Kodály EnvoyQuarterly of the Organization of American Kodály Educators VOL. 36, NO. 4 • Summer 2010

2010 OAKE National Conference Music Participation and Academic Success

The Kodály Envoy (ISSN# 1084-1776) is published quarterly by the Organization of American Kodály Educators. © 2010 Organization of American Kodály Educators. All rights reserved.

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Sheila J. ScottBrandon, Manitoba, Canada

Kodály Envoy Contents Summer 2010

VOLuME 36, NuMBER 4

Features and Columns 2 Message from the President: Joy Nelson—OAKE as a National Organization 4 Scholarship Reflection: Joanne Matibag—Firing My Passion for Teaching Music

6 Classroom Connections: Ruth Boshkoff—A Town-Gown School Composition Project 7 Book Review I: Jerry Jaccard—The Kodály Teaching Weave 9 Administrator Connections: Elaine Bernstorf—From Grassroots to Grant Routes to

Ground Roots: Establishing a Kodály Program11 Book Review II: Georgia A. Newlin—Educating Young Singers13 Research Connections: David Gadberry—Music Participation and Academic Success

36th Annual OAKE Conference: Special Section16 Deep in the Heart of Kodály: Music, Sessions, and Sharing: Cecile Johnson

20 2010 OAKE National Conference Keynote Address: Mary Goetze 23 2010 OAKE Scholarships: Caroline Crocker 24 National Honors Choirs Concert: Jeanne Wohlgamuth 26 2010 OAKE Recognition Awards: David Gadberry 31 Administrator Program: Ann M. M. Crouch 32 Newcomers Program: Naomi Katz Cohen 32 News from Board of Directors Meeting

News and Information from OAKE 2 Call for 2011 Conference Poster Session Proposals 3 International Kodály Society 4 News from the National Office: Joan Dahlin 5 National Conference Choir Selection Process 14 OAKE Sustaining Members 34 New Members: First Quarter 2010 36 News from Divisions and Chapters 40 News from OAKE-Endorsed Certification Programs 42 OAKE Board of Directors, Past Presidents, Award Recipients, and Founders 43 OAKE Membership Information and Application 44 Publication Information

Cover: Top left—Sandy Knudsen’s demo session with the Parker Elementary School Chorus, photo by Kent Kuddes; top right—National Conference Children’s Choir concert, photo by Dustin Taylor; Bottom—Anne Eisen’s folk-song session, photo by Kent Kuddes.

OAKE Mission stateMentThe mission of the Organization of American Kodály Educators is to

enrich the quality of life of the people of the u.S.A. through music education by promoting the philosophy of Zoltán Kodály.

v v v v v

OAKE is an affiliated member of the International Kodály Society.

v v v v v

OAKE is an Associated Organization of MENC: The National Association for Music Education.

KODÁLY ENVOY2

MESSAgE FrOM thE PrESIDENt: JOY NELSON

Over the past years, I have often won-dered what it would be like to serve the membership as president of the Organiza-tion of American Kodály Educators. Now, as I write my first message for the Envoy, I realize that the next two years will pass in the twinkling of an eye. Still, with your help and support, it is my hope to make a difference and to play a meaningful and important role as leader, facilitator, and advocate for teachers, parents, and stu-dents everywhere.

First and foremost, please join me in extending a heartfelt round of applause to everyone who worked on the confer-ence in Dallas, Texas. What an incredible event! From the glorious banner parade in the opening ceremonies to the last song sung in Myerson Hall, the conference was a fabulous experience for all. The sessions and meetings were timely and compelling, attendees buzzed with conversation in the hallways, and numerous choirs performed for large and enthusiastic audiences. The banquet featured delicious Southern fare, beautiful table decorations, amazing 38th-story views of Dallas, and an unforgettable

performance by Susan Brumfield that had everyone tapping their toes and singing in three-part harmony.

