a result, practitioners work with the individuals

around whom their everyday practices revolve. Therefore, action research is the most

appropriate design for this study.

The objective of this study is to compare the effectiveness of two different music

methodologies. During phase 1, the teaching method consisted of a combination of

different techniques taken from several different proven methodologies. These

techniques were merged together and taught as one method. During phrase 2, the

teaching method only consisted of the Kodaly Approach.

This study includes the following data gathering methods: an instructional plan

and rubric, teacher made tests, a reflective journal and a survey.

Setting
The setting for this action research study is an elementary school located in

Meriwether County near the west central part of Georgia. This school was chosen

because it is my place of employment. It is a Title 1 school. The elementary school has a

total of 464 students. This total includes 1 Asian, 228 Black, 12 Hispanic, 2 American

Indian/Alaska Native, 22 Multi-racial and 199 White. Permission to conduct this study

was given by the school principal, as well as the LaGrange College Institutional Review

Board.
Subjects and Participants
 The Kodaly Approach with Elementary Music 14

Subjects for this study were chosen from a school population of 464 students

solely based upon their grade-level. Although all students had prior musical experience,

they had never been exposed to the sight-singing methods that were introduced during

this study. All students were in 1st grade and were between the ages of 6 and 7. The

study was conducted with a total of 11 students, 4 girls and 7 boys. Student academic

achievement levels varied. Most students were of a low social economic status.
The study also included one participant. Since the participant has over 10 years

of creditable experience as a music educator, she was asked to evaluate the instructional

plan for this study.

Procedures and Data Collection Methods
The data shell has been included on the next page. It provides a brief synopsis of

how specific data were collected and analyzed during the research process. All data

information has been sectioned based upon each focus question.

 The Kodaly Approach with Elementary Music 15

Table 3.1. Data Shell

Focus Question Literature Type: Method, How are data analyzed Rationale
Sources Data, Validity

How can the teaching Szonyi, E. (1990) Type of Method: Coded for themes Looking for categorical and
concepts of Zoltan Instructional Plan Recurring repeating data that form
Kodaly be incorporated Dominant patterns of behaviors
into the general music Choksy, L. (1999) Type of Data: Emerging
classroom? Qualitative
Type of Validity:
Instructional Plan Campbell, P. & Content
Scott-Kassner
(2006)

How will the concepts of Szonyi, E. (1990) Type of Method: Independent T To determine if there are
Zoltan Kodaly influence Teacher made – Effect size significant differences
student achievement? Tests and quizzes Survey between means from two
Colwell, R. (1992) independent groups
Student Outcomes Type of data:
Interval The decision to reject the
Heyning L. (2010) null hypothesis has been set
Type of Validity: at p < .05.
Content
Small effect size
r = 0.0 - .20
Medium effect size
r = .20 - .50
Large effect size
r = .50 or larger

Desire to find what

questions (items) are
significant (and which ones
are not). The significance
level is reported at the
p < .05, p < .01 and the
p < .001 levels for the Chi
Square

How did the teaching Hendricks, C. Type of Method: Coded for themes Looking for categorical and
concepts of Zoltan (2009) Reflective Journal Recurring repeating data that form
Kodaly affect students’ Survey Dominant patterns of behaviors
attitudes towards music? Emerging
Heyning, (2010) Type of Data: To determine if there are
Self- reflection and Qualitative Independent T significant differences
student affect Ordinal Chi Square between means from two
Popham, W. Effect size independent groups
(2011) Type of Validity:
Construct The decision to reject the
null hypothesis has been set
at p < .05.

Desire to find what

questions (items) are
significant (and which ones
are not). The significance
level is reported at the
p < .05, p < .01 and the
p < .001 levels

small effect size

r = 0.1 − 0.23
medium effect size
r = 0.24 − 0.36
large effect size
r = 0.37 or larger
 The Kodaly Approach with Elementary Music 16

The action research study took place in two phases, the 1st four weeks of the 3rd

quarter and the 1st four weeks of the 4th quarter. The action research study began with an

instructional plan. While the approach was different, the standards and objectives for

each phrase remained the same. During the first phase, research subjects were taught

using a more traditional approach which involved a combination of several different

techniques and a standard music curriculum textbook. These techniques did not involve

any concepts taken from the Kodaly Approach.

Prior to beginning the study all subjects completed a multiple choice and

performance-based pretest. Next, research subjects reviewed the concepts that were

taught and should have been learned in kindergarten: in-tune singing, the ability to step

and clap rhythm and beat, the difference between high-low, upward-downward, loud-soft,

fast-slow, singing games and songs. Recordings related to these previously taught

concepts were played. Student performances, questions, listening examples and

observations were used to evaluate the strengths and weakness of each concept. Based

upon these results and the results of the pretest, a starting point of instruction was

determined.
Students were introduced to singing exercises which presented solfa syllables

using numbers only. These syllables included so (5), fa (4), mi (3), re (2) and do (1).

