1. Recorder Use in Kodály- inspired Classrooms Master’s thesis proposal Janell Bjorklund DePaul University July, 2013 Master’s thesis proposal Janell Bjorklund DePaul University July, 2013

2. Background ROboe R“Classroom instruments” course at UNT RStudent taught in a Kodaly-inspired classroom during a recorder unit RKodaly-certified, teaching is Kodaly- inspired RInspiration from a colleague RTook Level I Orff course with a really strong recorder techniques and pedagogy segment ROboe R“Classroom instruments” course at UNT RStudent taught in a Kodaly-inspired classroom during a recorder unit RKodaly-certified, teaching is Kodaly- inspired RInspiration from a colleague RTook Level I Orff course with a really strong recorder techniques and pedagogy segment

3. Zoltán Kodály  "To teach a child an instrument without first giving him preparatory training and without developing singing, reading and dictating to the highest level along with the playing is to build upon sand. ” -- Zoltán Kodály  Second standard: “ performing on instruments, alone and with others, a varied repertoire of music ” (National Association for Music Educators [NAfME], 1994, National Standards for Music Education, para 1).  “ Kod á ly training is a complete and comprehensive approach to music education which meets the National Standards for Arts Education as published by MENC, © 1994. ” (OAKE, 2012, The Kodaly Concept, para 6).  "To teach a child an instrument without first giving him preparatory training and without developing singing, reading and dictating to the highest level along with the playing is to build upon sand. ” -- Zoltán Kodály  Second standard: “ performing on instruments, alone and with others, a varied repertoire of music ” (National Association for Music Educators [NAfME], 1994, National Standards for Music Education, para 1).  “ Kod á ly training is a complete and comprehensive approach to music education which meets the National Standards for Arts Education as published by MENC, © 1994. ” (OAKE, 2012, The Kodaly Concept, para 6).

4. Recorder in a Kodály- inspired classroom  Therefore, the use of a classroom instrument is required in order to address the national standard regarding performing on instruments. RSoprano recorder is of similar timbre and range to the child’s most natural instrument: their voice. RRecorder and other classroom instruments don’t replace the voice as the musical foundation.  Therefore, the use of a classroom instrument is required in order to address the national standard regarding performing on instruments. RSoprano recorder is of similar timbre and range to the child’s most natural instrument: their voice. RRecorder and other classroom instruments don’t replace the voice as the musical foundation.

5. Organization of American Kodály Educators ROAKE guidelines do not require recorder techniques and pedagogy: R“Special Topics includes subjects that relate to Kodály’s vision and philosophy, such as folk dance, folk instruments, applied music, chamber music, and children’s choir literature” (Organization of American Kodály Educators [OAKE], 2010, p. 4). ROnly 74% of undergraduate institutions surveyed by Schmidt offered recorder and only 44% required it of all teachers. ROAKE guidelines do not require recorder techniques and pedagogy: R“Special Topics includes subjects that relate to Kodály’s vision and philosophy, such as folk dance, folk instruments, applied music, chamber music, and children’s choir literature” (Organization of American Kodály Educators [OAKE], 2010, p. 4). ROnly 74% of undergraduate institutions surveyed by Schmidt offered recorder and only 44% required it of all teachers.

6. Hypothesis and Purpose RI suspect that many Kodály- inspired educators are using recorder as a teaching tool in their classrooms.  The purpose of this study is to investigate the use of the soprano recorder as a teaching tool in Kodály-inspired classrooms RI suspect that many Kodály- inspired educators are using recorder as a teaching tool in their classrooms.  The purpose of this study is to investigate the use of the soprano recorder as a teaching tool in Kodály-inspired classrooms

7. Research Questions R1) Are Kodály-inspired teachers using the soprano recorder in their instruction? R2) At what grade level (or skill level) and how often are they using soprano recorder? R3) What method or pedagogy is driving their instruction?  4) Is the soprano recorder used to reinforce specific musical concepts identified in the Kodály sequence? R1) Are Kodály-inspired teachers using the soprano recorder in their instruction? R2) At what grade level (or skill level) and how often are they using soprano recorder? R3) What method or pedagogy is driving their instruction?  4) Is the soprano recorder used to reinforce specific musical concepts identified in the Kodály sequence?

8. Who Needs the Study ROAKE strongly promotes educators who are life long learners and researchers. RSome commonalities among participants may arise. RThis study could be an impetus for the creation of future professional development sessions and the production and distribution of materials. ROAKE strongly promotes educators who are life long learners and researchers. RSome commonalities among participants may arise. RThis study could be an impetus for the creation of future professional development sessions and the production and distribution of materials.

9. Participants & Method RAttendees of the Midwest Kodaly Music Educators conference in October 2013 may complete the survey on paper. Randomly selected members of OAKE will receive an e-mail invitation to participate. RParticipants will self-report on class room activities involving the soprano recorder and the methods/pedagogy that drives their instruction. RThe online survey will be administered through Google Forms. RAttendees of the Midwest Kodaly Music Educators conference in October 2013 may complete the survey on paper. Randomly selected members of OAKE will receive an e-mail invitation to participate. RParticipants will self-report on class room activities involving the soprano recorder and the methods/pedagogy that drives their instruction. RThe online survey will be administered through Google Forms.

10. The Survey Rhttps://docs.google.com/forms/d/ 1OeLRYNoxyzW_9ccColJLnjHns9_Z YJlYryA7f1hyzkk/viewformhttps://docs.google.com/forms/d/ 1OeLRYNoxyzW_9ccColJLnjHns9_Z YJlYryA7f1hyzkk/viewform Rhttps://docs.google.com/forms/d/ 1OeLRYNoxyzW_9ccColJLnjHns9_Z YJlYryA7f1hyzkk/viewformhttps://docs.google.com/forms/d/ 1OeLRYNoxyzW_9ccColJLnjHns9_Z YJlYryA7f1hyzkk/viewform

11. Analyzing the Results RDescriptive statistics: response rate and demographic proportions. RFrequency counts (n=__) : use recorders vs. do not use recorders. RLook for correlations: recorder use and grade levels taught, recorder use and levels of training of Kodály and/or Orff-Schulwerk. RLook for patterns in open-response questions.  Demographic and open-ended questions may reveal where respondents likely learned to teach recorder. RDescriptive statistics: response rate and demographic proportions. RFrequency counts (n=__) : use recorders vs. do not use recorders. RLook for correlations: recorder use and grade levels taught, recorder use and levels of training of Kodály and/or Orff-Schulwerk. RLook for patterns in open-response questions.  Demographic and open-ended questions may reveal where respondents likely learned to teach recorder.