If you haven’t done so lately, I en-courage you to check out the division and chapter Web sites. They are amazing! Among the many upcoming events, West-ern Division will host a premier conference in Fresno, California, during the first week-end of October. Fresno boasts year-round sunshine, fragrant orange blossoms, and a gorgeous view of snow-capped mountains. Midwest Division will host its annual conference in Milwaukee, Wisconsin, Oc-tober 16–18, complete with singing, polka dance, and traditional Wisconsin brats and pretzels. Nyssa Brown and her commit-tee are finalizing plans for the next OAKE conference in Minneapolis in March 2011, and Liza Myers and her committee are already making arrangements for 2012 in Phoenix, Arizona.

This year, one of our top priorities will be to consider our role as a national organi-zation. As Americans continue to face un-certain futures, we are compelled to review our utilization of both human and finan-

cial resources. Approximately one-third of our members attend the OAKE national conference each year. However, substantial energies and resources are directed toward this event. Should we explore other proj-ects, ideas, or efforts? Are there additional or better ways we can serve, involve, or reach out to our members?

In the coming months, the board will be addressing key issues. What makes OAKE special and unique as an organization? Where do we want to be ten years from now? What are the most valuable services we can provide? How do we want to be viewed? How do we want to be remembered?

You, the members, play an extremely important role in this process. To use our resources in the best possible way, we need to hear from you. Our board is eager, dedi-cated, and ready to respond to your ideas. Together, let’s make a difference!

OAKE as a National Organization

CALL FOr 2011 CONFErENCE POStEr SESSION PrOPOSALS

OAKE will sponsor a research poster session at its national conference in Min-neapolis, Minnesota, March 7–19, 2011. Research reports dealing with topics such as singing, composition, improvisation, developing music-literacy skills, folk-music research, and history and philosophy of the Kodály method are requested.

A poster presentation format will be used. All authors of accepted papers must be OAKE members, and at least one author must be present at the conference poster ses-sion to discuss the research project with in-terested music educators. Authors must also supply 25–30 copies of an abstract as well as 10 copies of the completed paper.

The following guidelines will be in ef-fect for the paper selection process:

Authors should submit one electronic copy (either as a Microsoft Word docu-ment or PDF file) of an abstract (3-page maximum including references) in 12-point font, single-spaced, for use in the selection process. The abstract should deal with each of the following when ap-plicable: (a) purpose(s) of the research; (b) theoretical framework or background for the research; (c) methods, techniques, or modes of inquiry; (d) data sources of evidence; (e) results; (f ) conclusions; (g) importance of the study and recommen-dations for future research.

Submissions should be sent to:Lynn Reynolds Makrin: lrmakrin@aol.com

and OAKE national office: oakeoffice@oake.org

The author’s name, institutional affiliation, and address (including e-mail) should ap-pear only on a separate cover page.

Papers submitted for the conference must comply with the Journal of Research in Music Education Code of Ethics avail-able online at www.menc.org/resources/view/journal-of-research-in-music-educa-tion-code-of-ethics.

Submissions must be postmarked by October 15, 2010.

A qualified panel of reviewers will read the abstracts submitted. Notification will be mailed by December 1, 2010. Ab-stracts will not be returned.

Summer 2010 3

INtErNAtIONAL KODÁLY SOCIEtY

The International Kodály Society is much more than just another organization.

It is an international forum and platform for the exchange of ideas, experiences, and know-how.

It pursues its goals and objectives through being a permanent center of infor-mation and documentation about the life and work of Zoltán Kodály, through bian-nual symposia (the next one June 25–July 1, 2011, in Seoul, Korea: detailed informa-tion will soon be available on the IKS Web site); through assistance to national and local conferences, workshops, and so forth; and through publications about Zoltán Kodály’s vision on music and music educa-tion, varying from scientific publications to methodological books and practical reference works, such as the following:

• 2 Scientific Bulletins per year• A CD in searchable PDF of the Bulletin

archives from 1976 till 2005 (contain-ing 59 Bulletin Booklets, 455 articles in-cluding photographs, and general infor-mation about the International Kodály Society)