Rhythms were presented first through quarter notes and quarter rest and lastly, through

eighth notes. These notes and rhythm patterns were taught using syllables such as pear

(one syllable) for quarter notes, apple (two syllables) for eighth notes and the whispered

word, rest for all quarter rest. Notes and rhythm patterns were also taught by using

examples of long and short sounds. When compared to each other, long represents the

length of time the quarter note is held, while short-short represents the length of time the
 The Kodaly Approach with Elementary Music 17

paired eighth notes are held. Research subjects were allowed to choose the method that

worked best for them. Songs and chants that included these solfa syllables and rhythm

patterns were used as sources for teaching.

Subjects were required to sing and demonstrate rhythm patterns alone as well as

with others during regular class activities and assessments. Clapping, tapping and

percussion instruments were used to demonstrate rhythm patterns. A posttest was given

at the end of the four week process. Student responses, reflections and all other

miscellaneous information were gathered and recorded daily in a reflective journal.

During the second phase of the action research process, research subjects were

taught using the Kodaly Approach (refer to the instructional plan in Appendix B). Prior

to beginning the second phase of study, all subjects completed a multiple choice and

performance-based pre-test. Next, research subjects reviewed the concepts that were

taught and should have been learned in kindergarten: in-tune singing, the ability to step

and clap rhythm and beat, the difference between high- low, loud-soft, fast-slow, singing

games and songs.

“Peter, Peter, Pumpkin Eater” and “Baa, Baa, Black Sheep” are examples of

duple meter nursery rhymes that are commonly used within the Kodaly Approach to

teach rhythm and beat to young children (Choksy, 1999). Children did the following: 1)

said these in rhythm, 2) stepped the beat, 3) clapped the rhythm (the way the words

sound) 4) played the rhythm on hand drums or rhythm sticks while stepping the beat, and

or 5) clapped the rhythm while thinking the words but not saying them aloud (Choksy,

1999, pg.33). Student performances were evaluated and a starting point of instruction

was determined.
Students were introduced to rhythm in the following order: quarter notes, paired

eighth notes and quarter rests (Szonyi, 1990). Rhythms were introduced with stems and
 The Kodaly Approach with Elementary Music 18

taught using the “ta” and “ti” format. Students reviewed previously learned rhymes and

songs, which sequentially included quarter notes, paired eighth notes and quarter rest.

Students did the following: 1) sung the song with words; 2) sung the song using ta and ti

3) used rhythm pattern sticks to construct the patterns that were sung and/ or; 4) sung the

song while pointing to the sticks. Students were introduced to new material, chants,

songs and rhymes which included these patterns.

Concurrently with training in rhythm and beat, attention was given to in-tune

singing using mostly singing games and folk-songs, which were based upon the

pentatonic scale. According to Choksy (1999), the first rhythmic and melodic patterns

taught to children should be drawn from previously taught singing games and songs.

Simple song material based upon minor thirds (so, mi), and in some material, la, should

be used as sources for teaching (Choksy, 1999). When subjects can accurately

distinguish the highness and lowness between pitches and can sing them well in tune,

they are then ready to begin melodic patterns (Choksy, 1999). These steps were precisely

followed.
Students used large arm motions and moved cutout figures to show high and low

sounds within melodic patterns. For example, while singing, students would push cutout

figures such as stars and umbrellas to show upward and downward movement within

melodic patterns. Terms, such as “lines” and “spaces” can be taught using this same

activity, although we did not reach this point. After these concepts have been mastered,

students should learn hand signs to accompany so and mi. Only when children are secure

in aural recognition, in-tune singing and writing of sol and mi should they move to the

next note, la (Choksy, 1999).

As discussed in Table 3.1, this study utilized several different data collecting

methods. Focus question one utilized an instructional plan and rubric. The instructional
 The Kodaly Approach with Elementary Music 19

plan (see Appendix B), is based upon the Kodaly Approach, a child developmental

approach to music instruction. The instructional plan and rubric was reviewed and

revised by a more experienced music educator to ensure legitimacy.

Focus question two is based upon student achievement. Data for focus question

two were taken from teacher-made tests and quizzes. Finally, focus question three is

based upon student attitudes. A student survey (see Appendix C) was used to collect data

for focus question three.

Student responses, reflections and all other miscellaneous information were

gathered by the teacher and recorded daily in a reflective journal. Journals, as well as

surveys, are two methods of data collection, which focus on the affective variables of

students. Both are used as forms of reflection for this study. Journals provide a way to

keep track of how different types of reflection are used throughout the course of action

research (Hendricks, 2009).

There are several different types of reflection, one of which, reflection-on-action.

Reflection-on-action occurs when individuals reflect on actions and thoughts after they

have already taken place (Hendricks, 2009). Data from this form of reflection is included

in this study. Reflective journal prompts have been included in Appendix D.

