Kodály News...Scott, S (2016), ‘The challenges of imitation for children with Autism Spectrum Disorder with implications for general music education’, National Association for

Ko

dál

y N

ews

w w w . K o d á l y . o r g . a uVicto

rian

KMEIA is an educational association established to promote

excellence in music education according to the educational and

aesthetic philosophies of the late Hungarian composer

Zoltan Kodály. Members of the Institute comprise of classroom

and instrumental music teachers; choral and ensemble conductors;

schools and other educational bodies.

Volume 43, Issue 4, October 2018 October 2018 Edition

Volume 43, Issue 4, October 2018 Page 2

2019 Dates to your diary now!

WorkshopsIn 2019 the KMEIA Vic committee have decided to not run the Autumn Seminar but instead a series of Workshops – further details of venues, presenters and costs will be posted to: www.kmeiavicevents.org.au as they are confirmed – in the meantime please note these dates in your diaries:

Saturday 16 February 2019Back to School Day (with VOSA) – details at www.vosa.org.au

Friday 17 May 2019Primary Kodály Day: More than Ta, Ti Ti & Rest (can you give me the symbols please?)

Saturday 7 September 2019Working in Harmony: Kodály Choral Day

Saturday 16 November 2019Foundations for Success: Music for Early Childhood and Diverse Abilities

CoursesIn 2019 the KMEIA Vic Committee are planning to run the following courses with accreditation towards the Australian Kodály Certificate:

• Primary Level 1 and 2 – planned on Saturdays in Semester 1

• Secondary Level 1 – day TBC in Semester 1

• Secondary Level 2 – day TBC in Semester 1

• AKC Musicianship and Conducting – Semester 2

At the time we go to print all details of presenters, times and venues are not confirmed but it is planned that registration will be open soon – if you are interested keep an eye on the website and let the office know if you are interested. Course costs will be similar to previous years if you are doing your budgets!

Choral Festivals2019 is festival year and both Junior and Senior Festivals will be held in August so watch this space!

Join ANCA for a celebration of choral music which brings together some of Australia’s finest choirs. Work with and learn from international and Australian conductors who are masters in their craft. We look forward to seeing you in Fremantle!

KEY PRESENTERS: ROBERT HOLLINGWORTH, MARK O’LEARY, JENNIFER THAM

13 - 16 April 2019 – Choralfest Freo 2019 Fremantle, WA – Visit: choralfest.org.au

Also for your Diary

“Zoltan Kodály believed that...”


Members are encouraged to apply for the bursary of $500 to undertake professional development of their choice. The kinds of activities members might consider are Victorian Kodály Teacher Training Courses, University of Queensland Summer Program, international training programs, curriculum initiatives, mentoring, conducting courses etc.

Applications will be assessed on merit by the committee and should address the following criteria:

• Describe the professional development activity (provide full details such as cost, location, budget, if it is an activity not organised by KMEIA);

• What you hope to learn from the professional development; Jean Heriot Professional Development Bursary 2019

• How you anticipate the professional development will benefit your teaching; and

• Why it is important KMEIA Vic. supports your participation in this activity.

Successful applicants will be required to submit a report to the committee detailing what they have learnt and how it has influenced their teaching 3 months after completing the professional development.

They will also be required to contribute a reflection of their experience in the form of a short article to the Kodály News.

Applications close 1 April 2019.

From the President

In this issue...2019 Dates to your diary now! .............2

From the President ...............................3

Jean Heriot professional development bursary .................................................3

‘Do what I do’ – When imitation and gesture get lost in translation ................4

Brain-Based Activities using Kodály songs ....................................................5

Parental Involvement in Music Education ............................................6

Music Rotations - a tool for practicing just about anything! .............................7

Your Retrieval Folio using SongPAL .....9

Ideas for making a Kodály program work in a composite class setting ................10

Kodaly National Conference Reflection ...........................................11

Kodaly National Conference Reflection ...........................................12

Kodály National Conference – Snippets .............................................14

Resource Directory .............................15

Notice Board ......................................16

Welcome to the final edition of the KMEIA Victorian Branch Newsletter for 2018.

It was great to hear that many Victorians made the journey to Perth for the Kodály National Conference at the end of September. It’s a good sign that Kodály is alive and well in Victoria, and we have many passionate and dedicated teachers keen to maintain their high professional standards. I hope everyone enjoyed the sessions and socialising with peers from around the country.

I have also heard great reports from the Big Kodály Day. We were lucky that Bori was able to extend her trip in Australia to spend a day with us in Melbourne.

Sadly I was unable to attend either event due to conducting commitments with Gondwana Voices choir in northern Queensland, but I have been thinking of everyone and was there in spirit!

And speaking of choral music, 2019 is the year for our biennial choral festivals. We will be running two choral festivals – the Kodály Choral Festival for secondary and adult choirs, and the Kodály Junior Choral Festival for primary aged choirs. These provide a great opportunity for our choirs to hear each other and sing together in a non-competitive environment.

We are excited to announce that KMEIA Victorian Branch are commissioning new works for each festival. Alice Chance will be writing a new piece for the Junior festival and Ben Van Tienen for the Senior festival. Let us know if you would like to be involved and would like more information. Places are limited so get these events into your calendars now.