• Music Should Belong to Everyone (Ildikó Herboly, 120 quotes of Zoltán Kodály, outlining his musical and educational vi-sion in excerpts from publications such as the Selected Writings, Mein Weg zur Musik, and Visszatekintés)

• The Legacy of Zoltán Kodály (Sr. Mary Al-ice Hein, a compilation of interviews with former Kodály students and collaborators)

• Reflections on Zoltán Kodály (László Vikár, only available on CD and on de-mand)

• An Ode for Music (Judit Hartyányi, 11 analyses of choral compositions by Zoltán Kodály, with two CDs of performances, in-cluding a recording of Zoltán Kodály him-self conducting the Te Deum of Budavár)

• The International Kodály Society Song-

book (a compilation of original folk songs from various countries with a choral ar-rangement done by a composer of the country involved, includes two CDs of recordings)

• Who’s Who of the International Kodály Society (only available on CD in a search-able PDF)

All these publications are offered to In-ternational Kodály Society members at a re-duced price.

Membership fees of the International Kodály Society are kept purposely low (only 30 $US for a full yearly membership, 20 $US for retired persons, 18 $US for stu-dents). We keep the membership fee low to give people living in third- and fourth-world countries the opportunity to be members.

Please consider joining the International Kodály Society, not only for the various benefits that you will have yourself but also because it supports your colleagues in less prosperous parts of the world.

Detailed information about the above mentioned publications and other activities of the International Kodály Society, as well as a membership application form can be found on the IKS Web site: www.iks.hu.

We look forward to having the pleasure of hearing from you and meeting you personal-ly in the future. To work together in mutual respect and understanding we have to know about you.

Only close international col-laboration can offer the promise of success.

—Zoltán Kodály: Opening Address at the Second International Conference of

Musicology in Budapest, 1961

KODÁLY ENVOY4

As I prepared for my 2010 summer plans and thought about whether or not I could attend a Kodály level III workshop, I reflected on my wonderful experience in the summer of 2009 completing Kodály level II at Portland State university. I was humbled to be awarded the Susan Taylor Howell Memorial Scholarship last year.

Many teachers who complete Kodály training express that it is a “life-changing event.” As a recipient of an award from OAKE, I would like to share with you what importance Kodály has played in my life professionally and personally. First of all, my experience with general music methods came through my studies at Ari-zona State university in 2008. Because I did not grow up having elementary general music, the more exposure I had to Kodály, Orff, Dalcroze, and other methods and philosophies, the more interested I became in expanding my knowledge of them. As a music educator, it amazed me how many lightbulbs kept going on during Kodály training. Kodály level I with Shelley Coo-per was a real eye-opener in teaching the primary grade levels, particularly using visual icons for music literacy. My Kodály levels training was also the first experience for me as a member of a choral ensemble. Without my training, I don’t think I would have taken the risk of starting up and instructing a fourth-grade choir at my

school this year, and it has been wonderful!Kodály level II drew me closer to the

pedagogy through engaging classes with Susan Brumfield. There was not a moment where Susan did not keep my attention: every lecture and every sample lesson kept me eager to learn more. It reinforced my belief of what an amazing process it is—from internalizing musical concepts, to using singing as the basis of learning, to realizing the importance of folk music. What is most memorable is the language Susan demonstrates and emphasizes to use when examining a concept with children. Even after almost a year of trying to apply this language in my teaching, I still need more practice—but how impressive that it works and makes sense.

Kodály training helped me not only in my teaching, but as a musician as well. Musicianship classes proved to be challeng-ing but only helped my flute playing. In addition, the past year has been a difficult one for me personally. I couldn’t imagine dealing with a difficult time personally along with having a job that I was not happy with.

I have always told myself that I could not do something that I was not passion-ate about. Music is definitely a passion of mine, and completing Kodály training has added to my passion for music—in my belief that it is important in culture and

SChOLArShIP rEFLECtION: JOANNE MAtIBAg

Firing My Passion for Teaching Music

history, in my belief of its importance in revealing a person’s identity in all stages of life, as a music educator, and as a musi-cian. Firing this passion in music has kept me going, kept me believing in something, even if I was struggling to stay positive in my personal life.