Validity, Reliability, Dependability and Bias

Research studies are of little value without credibility and validity, which are

established through multiple forms of data (Hendricks, 2009). Credibility can be

established through triangulation, a process in which multiple forms of data are collected

and analyzed (Hendricks, 2009). Likewise, this study established credibility and validity

through the application of multiple forms of data.

There are three different types of validity. Of the three, only content and

construct validity are utilized in this study. Content validity centers on how well the test
 The Kodaly Approach with Elementary Music 20

item represents the related discipline, while construct validity determines how well a test

gauge represents the behaviors chosen to describe the trait (Popham, 2011).

An instructional plan and rubric has been used to collect qualitative data for focus

question one. The instructional plan and rubric established content validity. Content

validity is germane when an instrument attempts to measure specific information learned

such as content taught in a course. Therefore, the instructional plan and rubric establishes

content validity because it assesses the subject matter.

Data for focus question one ensures dependability because of the following: data

collection and treatment were kept consistent; the data collection setting was controlled;

data was accurately recorded with the use of protocols and a chain of evidence was

established. The instructional plan and rubric was reviewed to make sure the instruments

were not unfair, offensive and/ or bias. Popham (2011) states that biasness is present

when there are elements in an assessment procedure that distort a student’s performance

merely because of the student’s personal characteristics. Care has been taken to ensure

that the instructional plan and rubric is free of such characteristics.

Focus question two used a teacher-made test to collect quantitative data. This

method of collecting data establishes content validity because it centers on how well the

test item represents the related discipline. This method of data collection also establishes

reliability. Reliability minimizes errors and biases so that the study can be replicated.

The teacher-made test has been reviewed to make sure that it is not unfair, offensive and/

or bias.

Finally, focus question three utilized a student survey and a teacher reflective

journal to collect quantitative data. This method of collecting data establishes construct
 The Kodaly Approach with Elementary Music 21

validity because it assesses student opinions. A construct is a non-measurable

characteristic such as intelligence or disposition. How well a test gauges construct

validity is determined by how well it represents the behaviors chosen to describe the trait.

Data for focus question three also ensures dependability because it maintains well

organized raw data, provides complete and accurate supporting data and establishes a

chain of evidence. All instruments were checked to make certain they did not contain any

unfair, offensive or bias components.

Analysis of Data

Data has been analyzed by focus question. Qualitative data in focus question one

and focus question two have been coded for recurring, dominant and emerging themes in

search of rationale. Rationale is defined as categorical and repeating data that form

patterns of behaviors.

Quantitative data has been analyzed statistically using an independent t-test, effect

size and chi square. The independent t-test was used to determine if there was a

significant difference between the means from the two independent groups. The decision

to reject the null hypothesis has been set at p < .05. Effect size is the term given to a

family of indices that measure the magnitude of the treatment effect. A Cohen’s d was

used to measure the independent groups’ effect size (small effect size, r = 0.0 − 0.20;

medium effect size, r = 0.20 − 0.50; large effect size is any value above 0.50). The study

also utilized a chi square to determine which questions (items) were significant and

which questions (items) were not significant. The significance level is reported at the p

< .05, p < .01 and the p < .001 levels.

 The Kodaly Approach with Elementary Music 22

Aside from focus questions, the entire study has been analyzed holistically. It has

been reviewed for accuracy and consistency, as well as approved by faculty. By doing so,

consensual validation was attained. Consensual validation is defined as an agreement

among competent others that the description, interpretation, evaluation and thematic are

right (Eisner, 1991). Since results are compared to the literature, the study also attains

epistemological validation.

Eisner (1991) describes structural corroboration as a confluence of evidence that

comes together to form a compelling whole. Within Eisner’s definition are embedded the

concepts of fairness and precision. To be fair, one must state that he or she plans to

present alternative (opposing) perspectives with which one may not particularly agree. To

be precise, one must state how he or she will present a tight argument, coherent case and

have strong evidence to assert judgments. Eisner refers to this precision as ‘rightness of

fit.’ Likewise, structural corroboration is incorporated into this study through its

utilization of multiple data sources. To ensure fairness, opposing points of view have

been presented within the study. To ensure rightness of fit, great care has been taken to

ensure that the study is precise and accurate. All of the aspects discussed above make

this study creditable.

Eisner (1991) discusses the process by where perception and understanding by

others will increase because of one’s research. He defines this process as referential

adequacy. Likewise, this study contains referential adequacy because it can be replicated

by others and easily used for future research. Therefore it also contains transferability.

Catalytic validity is defined as the degree to which one anticipates his or her study

to shape and transform the participants, subjects or school (Lather as cited by Kinchloe &
 The Kodaly Approach with Elementary Music 23

McLaren, 1998). Likewise, this study caused a positive change or transformation for the

researcher and others. Therefore it attains catalytic validity.