Your Victorian Branch Committee has been looking ahead and planning to bring you great professional learning opportunities in 2019. We will be having a series of major full day workshops on specific topics, as well as the usual courses so look out for details and plan to be involved.

The Annual General Meeting of KMEIA Victorian Branch Inc will be held over Brunch on Saturday the 15th of December. The meeting will be short, but the Brunch will be longer and all are welcome to come along. We would love to see you there, so look out for full details.

Mark O’Leary OAM Victorian Branch President

Applications are invited from members for the 2019

Jean HeriotPROFESSIONAL DEVELOPMENT BURSARY


‘Do what I do’ – When imitation and gesture get lost in translation Submitted by Jo Kitley, Specialist Music teacher, JoJo's Music for Kids, Hawthorn and Port Melbourne

It is highly likely that every Music teacher in Australia has had a student with Autism Spectrum Disorder (ASD) in their mainstream classroom. As teachers, we understand that ASD affects our students in a myriad of different ways. Research shows that students with ASD may have impairments in three areas of brain function:

1. Executive function affects skills such as planning, organising, self-reflecting, self-monitoring, impulse control, time management, working memory and the ability to prioritise.

2. Central coherence affects a student’s ability to see the ‘big picture’ rather than a collection of unrelated details.

3. Theory of Mind refers to a student’s ability to read and interpret a person’s thoughts and actions in order understand what the person is trying to communicate.

How might these impairments impact the engagement of students with ASD in our Kodály music classroom where imitation and gesture are frequently used to teach song repertoire and movement activities?

In search of new strategies to enhance the engagement of my students with ASD, I discovered a brilliant research paper by Sheila Scott titled ‘The Challenges of Imitation for Children with Autism Spectrum Disorders with Implications for General Music Education’ (2016). In this paper, Scott outlined that ‘children on the autism spectrum do not imitate the actions of others with the same understanding and fluidity as their typically developing peers’ (Scott, 2016 p.17). It dawned on me that my students with ASD were disengaged because they were quite possibly frustrated with the ambiguity that surrounded each activity I presented.

In her paper, Scott recommended that Music educators continue to patiently use imitation as a teaching strategy. In addition to this, Scott urged Music educators to make small adjustments to their teaching style to accommodate the unique learning needs of each student.

The following evidence-based adjustments were recommended:

1. Using an object (teddy, puppet etc) in movement activities.

2. Using percussion instruments to keep the beat during singing activities.

3. Using student-centred imitation where the teacher imitates the student.

4. Using a balance of meaningful and non-meaningful gesture during movement activities. Meaningful gesture might be jumping like a kangaroo. Non-meaningful gesture refers to simply ‘mirroring’ someone else’s movements.

In my case, these adjustments immensely helped my students with ASD. I was delighted to see their joyful engagement in singing and movement activities rather than running away or refusing to participate. I hope these recommendations help you in your classroom too.

ReferencesAttwood, T (2008), The complete guide to Asperger’s Syndrome, Kingsley Publishers London.

Australian Institute of Health and Welfare (2017), Web report: Autism in Australia, viewed 8 September 2018, <https://www.aihw.gov.au/reports/disability/autism-in-

australia/contents/autism>

Scott, S (2016), ‘The challenges of imitation for children with Autism Spectrum Disorder with implications for general music education’, National Association for Music

Education, Vol. 34(2), pp.13-20, DOI: 10.1177/8755123314548043

CURRENT STATISTICS IN AUSTRALIA

1 in 150 Australians have ASD

83% of Australians diagnosed with ASD are

UNDER 25 YEARS of age

The diagnosis of ASD is MOST PREVALENT IN CHILDREN aged 5 to 14 years

72% of children with ASD are educated in mainstream schools

(AIHW 2017)



Brain-Based Activities using Kodály songs Submitted and presented by Ebony Birch-Hanger, Neurodevelopmental Therapist & Music Specialist, Personalised Approaches, Melbourne

Apple Tree

BEAT

Step 1 Students pass a ball back and forth to themselves.Step 2 Students pass a ball in a circle around their backs, to themselves. Step 3 Like step 1 but in pairs – students pass in a circle to each

other. Step 4 Like step 2 but in pairs – students pass in a circle, including

behind their backs, to each other. Step 5 Use any of steps 1 – 4 above and change direction every

phrase or change steps every phrase.

RHYTHM

Ta = bring hands together & pass the ball to your other handTi-ti = tap the ball on your knee

* See notation on music above

As music educators, you likely already know that even just listening to music accesses both sides of the brain. This is why music is such a powerful activity for overall development. But there are specific ways we can make music even more of a brain-based experience.

The motor cortex crosses both hemispheres of the brain and therefore, combining movement with music adds to the power of cross-hemispheric stimulation & development. At this year’s Autumn Seminar I shared activities I’ve developed for my students incorporating left/right-side & top/bottom-half movements; a

variety of motor patterns involving crossing the midline and sequencing; all while focusing on beat, rhythm and melody. Here are some of the activities the attendees enjoyed.