Joanne Matibag has been using Kodály in the general music classroom for the past 3 years. Prior to teaching, Joanne served 4 years in the Marine Corps, where she performed as a musician on flute and pic-colo. She holds a Bachelors’ degree in music technology from Duquesne University and a Master’s degree in music education from Arizona State University. Joanne has also volunteered extensively in the nonprofit sector, mentoring with Free Arts Arizona and Big Brothers Big Sisters. She completed her Kodály levels training at Arizona State University and Portland State University. Joanne currently teaches K–5 general music, choir, and band in the Maricopa Unified School District and teaches flute privately in her home studio in Arizona.

NEWS FrOM thE NAtIONAL OFFICE: JOAN DAhLIN

OAKE’s National Conference in Dal-las has passed—thanks to all who made this conference so great. OAKE had many volunteers that worked so hard to make this conference unique. Special thanks to the following people: Cecile Johnson and her team; Nancy Johnson; Leigh Ann Garner; the hard working National Con-

ference Choir Committee; Randy Dahlin, Sonia Esch, Pat McGuigan, Yvonne Daniel-son and Glenda Bjorum (who worked at the registration desk and ran equipment around to sessions). Also thanks to OAKE Vice President Penny Whalen who oversaw the whole operation.

We are looking forward to next year’s

conference in Minneapolis—the National Office’s home state. National Program Chair Nyssa Brown and her team are hard at work already!

This issue arrives in glorious sum-mer—a time to rest, attend Kodály training classes, and rejuvenate for the next school year. I hope you have a great summer!

Summer 2010 5

National Conference Choir Selection Process

OAKE is streamlining the choir selec-tion process in an attempt to make complet-ing forms and meeting deadlines easier for our teacher members.

On July 15 an electronic audition ap-plication form will be placed on the OAKE Web site in the Member Directory. A post-card will follow on August 2 reminding teachers of the audition postmark deadline. Reminder e-mails will be sent on August 2, 14, and October 1, again reminding teach-ers of the application postmark deadline for all audition applications.

Following the audition weekend in October, accepted/nonaccepted letters will be mailed via the u.S. Postal Service to students’ home addresses. At the same time, the sponsoring teacher will receive via e-mail a list of the accepted/nonaccepted students and directions for electronic ac-cess to the OAKE members-only section to retrieve the registration form, health form, and school-release forms.

National Conference Choir Application CalendarJuly 15—Audition application forms on OAKE Web siteAugust 2 —Postcard and e-mail reminder about October audition postmark dateAugust 15—E-mail reminder of October audition postmark dateOctober 1—E-mail reminder of October audition postmark dateOctober 9—Audition application and CD postmark deadline November 2—Accepted/nonaccepted letter sent to students’ homesNovember 2—E-mail list to teachers of accept/nonaccepted students, registration-

material information, and postmark deadlineNovember 15—E-mail reminder of November 20 registration postmark dateNovember 20—Registration form, heath form, school-release form, and payment

to National Office postmark deadline

Sponsoring teachers (not parents) will be responsible for submitting all choir reg-istration forms and payments on or before the published postmark deadline. One week prior to the published deadline, an e-mail will be sent reminding sponsoring teachers of the approaching postmark date.

We are hopeful that using electronic ap-plication forms and several reminder e-mails regarding published postmark deadlines will reduce the number of disappointed students, teachers, and parents. We wish all sponsoring teachers much success in this new process. A checklist of important dates is below.

KODÁLY ENVOY6

I am a retired music teacher and choral conductor—but I have not retired as a mu-sician and music-lover. Thus, I play, sing, write, and support and mentor music edu-cators in my community. Now I seem to be busier than ever, and this appears to be the case with many of my Kodály compatriots. Some of my new activities are ones I was too busy for when I was teaching, including serving on several music-related boards and running two competitions for young mu-sic students in our school system. Because I am particularly fond of one called Kids Compose, I would like to tell you about it in hopes that it will inspire you to begin one like it in your community.