As stated earlier, the objective of this study is to compare the effectiveness of two

different approaches to teaching music: the traditional (combined) approach and the

Kodaly Methodology. The setting for this study was a Title 1 elementary school. The

subjects were in 1st grade. During the first phase, research subjects were taught using the

traditional approach. During the second phase, research subjects were taught using the

Kodaly Methodology. Qualitative and quantitative data was collected and analyzed

statistically. The study has been proven to be valid, reliable, dependable and free of

biasness.

CHAPTER FOUR: RESULTS

Focus Question one asks: How can the teaching concepts of Zoltan Kodaly be

incorporated into the general music classroom? An instructional plan and rubric has been

used to collect data for focus question one. The instructional plan and rubric incorporated

the teaching concepts of Zoltan Kodaly into the general music classroom through the

utilization of many activities. Students sang and played simple songs, nursery rhythms

and singing games. Students played rhythms of melodies by tapping (lap, desk, table top

or floor); chanted the melody’s rhythm using “ta’s” and “ti’s”. Students listened to and
 The Kodaly Approach with Elementary Music 24

analyzed music in terms of dynamics, tempo and timbre; used movement (walking and

jogging motions) to demonstrate principles of rhythm (long and short) and beat. Students

participated in rhythmic dictation, group internal singing exercises and individual internal

singing exercises. Students were also asked to sing melodies and/ or chant these melodies

on “ta’s” and “ti’s”. The data from these activities have been analyzed qualitatively:

coded for recurring, dominant and emerging themes. The following codes were

established: Singing Exercises (SE), Instruments/ Body Percussion (IBP) and Movement/

Rhythm/ Beat (MRB).

Students began the study by singing familiar nursery rhymes, simple songs,

singing games and chants. Most students, with the exception of a few, did extremely well

and were excited to perform singing games and chants. Certain singing games were

accompanied by movements and/ or patty cake. These became favorites among students.

However, individual internal singing, in the early stages, presented a challenge for all

students. Students understood the concept but could not successfully demonstrate it.

Students were asked to sing simple folk songs externally and internally while focusing on

in-tune singing and inner hearing. During internal singing exercises, each student was

given a specified section of a song to sing aloud. In comparison, students performed

better during group internal singing exercises than during individual exercises. During

group internal singing, students were asked to sing a familiar song and then on cue, sing

it silently and again on cue sing it aloud. This continued throughout the entire song.

Although all students did not master these concepts, pitch and intonation gradually

improved. It is also important to note that internal singing and inner hearing had not been

previously taught.
 The Kodaly Approach with Elementary Music 25

All students seemed to enjoy playing instruments. Many students even asked “are

we playing instruments today?” All students actively participated and even completed

the instrument activities with very few interruptions. Instruments were used to assist

students in demonstrating/ performing the beat as well as during rhythm-reading

exercises. Students echoed simple rhythmic patterns using instruments as well as body

percussion. Students also performed a steady beat and simple rhythmic patterns using

body percussion and instruments. Although two students could not successfully perform

the steady beat, most students were able to perform echoes and play rhythmic patterns. It

is important to note that students preferred to perform rhythmic patterns on instruments

rather than by clapping or tapping them.

Students were required to move, alone as well as collectively, to a varied

repertoire of music. Students used movements such as walking, jogging, skipping,

dancing and hand motions to demonstrate principles of rhythm (long and short) beat and

tempo. Students also used movements to demonstrate knowledge of rhythmic notation

(quarter notes and paired eighth notes). Students were required to respond to and

distinguish between contrasts in pitch, dynamics, and tempo with gross locomotor and

non-locomotor movements. These activities served as reviews for the majority of

students. Therefore, the majority of the students could consistently demonstrate a steady

beat, even though they were not as consistent in demonstrating the beat in songs with

changing tempos. With continued practice all students showed improvement in these

areas. Students were more attentive when they were actively involved through

movement.
 The Kodaly Approach with Elementary Music 26

Focus question two asks: How will the concepts of Zoltan Kodaly influence

student achievement? A teacher-made test was used to collect data for focus question

two. The teacher-made test consisted of a multiple choice portion and a performance

portion. The data were analyzed quantitatively and statistically by using an independent t-

test and effect size using Cohen’s d. The results and a brief explanation have been

included on the following page.

Table 4.1: Multiple Choice Test Outcomes

t(20)= 1.58, p > 0.5

As Table 4.1 shows, these data indicate that the probability is greater than 5% that

on any one test of the null hypothesis the two groups differ because of the way they were

taught. Therefore I accept the null. There is no significant difference between the two
 The Kodaly Approach with Elementary Music 27

means. However, the mean score for the 3rd nine weeks traditional group is higher than

the mean score for the 4th nine weeks Kodaly group. The Effect Size Cohen’s d

calculation is 0.678. This indicates a large effect size.