They involve many levels of complexity (appropriate for special needs right through to secondary school) and therefore allow you to use the songs multiple times over a number of years. Enjoy!

(P.S – You may like to practice some of the activities first before trying to teach your students – don’t forget to have a laugh while doing so!)

Pease Porridge Hot

BEAT

Beat 1 = Clap – to emphasise the strong beat and the ‘so’ pitch (‘do’ at the end).

Beat 2 = Cross hand to tap opposite knee (seated with legs in a V) – alternating.

or Cross elbow to tap opposite knee (standing, bringing knees up) - alternating.

* See notation on music above

RHYTHM

In pairs, students clap and tap the rhythm together:Ta = clap partners handsTi-ti = tap on knees

* Practise with both hands and just one hand at a time.

BEAT & RHYTHM TOGETHERStep1 Combine the movements from the rhythm section, while

walking the beat. Step 2 Combine the movements from the rhythm section, in one

hand, while tapping the beat in the other hand.Step 3 Do the same as Step 2 but change the roll of each hand every

phrase.Step 4 Jump on each of the rests, in combination with any of steps

1, 2 or 3.


Rocky Mountain

MELODY

Step 1 – Sing in solfa with hand signs, changing hands every phrase. Step 2 – Sing in solfa with hand signs, changing hands every bar. Step 3 – Pick one note and always show that hand sign with one

hand, show all other hand signs in the other hand. Step 4 – Pick two notes eg: always show ‘do’ in the left hand, always

show ‘mi’ in the right hand, and show all other notes with both hands.

BEAT & MELODY TOGETHER

Step 1 – Walk the beat forwards during the upwards phrases, walk the beat backwards during the downwards phrases. Step 2 – As for step 1 but while doing solfa hand signs.

Parental Involvement in Music Education Submitted by Alahana Somerville, Head of Woodwind/Classroom Music Teacher, Mount Waverley Secondary College, Melbourne

I don’t think I know any music educators who have not had to advocate for their subject at least once throughout their career. My first experience of advocating music education was in my first year of teaching during a parent teacher conference. This particular parent was concerned about the amount of music ‘homework’ her child was getting. “She does not have time to do her music homework as she has to finish her maths questions as well as write an english essay”.Sound familiar? I’m sure many people can relate to the feelings of frustration I had throughout this interview, but it got me thinking. Why do music educators have to work so hard to prove the worth of their subject? We can all see the value in it, why don’t all members of the community understand why it is so important for a child to have a quality music education? In my experience, I believe the answer lies in a lack of understanding from parents of what is involved in learning music.At the end of 2017 I decided to change my approach in how I distributed home learning to my students. What if I was to get parents involved in my students’ music education? Now, I’m not just talking about emails to parents on student progress, I am talking about actual participation from both parents/families during child's’ home learning. If I can get parents to take part in

their child’s education, surely they will start understanding what goes on in a music classroom and how valuable it is for their child's development.An example of parental participation in my classes can be seen through a task which I set for my Year 7 students this week. The task was to perform a two or three part canon with a parent or other family member. Students’ had to teach their parents a canon, which they had learned in class, and then perform it together. Submission was via a video recording. Not only does this further embed the child’s understanding of the song, but families are able to take part in the learning at home as well. In doing this, parents are able to experience the learning from the student’s perspective. This has had a really powerful impact on how parents value music education as they can see first hand the students’ development in team work, problem solving, communication, accuracy, fluency as well as emotional and social wellbeing.It has also increased communication between myself and the families. As a result, parents are taking a greater interest and there is a stronger rapport towards music at various school events. This understanding of the values of music education has increased student participation in the subject, which in turn is resulting in a greater music education for all.



Music Rotations - a tool for practicing just about anything! Submitted by Stefania Gatt, Music Teacher, St Cecilia’s Primary School, Glen Iris, Melbourne and Don Bosco Primary School, Narre Warren, Melbourne

When considering how to go about practice activities I am a believer in a hands on approach where students can use resources and equipment to achieve an outcome. I believe that when students have something physical to manipulate they become instantly engaged in the task hand. Whether it be opening an envelope to find something special such as flashcards to sort or making a pattern with counters, young students become instantly engaged in the process of learning by doing.

A road block I have encountered along the way is finding the time to create class sets of these kinds of activities. Not only is it time consuming with designing, printing and of course laminating for durability but it can also be costly. It was then I began to ponder, “How can I create worthwhile hands on activities that aren’t going to take me long to make and will not break the bank?” After much thought my solution was to try Music Rotations. I could split my class into small groups to work on different tasks and then I would only need to make several items rather than the dreaded whole class set. So far it has worked wonderfully! I was so pleased with the results that it got me thinking that there are so many other benefits to music rotations that could be explored.

Benefits of Music Rotations:

• Student engagement: During rotations students are working on hands on activities simulating play. This keeps them engaged in what they are learning because they can manipulate and move things. Students become more attentive as there is an expectation to complete a task within a time frame.

• Customisation: It is a flexible way to instruct students as the teacher can customise activities based on prior

knowledge, skill set and what needs to be practiced.