Kids Compose is modeled on a pro-gram in New York State called Hey Mozart! The premise of this program is that music created by children—as opposed to chil-dren’s music composed by adults—can lead to greater appreciation for music as an art form. My program, Kids Compose, though similar to the one in New York State, has been tailored to fit the strengths of the Bloomington community and the Indiana university Jacobs School of Music.

Here is how the competition works: Elementary school children from

grades 2 through 6 are invited to submit original melodies not more than 32 bars in length to the Kids Compose project. Though they may notate their own melo-dy, teachers or parents can also transcribe it for them. From the melodies submitted, eight are selected by a panel of judges. These are then arranged and orchestrated by four students in the composition department of the Indiana university Jacobs School of Music. Each university composer combines two of the student compositions into one work, so there are two works for band and two for orchestra. The finished compositions are performed at two concerts for school children, held in a concert hall large enough to allow all of the fifth graders in the school district (about 1,200) to attend the orchestra con-

cert and all of the second graders (about the same number) to attend the band con-cert. Both the elementary student melody composers and their Iu student composers are introduced to the audience, and the conductor asks an instrumentalist to play each of the original melodies. In this man-ner, the students in the audience are able to understand the entire process. Next comes the thrill of hearing the new piece. During the concert, the student works are recorded, and each Iu student composer and their corresponding grade-school composers receives a CD of both concerts. At the end of the concert, the conductor answers questions from the audience.

This program is now in its fourth year. This year there were more than 200 entries, and the judges narrowed these down to 23 finalists and then to 8 winners. The finalists, along with the names of their schools and music teachers, were announced at both of the concerts, and all finalists received certifi-cates of merit.

Though our program is run basically through the Jacobs School of Music, the program can be easily adapted to other lo-calities. Most towns and cities have perform-ing groups such as a community band or orchestra that could showcase the finished pieces. Alternatively, a group such as a string or brass ensemble or perhaps a jazz band could serve this need. If you look about, there are generally music professionals in your communities who can judge the melo-dies, and composers who are delighted to have their works performed. If you do have a college or university in the vicinity, it can be a perfect town-gown community project. I can attest to the fact that teachers, chil-dren, and their parents are all thrilled with Kids Compose and even second graders are spellbound when they hear music written by their peers.

The National Standards for Music Edu-cation list composition in our classrooms and choirs as an important skill. This project encourages teachers, composers, and kids to

enter the exciting realm of music creation. Try starting a program like this one in your town, and you will love it too.

Ruth Boshkoff holds a bachelor of music degree from Oberlin College and a master of education from the University of Buffalo. She has earned both Kodály and Orff certifications and is a frequent composer, instructor, and cli-nician in those disciplines. She can be reached at ruth.boshkoff@gmail.com

CLASSrOOM CONNECtIONS: rUth BOShKOFF

A Town-Gown School Composition Project

Save the Date!

OAKE 2012 ConferenceOAKE is going to Phoenix, ArizonaMarch 15–17.Stay at the beautiful

Hyatt Regency.Enjoy the

National Conference Choir Concert in

Symphony Hall.

Summer 2010 7

BOOK rEVIEW I: JErrY JACCArD

found aspects of the Kodály way of doing things that need clarification. A teacher who is less familiar with the deeper aims of Hungarian music education may come away with only a superficial understanding of what it means to be musically literate, which goes far beyond the ability to sight-read. Perhaps this matter could be ad-dressed if a revised edition is ever planned. Similarly, there is no connection made to the mainstream pedagogical antecedents of Kodály-style pedagogical practices. In reali-ty, they are rooted in Comenius’s and Pesta-lozzi’s concepts of spiral curricula based on multiple sequences and subsequences and their interrelationships, which should be viewed in a global rather than a linear way. As László Dobszay is fond of saying, “So music is relationships, nothing other. An organic unity of relationships and just these relationships, the richness of these relationships, is the content of music.”3 So perhaps it should be clarified in a future revision that Kodály curricular sequences are content and learner driven rather than the content being concept driven and that ongoing music research and our growing knowledge of child development drives gradual changes in the content.