 The Kodaly Approach with Elementary Music 28

Table 4.2: Performance Test Outcomes

t(20)= 1.22, p > 0.5

As Table 4.2 shows, these data indicate that the probability is greater than 5% that

on any one test of the null hypothesis the two groups differ because of the way they were

taught. Therefore I accept the null. There is no significant difference between the two

means. Even though both groups received a passing score, the mean score of the

traditional group is higher than that of the Kodaly group. The Effect Size Cohen’s d is

0.517. This indicates a large effect size.

Focus question three asks: How did the teaching concepts of Zoltan Kodaly affect

students’ attitudes towards music? A student survey and a teacher reflective journal have

been used to collect data for focus question three. The data has been analyzed

qualitatively and statistically by using a Chi Square. The results and a brief explanation

have been included on the next page.

Table 4.3: Chi Square for Student Survey

 The Kodaly Approach with Elementary Music 29

*p < .05, **p < .01, ***p < .001

As shown in Table 4.3, the survey data has been analyzed qualitatively and

statistically by using a Chi Square. The significance level was set at p < .05, p < .01 and

the p < .001. These significant levels indicate the level of probability that on any one test

of the null hypothesis that the frequency of votes is equally distributed across all

categories by chance alone.

The results of the chi-square statistic for the traditional group revealed several

significant questions. Survey questions 1, 3, 5, 6, 8 and 9 were all significant when

p < .05. A high percentage of students answered yes in response to questions 1, 3, 6, and

9 while a high percentage of students answered no in response to questions 5 and 8.

Survey question 2 was found significant when p < .01 while survey questions 4 and 7

showed no significant difference. Contrastingly, for the Kodaly group, none of the

survey question responses were found to be significant.

The following data were collected in the teacher reflective journal and coded

based upon the students’ performance. As in focus question one, the following codes

were also utilized for focus question three: Attitudes toward Activities (ATA), Problem

Solving Strategies (PSS), Class Behavior (CB) and Class Participation (CP).
 The Kodaly Approach with Elementary Music 30

Most students began the semester with a positive and exciting outlook about

learning music. As the four week study progressed, many students lost this positive

attitude about learning music. For most students the excitement was no longer evident.

This was especially true among male students.

In the area of problem-solving strategies, during early stages, students

encountered difficulties performing combined quarter note and 8th note patterns. Most

students could not demonstrate these patterns without assistance from the teacher. Also

during the early stages, internal singing presented a challenge for all students. However,

after several weeks, when students could correctly perform certain activities (demonstrate

rhythm through movement, clapping and chanting; sing internally), three students would

sometimes assist other students by correcting wrong responses during performance

activities.

With only a few exceptions, most students were well behaved and attentive during

class. However, particular students were not always attentive and sometimes disrupted

class. Participation was consistent during performance, as well as individual activities. It

is important to note that two students did not perform well individually, but performed

well during collective class activities.

Students sang well individually, as well as collectively. With the exception of two

students, all others enjoyed singing alone. Students really enjoyed participating in the

singing games and movement activities. Students sang simple songs, nursery rhythms

and singing games with expression and good intonation.

CHAPTER FIVE: ANALYSIS AND DISCUSSION OF RESULTS

Analysis
 The Kodaly Approach with Elementary Music 31

An instructional plan and rubric was used to collect data for focus question one.

These data have been analyzed qualitatively: coded for recurring, dominant and emerging

themes. The following codes were established: Singing Exercises (SE), Instruments/

Body Percussion (IBP) and Movement/ Rhythm/ Beat (MRB).

In the area of singing exercises (SE), all students were required to sing alone as

well as collectively. During the traditional phase, students sung first grade level songs

taken from The Music Connection Teacher’s Edition text book (Foresman, 2000). During

the Kodaly phase, students sung familiar nursery rhymes, simple songs, singing games

and chants. Many singing games included movements and hand motions. These became

popular among students. Singing during the traditional phase was also accompanied by

some type of movement and/ or hand motions. These also became popular among

students. Incorporating movement/ and or hand motions while singing was proven in

both phases to be an effective form of teaching. Therefore, when students are actively

engaged they tend to remember concepts better and they seemingly view learning as a fun

process.

During the Kodaly phase, students also participated in inner hearing/ internal

singing exercises. Students struggled to correctly demonstrate the concepts of internal

singing. However, students performed better during group internal singing exercises than

during individual exercises. All students showed improvements in pitch and intonation,

even those from phase one who did not participate in inner hearing exercises. This

proves that with proper instruction and continuous practice, all students regardless of the

teaching method can demonstrate quality singing with pitch accuracy and good

intonation.
 The Kodaly Approach with Elementary Music 32

There were also several themes in the area of movement, rhythm and beat (MRB).

As previously stated, students from both phases seemingly showed great interest and

were actively engaged when singing exercises included movement and/ or hand motions.

Students also retained knowledge better during this exercises. Both groups received

passing scores on the performance portion of the teacher-made test, but did not on the

multiple choice portion. When asked to show the beat through movement, students from

both groups performed well. Similarly, students from both groups did not consistently

demonstrate the beat during songs with multiple tempos. Both groups performed well

during rhythm reading exercises. Initially, the Kodaly students encountered more

problems with combined quarter note and eighth note patterns that did the traditional

group.