• Supporting student needs: Activities can be tailored to the individual needs of students. It is an opportunity to provide extension activities for high achievers or enabling activities for students who need extra support. The personalised care allows students to feel successful in whatever they are doing.

• Practice makes perfect: Excuse the cliche, but practices does make perfect. Allowing time for practice and repeating rotations ensures skill development.

• Assessment: As the students are rotating the teacher or their peers can give instant feedback which they can immediately implement as they are practicing. The teacher can also pre-plan to implement a rotation where students are formally assessed such as singing a melody or clapping a rhythm flashcard to the teacher.


So, Where to start?1. Set the ground rules: It is vital to have

procedures in place for students so that they know the expectations of a rotational session. This may take a few sessions and lots of patience! I always begin with a brief discussion about student behaviour expectations, what to do if you get stuck, what to do if you finish early, how do we respect ourselves, others, equipment and our learning time and what will be the consequence if not on task during the rotations. After a few sessions students begin to get into the routine and less reminders are needed.

2. Group your students: This is really personal preference and dependent on your school setting. I work in schools which have composite classes. In a grade 3/4 class for example I may have two groups of grade 3’s and two groups of grade 4’s. It is however also useful to mix the 3’s and 4’s at times as the older students can be role models for the younger ones. I keep rotation groups for a term or semester so students can work collaboratively with others for a period of time before swapping.

3. Have a good variety/range of activities: It is important to keep them on their toes! Have a range of independent, partner and group activities ready. These activities should be practice based activities only and not offer any brand new information. Activities could include performance based group tasks, singing games, reading activities from flashcards, quick worksheets such as fill in the blanks, composition tasks using manipulative such as paddle pop sticks, matching activities, name the song activities or even technology based activities on iPads, recording devices or listening stations. The possibilities really are endless!

4. Time each session and stick to it: I usually have 10-15 minute rotations. This allows students to focus on a single task for a short amount of time.

It also encourages time management skills as students need to get straight onto task in order to complete the activity.

5. Reflect with students after each session: At the end of the lesson I ask my students what worked well and why? What didn’t work well and why? Are there any activities you didn’t

finish? What do you need to keep working on?

There is really no end to the possibilities that music

rotations can offer our students. Once you get started you are sure to see the benefits that rotations have to offer.



Your Retrieval Folio using SongPALSubmitted by Terry Moran, Head of Music, German European School, Singapore.

The songs that make up our individual libraries come from all around the world. Books, conferences, the web, colleagues, relatives, friends and our learners all contribute to the varied and interesting treasures creating their unique power. With a bit of effort, scanning, photocopying and filling in song file sheets, our collections start to take shape.

For the Kodály teacher this is our most important resource. Part of the challenge is how to best catalogue songs so they’re easy to find and relevant to the needs of your learners. In a perfect world we would have all songs in multiple volumes; by year groups, theme, tone set, scale, melodic purpose, or rhythms. When we’re in a hurry, speed is everything.

I saw that creating an electronic personal archival library database and electronic indexes was the way to go in easing the organizational crunch of all the various options to making it work for the individual.

Snapping a pic of a song and adding it into an electronic database opens a whole new world to an individual song file. This makes it easy to catalogue and search for a song that fits your search criteria and helps you focus on curriculum goals. Hours of digging around can be now done in seconds.

Following the Retrieval Folio Guidelines created by KMEIA 2015, SongPAL was created to encourage continued development of song file libraries and the ability to share them. Its simple interface makes it easy to manoeuvre through the app. Although there is a link on the apps homepage to a manual, its simplicity means you won’t need to spend hours reading over a manual to create your first song file.

Entering the analysis is easy. Rhythm groups are already created, including compound time rhythms. Various scales are pre-entered, along with several topics and typical themes we love to use. After you’ve got several songs in the library you can use the search function to locate songs with specific criteria, enter the library to update information or share copies of your song files with colleagues, friends and even your students. Using an iPhone or an iPad, you can add your score and fill in the analysis section about the song. Once saved as a PDF, you save it on your PC or MAC, email it, and print it out for your lesson plans.

Take a look and see how SongPAL can help you.


Ideas for making a Kodály program work in a composite class setting Submitted by Melissa Karakaltsas, Junior School Classroom Music Teacher, Lowther Hall Anglican Grammar School, Essendon, Melbourne

Every now and then I will meet someone at a KMEIA event who teaches in a school with composite classes (e.g. Year 1/2, Year 3/4). Often these people like the values of the Kodály Philosophy and the systematic nature of the Kodály Method, but they wonder if the Method can truly work in this setting. I sense a genuine desire from these teachers to create a program that incorporates the benefits of a Kodály-based education. But they lack other people’s examples, discoveries and knowledge to support them in this aim. I do not teach in this context; I am no expert. However, I hope to share some ideas I have collected from those who are familiar with these contexts. Perhaps this will get the conversation started and will be a small contribution to a growing body of knowledge for these teachers to draw on and build.