The author also brings up the contro-versial nature of rhythm syllable nomen-clature, especially compound meter. Again, because of the brevity of this volume, these issues might be better explored in instruc-tional settings and discussions, because they are highly complex issues involving many more factors than are mentioned in the volume (the role of crusis-anacrusis, performance styles, linguistic prototype models, beat-value changing, etc.).

plications designed to help entry-level teach-ers get started and headed in the right direc-tion with Kodály musical education. These publications represent the accumulated legacy of the original Kodály Musical Train-ing Institute (KMTI), to which Jonathan and Mary have added their latest thinking and practices to provide materials for their teacher-education courses.

When I interviewed Jonathan at the 2010 OAKE National Conference in Dal-las in preparation for writing this review, he shared with me his vision for these pub-lications. They are primarily designed for in-service teachers returning to college-level coursework for specific instruction in Kodá-ly pedagogy, although they are also suitable for concentrated undergraduate coursework or reference. Each volume is reviewed sepa-rately below.

•Volume 1—Concepts, Elements, and Skills: Musical Literacy Development via Kodály-Inspired Sequencing by Jonathan C. Rappaport (2000), 13 pp.

While acknowledging the difficulties inherent in trying to provide a comprehen-sive guide to Kodály pedagogy, Rappaport has created this example of a Kodály se-quence comprising 113 concepts and skills so that teachers new to Kodály teaching practices can see “what a whole sequence looks like.”2 A brief explanatory preface and an appendix are included. The appen-dix is particularly useful for adapting and creating a sequence for varying age-groups and culturally specific teaching situations. Prospective readers should be aware that there is no actual how-to teaching informa-tion included in this volume; it is clearly intended to support an instructional course. The prefatory material explains the series title: students in Kodály music classrooms “weave” back and forth between conceptual learning and concrete applications.

Due to its brevity, this volume con-tains some simplistic treatments of pro-

The Kodály Teaching Weave [in 3 volumes]Pro Canto PressSeven Brady RoadWestborough, MA 01581

When the Hungarian phenomenon in musical education became known to the world at the 1964 International Society of Music Education symposium in Budapest, questions revolved around how such spec-tacular results were being achieved. Many American educators subsequently visited Hungarian public schools and teacher-education institutions seeking answers. Naturally, workshops and institutes began to be established in the united States to promulgate what has become known as Kodály music education. The reigning mu-sic education establishment published some articles and book chapters about this latest pedagogical import from Europe, through which it soon became known as a “method,” and it was equated with other such imports that had been collecting since the turn of the 20th century.

Even many early non-Hungarian Kodály adherents missed the point that the study should have been systemic rather than methodological, for the strength of Hungarian music education lies in its nationwide application of a central cur-riculum developed through scientifically sound musicological research but individu-ally interpreted by myriad well-prepared professional music teachers who employ a growing collection of methodologies learned abroad as well as many invented on their own. Kodály’s avowed purpose was to bring about sweeping societal change, not to invent a method that would forever bear his name.1 When at its best, the Hungar-ian music education system is capable of achieving that ever-elusive balance between structure and creative spontaneity.

With the caveat of this multifaceted, many-layered, ongoing national initiative in mind, let us examine Jonathan Rappaport and Mary Epstein’s volumes of practical ap-

The Kodály Teaching Weave

KODÁLY ENVOY8

•Volume 2—Song Analysis: Forms and Definitions, 2nd ed., by Mary A. Epstein and Jonathan C. Rappaport (2000), 25 pp.

The authors rightly credit the earlier work at KTMI by Floice Lund as the basis for this volume. They also make a helpful distinction between formal and pedagogi-cal analysis systems and point out that this volume mixes the two. The volume intends to guide teacher candidates through the intricacies of song analysis according to the forms used in the authors’ classes. This refer-ence to the in-house forms is important to keep in mind, because there are many pos-sible ways of analyzing songs and, frankly, because very little American Kodály song analysis approaches the depth and breadth of the Hungarian typological practices.