A teacher-made test consisting of a multiple choice portion and a performance

portion was used to collect data for focus question two. The results indicated that the

probability is greater than 5% that on any one test of the null hypothesis that the two

groups differed because of the way they were taught. Therefore I accept the null. There

is no significant difference between the two means. Based upon the results of this study,

the Kodaly Method did not prove to be more effective than the traditional method of

teaching elementary music.

A student survey and a teacher reflective journal were used to collect data for

focus question three. The survey data has been analyzed qualitatively and statistically

with a Chi Square. The results of the Chi Square statistic revealed which questions were

significant and which questions were not. During the traditional phase questions 1, 3, 5,

6, 8, and 9 were found to be significant. Question 2 was found to be highly significant.

 The Kodaly Approach with Elementary Music 33

In response to question 1, “music is one of my favorite classes”, 64% of the students

answered yes. In response to question 2, “I like it when we play instruments in music”,

82% of the students answered yes. In response to question 3, “I like it when we sing in

music”, 64% of the students answered yes. In response to question 5, “performing alone

makes me scare”, 73% of the students answered no. In response to question 6, “I think I

will get a good grade in music”, 73% of the students answered yes. In response to

question 8, “I like reading notes better than singing”, 64% of the students answered no.

Finally, in response to question 9, “I like singing better than reading notes”, 73% of the

students answered yes. Contrastingly, during the Kodaly phase, no statements were

proven significant.

The following data were collected in the teacher reflective journal and coded

based upon the students’ performance. The following codes were utilized for focus

question three: Attitudes toward Activities (ATA), Problem Solving Strategies (PSS),

Class Behavior (CB) and Class Participation (CP). Specific themes were established for

each code.

In the area of attitudes toward activities, initially the majority of students from

both the traditional phase and the Kodaly phase had positive expectations and was

excited to be in music. However, as the weeks progressed many Kodaly students’

attitudes changed, while most traditional students’ attitudes remained positive. This

change was especially evident among Kodaly male students. When surveyed, “Music is

one of my favorite classes” students from the traditional group showed significance in the

yes category at the .05 level while students from the Kodaly group showed no

significance. Consequently, the traditional group showed positive attitudes towards

 The Kodaly Approach with Elementary Music 34

music and therefore performed better and vice versa. These data suggest that students

who maintain positive attitudes about music perform better than those who do not.

In the area of problem-solving strategies, initially all students encountered

difficulties performing combined quarter note and 8th note patterns. However, students

from the Kodaly phase seemed to enjoy figuring out the different types of notes that were

played during rhythm guessing exercises. Several students even volunteered to help

those that did not correctly demonstrate and/ or perform certain rhythms patterns. After

several weeks of exposure and numerous activities students from the Kodaly phase could

correctly distinguish the difference between the sounds of quarter notes and eighth notes

as well as perform the patterns. Although students from the traditional phase did not

participate in rhythm guessing exercises, they were still able to correctly perform and

demonstrate quarter note and eighth note patterns.

In the area of class behavior, most students were well behaved and attentive

during class. However, during each phase, particular students were not always attentive

and sometimes disrupted class. Data collected in the reflective journal revealed that the

traditional students were more attention than the Kodaly students. Participation was

consistent among girls and boys during the traditional phase, but less consistent among

boys during the Kodaly phase. Also, when asked to perform alone, one student

responded, “I don’t want to do it by myself.” For this reason, it is important to note that

several students did not perform well individually, but performed well during collective

class activities.
The results of this study were compared with current literature for

epistemological validation. The results prove that the findings of the current literature are

indeed true. As mentioned in the literature review, in music reading and writing, a
 The Kodaly Approach with Elementary Music 35

preparatory period of ear training should emphasize rhythmic and melodic patterns that

are encountered in songs first without visual form. This fosters the ability to think

musical sounds without hearing or necessarily voicing them and eventually leads to inner

hearing (Campbell & Scott-Kassner). During the traditional phase/ phase 1, even though

students could correctly read and demonstrate quarter note and eighth note rhythm

patterns, some of these students still encountered difficulties when asked to write quarter

note and eighth note patterns by ear.

The Kodaly Approach has been compared to other methods of music instruction;

these include McDaniel’s Threshold to Music materials, as well as Richard’s Making

Music Your Own music books by Landeck et al (Colwell, 1992). Results showed no

significant differences between the groups in posttest or mean change scores, although

the non-Kodaly group did have higher mean improvement scores (Colwell, 1992, p.500).

Similarly, the results of this study also showed no significant difference between the

means of the traditional group and the Kodaly group; the traditional group (non-Kodaly

group) also had a higher mean score than the Kodaly group.
Beasley and Chuang’s Web Based Music Study (2008) supports the idea that

student attitudes concerning music are positively affected by the student’s level of

enjoyment for a particular learning method. As a result, students rate the enjoyableness

of certain learning activities low after being required to listen to songs they dislike and

vice versa. Consequently, attitudes emerge in response to musical experiences. These

ideas were proven to be true in this study as well. During both phases students’ attitudes

were positive when they participated in activities that they clearly enjoyed and vice versa.