Serena Jefferis, the Music Co-ordinator at Gippsland Grammar School – Bairnsdale Campus, over the past few years has taught Prep, Year 1/2, Year 3/4, Year 5 and Year 6 classes. In addition, in some school years she has had a Prep/1 class and a Year 1/2 class. Although she initially taught the classes within these arrangements (to be discussed later), her preference more recently has been to modify the timetable with the other specialist teachers and leadership team to allow the two composite classes to be taught in single year-level classes:

“The Year 1’s will learn Japanese while the 2’s have Music and then vice versa. The same will occur for the year 3/4 students. After trialling options for two/three years, I can highly recommend the best option if anyone can possibly arrange it is to negotiate straight year-level classes.” (School structure: Prep, 1/2, 3/4, 5, 6)

Depending on the arrangement of the composite classes at your school, this arrangement may not work directly for you. Perhaps you have a Year 3, Year 3/4 and Year 4 class. Or perhaps you have Prep/1 one year and Year 1/2 the following year. Arranging single year-level classes may require further experimentation. Maybe you can only arrange it for some of your teaching time. Perhaps it will involve collaboration with three or more specialist teachers. Or it may not work in your context at all. But hopefully this idea will prompt thought and discussion with other teachers and your leadership team to optimise the time you have with your students.

Prior to arranging single year-level classes, Serena ran a two-year model with her Year 1/2 classes and Year 3/4 classes:

“My solution, after lots of thinking, reading and discussions with others. My Year 1/2 classes… learn the same melodic and rhythmic elements two years in a row and I am developing an odd years/even years repertoire. My Year 3/4 classes are the same.”

It seems that this two-year model involves some speeding up and slowing down of the progression compared to what might

be expected with single year-level classes experiencing a more traditional ‘Prepare, Make Conscious, Practise’ progression. The Year 1’s and Year 3’s may be learning some elements earlier than they are traditionally considered ‘ready’, but then as Serena says, “students in Year 2 consolidate their Year 1 learning and the same with Year 4 students”. There is also room for extension such as through appropriate questioning and practising the same elements in more complex settings.

When Serena’s school created a Prep/1 and a Year 1/2 in the same school year, she faced the challenge of maintaining the integrity of the Prep program while teaching the Year 1’s in the Prep/1 class enough content so they could manage as a Year 2 in a 1/2 class the following year.

“[in the Prep/1 class after a Prep only class the year before] my Year 1s are revisiting the Prep program [beat and rhythm, high and low] and I am extending them through questioning and challenging them in other ways without destroying the integrity of the Prep program. In Year 2, they will gain any skills which have been bypassed this year.

… Will they know the names of ta and ti-ti by the end of the year? No, but they will have all of the preparation phase covered and then next year will have them made conscious.”

To compare the speed of the progression in this model compared to single year-level classes across the same years of schooling, Serena sees that there are five years to cover the rhythmic and melodic elements and any other curriculum desired with Year 2 and Year 4 being consolidation years. You may like to experiment with speeding up the progression with the knowledge that the students will return to the content in the following year.

In a box of resources at an Autumn Seminar donated by a retired member, I came across what seems to be the course notes of a seminar held in Maryborough, VIC on Sunday 24 July 1994 by Jean Heriot entitled “Teaching Music in a Multi-Age Setting Using Kodály’s Principles of Music Education” (if anyone knows a more accurate way of referencing this document, please let me know). Due to its age and the inability to observe and speak with the teachers directly, it is difficult to verify the practicality and success of these ideas. The document did however provoke a few thoughts about tasks that students could complete independently of the teacher if you feel you have the class time to set up these tasks. This approach may be suitable if you would prefer to keep the discovery and make conscious steps for each element specific to single year levels in a composite class context. (If you have tried a similar approach, please send in your thoughts.)



Some student-directed activities that Jean seems to have observed in schools include:

• Listening posts (with earphones): recordings of songs (known and unknown) with written instructions e.g. sing and keep the beat; sing and conduct; sing the time names and clap the rhythm; write the solfa under the rhythm notation…

• Manipulatives: e.g. put the rhythm cards in order (4-beat or 1-beat rhythm cards), sing and clap the rhythm of “Lucy Locket” and learn to sing the rhythm from memory; laminated staves with counters and a list of songs to write on the staff and sing; worksheets that require little set up and have simple instructions the students can read themselves…

• Activity cards: written instructions for a task e.g. sing Dinah, sing and keep the beat, work out the rhythm and sing in time names while clapping the rhythm; graded individual part-work tasks with a rubric (e.g. 1. sing the song, 2. sing in solfa, 3. sing in solfa hand signing in canon…)

• Activity cards could also be used with manipulatives or listening posts

These types of activities could be completed by Year 1 while Year 2 are with you discovering a note that is lower than mi, for example, before moving on to a song game that the whole class can participate in. Alternatively, a combination of these activities could be set up as stations, with students rotating amongst the activities over a longer period of time.

This approach would require acceptance of the fact that the Year 1’s will hear the Year 2’s practising do before it has been made conscious to them. A heretical idea to some, but my single year-level Year 1 class swears they know la, yet they can’t hear a note that isn’t so or mi in “Snail Snail”. So I doubt this is such a big deal. Year 3’s might hear the Year 4’s echo rhythms that include ti-tika, Preps might see the Year 1’s read ta-a and ti-ti flashcards before they can keep a steady beat. But the underlying principle will remain the same; students will hear and sing the element subconsciously, they will aurally then visually discover its characteristics step-by-step and only then will they begin using its name and symbol themselves.

I do not assume that I have interpreted and presented any perfect solutions here. However, hopefully you have come across some strategies you can modify or implement directly in your own context to create a more effective educational set up for your students and your own professional satisfaction. If you work in a composite class setting and you have strategies that have helped you manage this challenge, or you would like to comment on any of the ideas in this article, please feel free to email your ideas to be shared with others in a future KMEIA Newsletter article. Please include your name, your school or workplace and your position if you are willing to be credited directly. Contact Melissa Karakaltsas at [email protected]. Serena Jefferis is also happy to be contacted to answer questions or discuss ideas on this topic. Her email address is [email protected].

Kodaly National Conference ReflectionWay Out Here in the West: The strength of the KMEIA communityBy Kathleen Plastow

The Biennial National Conference of the Kodály Music Education Institute of Australia was held in Perth from 1-4 October, 2018 and for me the theme New Horizons: Diverse Perspectives, Shared Journey held especially great significance.

At the end of Term 1, I set my sights on a New Horizon as I relocated from Melbourne to Perth. On arrival, I realised the importance of community, a common philosophy and the Shared Journey, as the WA branch of KMEIA reached out to me. On a personal level this was a very important part of being able to settle in to a new role and a new place. To be welcomed by people that passionately believe in the same music educational philosophies showed me that the decision to move had been a good one. This sense of community only strengthened during the course of the National Conference when in excess of 300 participants from all over the country descended on Presbyterian Ladies College to participate in workshops and discuss the latest papers. The sense of community within KMEIA is amazingly strong, supportive and committed and it was fantastic to catch up with colleagues from all over the country to share the experience.

Diverse Perspectives were shared from almost all Australian States and Territories along with the USA, Hungary and Malaysia. The keynote addresses inspired us all and provided stimulation for

reflection not only on our pedagogical practice, but our motivation and inspiration for what we do. David Elliot, Professor of Music and Music Education and Director of Doctoral Studies in Music Education at New York University, urged us to always keep the person at the centre of our work, stating that while music is made up of notes and rhythms and harmony and form, there is no music without the person. He advocated for the use of philosophical approaches, thinking carefully and critically about our teaching and reminded us that opinion and assumption are the enemies of philosophy. Elliot also encouraged us to think about the big issues in music education, to be logical and to use evidence-based thinking, finally advocating for teachers to teach educatively, explaining that we must not just teach music, but teach people also.

Diverse Perspectives were also evident in the slight differences that our aural philosophy lends itself to. It is fascinating to hear the slight melodic or rhythmic differences that have developed within the repertoire as a result of time and distance.

Thanks must go to Rosalie Scott (WA Branch President), Jason Boron (Convenor) and the Conference Committee members, Claire Armstrong, Donna Cianciosi, Andrew Hislop, Philippa Roy and Deborah Piesse for a fantastic and thought provoking four days.


As a first time National Conference delegate I was unsure of what to expect from my first conference. I was excited and eager to learn everything. My goal: to walk away from the experience with invigorating new ideas that I could take back to my classroom.

Initially I was very confused. I was swarmed with information and too many choices. Which musicianship level am I? Who do I want to see present? What will I benefit from most? More importantly, what can I take back to my school for my students so that they can also benefit? What a great problem to have!

The theme of the conference “New Horizons” aimed to engage its participants to strive for new successes within their teaching practices with Kodály’s philosophy at the heart of all activities. With a large selection of activities on offer, I as a music educator felt supported and inspired from beginning to end. With memorable speeches from key-note speakers, hands on workshops, lesson demonstrations with “real” students, musicianship training, participation in choir and lunch time concerts (and more) there was no way anyone could leave without obtaining a new wealth of knowledge, new exciting ideas and a sense of personal and professional growth.

It is difficult to write about each and every opportunistic learning moment that occurred over the course of the four awe-inspiring days however here is a snapshot of my personal highlights from the workshops that were on offer at the National Conference.

Workshop Highlights BORBÁLA SZIRÁNYI - International guests are always popular at any event and this was particularly evident on day one at Bori’s workshop. The workshop, “Role of movements in lower elementary level to teach any new rhythm and melodic element” demonstrated how movement is connected to singing and how we as educators can use movement to enhance our students perceptions of rhythm and melody. Bori showed Videos of Hungarian students

participating in songs and movement activities. She then applied the same principles to more familiar folk songs such as ‘Tideo’ to demonstrate how the same principles can be applied to our known folk songs in Australia. I also attended two more sessions Bori had to offer as well as attended her Musicianship classes. It is safe to say that every session had everyone up on their feet participating in the demonstrations and participants were guaranteed to walk away with a new wealth on knowledge.