Therefore, student attitudes were consistent with the level of enjoyment for the music

activities and experiences of each day.

Discussion
 The Kodaly Approach with Elementary Music 36

Both the traditional (combined) and Kodaly methods of music instruction have

been proven to be effective in elementary music. However this study did not prove the

Kodaly Method of music instruction to be more effective that the traditional method. As

a matter of fact, the mean score for the traditional group was actually higher than that of

the Kodaly group. There are many possible reasons why this research produced such

results. Nevertheless, I believe that student attitudes and teacher effectiveness presented

the most important bearings on the results of this study.

Student attitudes concerning learning in any subject are profoundly affected by

the students’ own personal opinion of the subject, the method of instruction, the manner

in which information is presented, the activities involved and the attitude of the teacher.

Students who entered music with a positive attitude and an interest in the subject or daily

activity had a stronger desire to participate and perform well and vice versa. Regardless

of the students’ attitude, it is the teacher’s responsibility to make sure all students are

actively involved and engaged in the learning process, but the acquisition of knowledge is

left up to student ability and personal desire.

The contribution of this study is both to knowledge and practice. It can be used as

a guide for proven strategies in the areas of singing, inner hearing and rhythm reading. It

offers several different activities relating to these topics. This study also provides insight

to the life, beliefs and practices of Zoltan Kodaly, a prominent educator in the field of

music. It is important that educators seek out the best practices and latest research in

order to improve the quality of education for students and as means of self-improvement

for themselves. Hence this study is relevant.

Structural corroboration has been incorporated into this study through the use of

multiple data sources. The study includes opposing points of view. Also, great care has
 The Kodaly Approach with Elementary Music 37

been taken to ensure that the study is precise and accurate. These aspects work together

to make this study creditable.

Implications
The quantitative findings within this study cannot be generalized to a larger

population simply because the sample size is too small. Nevertheless major themes were

discovered in the quantitative findings of this study. They are as follows: 1) singing that

is accompanied by movement/ and or hand motions is an effective form of teaching

music. Students retain knowledge better during these exercises. 2) Student success in

music is directly linked to student attitudes. 3) Teacher opinions, even after careful

examination and observation, may not always be consistent with student opinions (based

upon survey results).

This study will be important to music educators who are considering

incorporating the Kodaly Method into their curriculum, as well as to educators who are

interested in the effectiveness of the traditional/ combined method of music instruction.

This study includes step by step procedures and a detailed instructional plan that can be

easily replicated by others and/ or easily used for future research.

This study helped to shape the musical skills of all subjects. Even though all

subjects did not pass the teacher-made test, they all showed positive signs of

improvement in one or more of these areas: singing accuracy, song repertoire, rhythm

reading, knowledge/ demonstration of the beat etc. This study also transformed my skill

as a music teacher. Since the Kodaly Approach is child-centered and based upon the

ability of the child at different stages, I’ve learned to incorporate more activities that

involve playful learning. Students still receive standard based instruction but in a

different manner. I’ve also given students opportunities to select music and activities that

they are interested in learning. This fostered positive attitudes about learning music,
 The Kodaly Approach with Elementary Music 38

especially among older students. Also as a direct result of the Kodaly Approach I have

been exposed to many new techniques. Combined, these things have made me a better

teacher.
Impact on Student Learning
There was not a significant different between the means of the traditional group

and the Kodaly group. However, all students showed improvements in pitch accuracy

and intonation. Students also showed improvements in their ability to read quarter note

and eighth note rhythm patterns.

Recommendations for Future Research
After completing this study, I have gained knowledge that several things could

have been done differently for better results. These things are listed below. 1) Students

would have been required to label their survey based upon gender; 2) the results of the

teacher-made test would have been analyzed by gender as well.

If required, this study can be extended by lengthening the time-frame set aside for

the subjects to acquire certain skills. Educators may also choose to extend the research to

Kodaly’s next stage of music acquisition.

 The Kodaly Approach with Elementary Music 39

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 The Kodaly Approach with Elementary Music 40

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GA: LaGrange College.

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Boston, MA: Pearson Education, Inc.

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Macmillan Publishers.

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students' perceptions of choral learning. Asia Pacific Education Review, 4(2)

161-169. Retrieved from http:// eri.snu.ac.kr/aper/vol4no2.html.