KATE THOMPSON - “Widen your Horizon: Ideas to engage students and their teachers” explored how to turn activities into meaningful experiences for all students, so that they may feel successful in all of their learning tasks, no matter their ability. Kate provided a structure for planning for assessment where students are empowered to take charge of their learning and choose their own goals ultimately leading to the feeling of success. Kate’s workshop had the perfect balance of discussion into core concepts such as planning and assessment as well as active demonstrations which were inclusive of everybody and thoroughly enjoyable.

ALISEN MCLEOD - “It’s not all fun and games when you’re in the middle school, or is it?” demonstrated a mix of games and activities for the middle years (Year 5-8). The games were fun, challenging and engaging and included songs, rhythmic and melodic games which can be adapted and changed according to what the students are focusing on.

JENNY FERRIS - Jenny’s workshop “Planning with Puppets” explored how the Kodály classroom can be enriched through the use of puppets. The session included a discussion on the benefits and uses of puppets as well as demonstrations of their use within songs, games and activities for ELC and Primary levels. It was an active jam-packed session with everyone getting involved in the demonstrations making it a memorable workshop.

RENEE HERON - “Improvisation and Composition in the early years” led participants to discover how improvisation can be a tool to develop composition. Renee’s workshop was packed with information and examples that can immediately be transferred into

Kodály National Conference ReflectionSubmitted by Stefania Gatt, Music Teacher, St Cecilia’s Primary School, Glen Iris, Melbourne and Don Bosco Primary School, Narre Warren, Melbourne



any Early Childhood/Primary classroom. The activities were play based and engaging for all students. Renee provided video’s to watch with real life examples that followed her students from Pre-Primary to Year 3 giving evidence to the importance of the implementation of improvisation from an early age.

JASON BORON - This session was a classroom demonstration of Pre-Primary students taking part in a music lesson. The classroom demonstrations allowed delegates to observe Jason modelling Kodály inspired practice with real students. It was very special to be able to watch an experienced music educator like Jason live in action and then be allowed the opportunity to discuss with him his methods and choices for his teaching.

KABOOM PERCUSSION - Catherine Betts and Joshua Webster were nothing short of engaging and enjoyable. Kaboom Percussion take their workshops to schools Nationally to give students a hands on drumming experi ence. The workshop entailed a highly energetic rhythmic experience including bucket drumming, chair drumming

and cup and stick passing where every delegate had an “instrument”. Now time to go ask my school if we can have them for an incursion! Wish me luck!

MAREE HENNESSY - The session “Living the Dream” presented by Maree looked at the impact of vision, planning, language and organisation culture within school communities. Maree emphasised the importance of the ‘Student Musician’ and creating a culture where students do what musicians do; listen, communicate, analyse, interpret, move, sing, perform, create, and so on. This practical session explored a range of rhythmic and melodic activities and how we as teachers can use language and behaviours to develop the musician in each and every one of our students.

Stefania was the recipient of one of the Kodály Victoria’s 2018 National Conference Scholarships.


From Elizabeth O’Leary

What I enjoyed the most about this conference was the discussion about philosophy and why we need music in our schools and communities. Professor David Elliot spoke about the need for music teachers to be involved in educational research and discussion in a more general setting in order to effectively advocate for the need for music in all schools. He also spoke about the need for music educators to work together, regardless of their personal teaching styles and philosophies, as we all share the goal of building a culture that values music.

From Jenny Gillan

This year's National Kodály Conference was, for me, the best ever! An energetic and generous committee helped things run very smoothly. The quality of the sessions on offer meant I was often left with three sessions I wanted to go to and wondering whether it was physically possible to split myself three ways so as not to miss any of them! Catching up with colleagues who share your passion for music and teaching is definitely a highlight of a National conference, as are the key presenters, in particular for me - David Elliott, Borbála Szirányi and Micheal McCarthy.

Initially, in Borbála's session I thought I was in the wrong group as I was interested in workshops focussed on the Secondary School level, but all she discussed was easily transferrable to Secondary teaching. Borbála covered a systematic approach to polyphony, starting with echoing melodic lines played by a teacher and gradually lead to two part work. This showed some gaps in my teaching and ways to more smoothly convey harmony at a Secondary level.

Micheal's Musicianship class focussed, amongst other things, on intonation. Semitones are different sizes! In particular, ri is closer to mi, or belongs to mi, just as si belongs to la. After an hour, I was hearing pitch differently already. As a teacher we sometimes get used to approximate pitch. The importance of insisting on correct pitch was stressed and that students will put up with what we allow them to get away with!

David Elliott was a special gift. His writings on Music and the links to emotion were explored. A particularly moving Keynote presentation discussed the heartbreaking dilemma of a mother who needed to redecorate her son's room. This son was unable to respond to colour or pattern. It was meaningless to him. So should she have trains and clowns or be more 'honest' and just have white walls for all it would mean to him. Why do we sing to babies when they can't respond? What is happening when we sing?

The call to teach in a way that was compassionate was clearly stated. When asked "What do you teach?" the answer is actually not Music but Children!

I have already used Micheal's material in my Musicianship lessons, Bori's ideas in my training program and David's writings are still resonating and making me pause as I look out of the sea of students I am supposed to impart knowledge to. Am I teaching in a way that helps music to matter to them? I also have some repertoire ideas for my choirs next year.