APPENDIX A
 The Kodaly Approach with Elementary Music 41

Example Activities
The Kodaly Approach with Elementary Music 42
The Kodaly Approach with Elementary Music 43
The Kodaly Approach with Elementary Music 44
The Kodaly Approach with Elementary Music 45
 The Kodaly Approach with Elementary Music 46

APPENDIX B

Instructional Plan

Unit: Fundamentals & Rhythm Reading

Duration: 3rd Nine Weeks- 4 wks.; 4th Nine Weeks- 4 wks.
Grade: 1st- General Music

Standards:
M1GM.1 – Singing, alone and with others, a varied repertoire of music
a. Sing melodies in a limited range using appropriate head voice accompanied and
unaccompanied.
b. Echo simple singing and speech patterns; perform call and response songs.
c. Sing from memory multiple songs representing various genres, tonalities, meters, and
cultures including at least one song in a foreign language.

M1GM.2 – Performing on instruments, alone and with others, a varied repertoire of

music
a. Echo simple rhythmic patterns using body percussion as well as classroom instruments
with appropriate technique.
b. Perform a steady beat and simple rhythmic patterns using body percussion as well as
classroom instruments with appropriate technique.

M1GM.3 – Reading and notating music

a. Read simple notation including quarter note, quarter rest and paired eighth notes using
non-traditional and/or traditional icons.
b. Identify non-traditional and/or traditional representations of simple quarter note,
quarter rest, and paired eighth note rhythmic patterns in response to teacher performance.

M1GM.6 – Listening to, analyzing, and describing music

a. Distinguish between contrasts (pitch, dynamics, tempo, timbre) in various pieces of
music.
b. Describe music using appropriate vocabulary (e.g., high, low, loud, quiet, fast, and
slow).

M1GM.10 – Moving, alone and with others, to a varied repertoire of music

a. Respond to contrasts and events in music with gross locomotor and non-locomotor
movements.

Materials: Collection of Specified Songs, CDs, and Percussion Instruments

Methods: Kodaly Approach

Objectives:
 Demonstrate in-tune singing and knowledge of inner hearing
 The Kodaly Approach with Elementary Music 47

 Demonstrate knowledge of rhythmic notation (quarter notes, paired eighth notes

and quarter rest) through walking, jogging, clapping, tapping and playing
instruments
 Demonstrate knowledge of music fundamentals (in-tune singing, dynamics,
tempo, timbre long and short principles of rhythm, and beat)

Example Activities
 Sing and play simple songs and nursery rhythms and singing games
 After singing a familiar melody, play the rhythm of the melody by tapping it on
lap, desk, table top or floor; Chant the melody’s rhythm using “ta’s” and “ti’s”
 Listen to and analyze music in terms of dynamics, tempo and timbre
 Use movement (walking and jogging motions) to demonstrate principles of
rhythm (long and short) and beat
 Rhythmic dictation- Using neutral syllables sing a measure of a melody or chant
or clap a measure of a rhythm from a song; ask children to determine the form of
notation; Afterwards, sing the melody and or chant it on “ta’s” and “ti’s”.
 Sing simple folk songs externally and internally while focusing on in tune singing
and inner hearing; During internal singing exercises, each student will have a
specified section of a song that will be sung aloud and checked for pitch and
intonation
 Group internal singing exercises-Sing a familiar song; On cue, continue to sing it
silently; On cue, sing it aloud
 Following study of isolated rhythmic patterns, sight-read a new song that
includes the same patterns

Assessments:
 Observations during regular class activities
 Teacher-made test (multiple choice and short answer)
 Teacher-made performance test
 The Kodaly Approach with Elementary Music 48

APPENDIX C

Student Survey

Directions: Read each statement and bubble in only one choice. This is only a survey. You will
not be graded or expected to discuss your choice. Do not write you name anywhere on this
sheet.

1. Music is one of my favorite classes.

((3)-Yes) ((2)-Sometimes) ((1)-No)

2. I like it when we play instruments in music.

((3)-Yes) ((2)-Sometimes) ((1)-No)

3. I like it when we sing in music.

((3)-Yes) ((2)-Sometimes) ((1)-No)

4. I like it when we move and clap in music.

((3)-Yes) ((2)-Sometimes) ((1)-No)

5. Performing alone makes me scare.

((3)-Yes) ((2)-Sometimes) ((1)-No)

6. I think I will get a good grade in music.

((3)-Yes) ((2)-Sometimes) ((1)-No)

7. I like the way we learn music.

((3)-Yes) ((2)-Sometimes) ((1)-No)

8. I like reading notes better than singing.

((3)-Yes) ((2)-Sometimes) ((1)-No)

9. I like singing better than reading notes.

((3)-Yes) ((2)-Sometimes) ((1)-No)
 The Kodaly Approach with Elementary Music 49

APPENDIX D

Reflective Journal Prompts

Class:
Date:
Strategy:
1. What important things
did I learn from this
session?

2. What did we not cover

that I expected we
should?

3. What was surprising

about this session?

4. As a result of this
session, what changes
will be made?

5. One thing I learned in

this session that I may
be able to use in the
future is...

6. I am still unsure
about...

7. Ideas for action, based

on this session...

8. What I most liked

about this session
was...

9. What I most disliked

about this session
was...

10. Miscellaneous/
interesting facts I
learned in this
session...