I have spent a lot of time since coming home reflecting on why I became a teacher and why I ended up amongst this community of educators. I have not regretted my decision. This is an extraordinary group of professionals who teach with heart and strive for excellence. I am grateful for being a part of this team and for the chance to energise my teaching and hone my teaching skills.

Kodály National Conference – Snippets

How Music Teachers converse!



Resource Directory

Mark O’Leary Music Publishing

For all your choral music and music education resources.

www.markolearymusic.comwww.sightsingingschool.com

9578 5459

Two books of delightful Kodály-based photocopiable music worksheets & lesson notes for lower & middle

primary.

[email protected]: 0402 768 325

Company name: from sound to symbol

Author: julia piggin Illustrations: jenni allen

Short description: two books of delightful kodaly‐based photocopiable musicworksheets and lesson notes for lower and middle primary

Contact: [email protected] or phone: (03) 9572 2587

Calling all Performing Arts teachers!Take the drama out of costuming your

school performance this year.No sewing or laundering.

Full inventory provided and delivery available.Stress-free, affordable quality costume hire —

you’ll wonder how you survived without it.Call or email us to find out more.

Phone: 03 8838 2616www.costumeswithoutdrama.com.auinfo@costumeswithoutdrama.com.au

without

Kookaburra Music

Affordable Kodály-based primary school student workbooks, compatible with the Australian National Curriculum, plus other resources.

www.kookaburramusic.com.au Phone: 0438 165 486

DEBORAH SMITH MUSICMusicianship and Aural Training for

the Secondary School

“Invaluable” “I can’t recommend Deborah’s

books highly enough.”

Phone: (03) 9499 3360 Fax: (03) 9497 1797

dsmusic.com.au

Online music resource business specialising in the Kodály approach for Primary and Secondary classrooms, Early Childhood & Tertiary.Accredited teacher training

through our Summer School Music Program.

www.soundthinkingaustralia.comPh 07 3201 2301 Fax 07 3201 2302

Home of Music Room andWe’re Orff

Ph: 03 9434 2209www.bushfirepress.com

Regional Workshops 2018 KMEIA Vic will be running a couple of ‘Music in the Classroom’ workshops in

regional areas in 2018.

If you are interested in one in your area, and in particular, if your school would

be happy to host one, please contact the office.

0409 889 592

ST. CECILIA MUSIC EXAMINATIONS

www.st-cecilia.com.au

Diplomas, Grades, Performing Arts, Concert Certificates

Tel: 1800 675 292

www.musicednet.com

Leaders in integrating music technologyMusic & Media Software - Computer Music Hardware - Audio RecordingLive Sound & PA - Instruments - Video Recording - Training & Support

Facility Design and installation - ICT support – Consulting

1300 723 700


Kodály Victoria CommitteePresident: Mark O’Leary Vice President: Susan Searle Secretary: Melissa KarakaltsasTreasurer: Lisa SheppardOrdinary Committee Members:

Julia Piggin, Ruth Friend, Vern O’Hara, Anne Wilson, Kathleen Plastow, Renee Heron, James Gaspari, Alex St Vincent Welch, Ebony Birch-Hanger and Rowena TallNewsletter Editor: Deborah Smith Email: [email protected] Administrator: Glenys Gijsbers

Kodály Victoria Office3/6 Atherton Road, Oakleigh VIC 3166, Ph: 03 9254 1035 Vic@Kodály.org.au

Newsletter ContributionsWe need your contributions and ideas to help keep our newsletter interesting and relevant. Ideas for submissions include:

• Book Reviews

• Interviews

• Lesson plans and ideas

• Tips and strategies

• An academic article

• A Joke

For more information contact Deborah Smith on [email protected] or 0421 825 302

Deadline for the next edition: Friday 30 November, 2018

Newsletter by Post or Email?You are receiving this newsletter by email unless you have elected to receive it by post. If you would like to change your preferences please contact the office.

Notice Board

JOKES

MembershipCurrent membership

prices are:$70 Ordinary

$100 Family/Corporate

$40 Concession (seniors and full-time students)

Is your membership up to date?

Check the due date on your newsletter label. If you are unsure, contact the

Victorian Office on 03 9254 1035 or email glenys@Kodály.org.au

Are you a member of the International Kodály Society?

Subscriptions are $40 for Ordinary members, $25 for Students and $10 as a Supporter. You can send this in with your

membership and we will forward your subscription to IKS for you.

Memberships are 12 months from the month of joining.

Inspirational Quotes"We must be willing to let go of the life we planned

so as to have the life that is waiting for us.”

Joseph Campbell

Members are invited to attend the:

2018 ANNUAL GENERAL MEETING

Saturday 15 December 2018 10:30am (AGM and Christmas Brunch)

VENUE:JUNE AND MAY,

662 Burke Rd, Camberwell VIC 3124

RSVP by Thursday 13 December to [email protected] or

phone the office on 03 9254 1035



Documents

Kodály News...Scott, S (2016), ‘The challenges of imitation for children with Autism Spectrum Disorder with implications for general music education’, National Association for