Kodály teacher-educators typically devise their own favorite ways of capturing folk-song analyses on paper for determining how songs will be used in teaching. This is the reverse of the process used in Hungary, in which tens of thousands of tunes and their variants continue to be collected, scientifi-cally analyzed, classified, and sorted into tune families and typologies used for a variety of purposes, not limited to pedagogy. It is a work that can never be finished, one that will span generations of researchers. The overarch-ing principle is that folk songs illuminate each other in the quest to find the most typi-cal, most beautiful, and most significant. It would seem important to mention this larger vision somewhere in this volume even though its stated purpose is to help teachers build their own curriculum collections.

This volume will also generate some lively discussions among folk-song research-ers working in the Kodály-Bartók tradition. For instance, diatonic major and Ionian tonalities are not differentiated (they are not the same because of how the seventh degree functions in each of them). Other nomen-clature issues, too numerous to discuss here, bear close scrutiny. The hard truth is that we North Americans simply do not know enough about our musics to make the kinds of generalizations found in this volume. The entire spirit of the Hungarian folk-song research enterprise is one of open curiosity and the acceptance of fuzzy borders between

categories rather than reliance on absolute certainties. Rural musicians of the living folk-song era were not driven to sing by theoretical rules. That said, this volume can be cautiously used to introduce teachers to the potential richness of song materials they may be using in their teaching.

•Volume 3—Retrieval System Notebook, by Jonathan C. Rappaport (2008), 581 pp.

This is the practical application volume for volume 2. In the preface the author cred-its Floice Lund and Katalin Komlos for their pioneering work in American folk song for pedagogical purposes according to Kodály teaching practices. The volume comprises blank forms for formal analyses, pedagogical analyses, and a variety of listing categories for developing an individualized retrieval system. It is made to serve the teacher and is intentionally flexible and customizable. In our interview, Jonathan shared two im-portant aspects of this volume: (1) there is an accompanying online song-retrieval Web site at www.songretrieval.weebly.com, and (2) the New England Conservatory of Music Kodály program has an online course for learning how to use the retrieval system contained in this volume.

Review SummaryThis series brings forward and makes

current the valued heritage of one of the grand American Kodály teacher-education institutes, namely the Boston-based Kodály Musical Training Institute. The series con-stitutes one way of looking at the Kodály phenomenon of music education and its underlying curricular structure based on musical research. It is especially intended for already experienced teachers who are hav-ing their first contact with Kodály teacher education. Teachers can learn valuable skills from using these three volumes, but should also be instructed that there is much more to be considered beyond their boundaries. I trust the knowledgeable authors to com-municate that vision as well as they have detailed these books.

Endnotes1. Zoltán Kodály, Mein Weg zur Musik—

Fünf Gespräche mit Lutz Besch [My path to music], English translation by Jerry L. Jaccard

(Zürich, Switzerland: Peter Schifferli Verlags AG «Die Arche», 1966/publication pending), p. 48.

2. Interview with Jonathan C. Rappaport on March 19, 2010, Dallas, Texas.

3. Interview with László Dobszay on August 7, 1993, West Hartford, Connecticut.

Jerry Jaccard is coordinator of the Elemen-tary Music Education Program and director of the InterMuse Academy for Kodály Certification at the Brigham Young University School of Mu-sic, Provo, Utah; an affiliated faculty member of the BYU School of Family Life; and curriculum and staff development provider for the Provo City Schools elementary music specialists. Jac-card is vice president of the International Kodály Society and founding chair of the IKS Laszlo Vikár International Folk Music Research Fo-rum. Jaccard is a member of the OAKE Teacher Education Committee and faculty advisor to the BYUFOLKS chapter of OAKE. Jaccard earned his BMus.Ed from the University of Arizona; his MME with Kodály emphasis from Holy Names University, Oakland, California; and his EdD from the University of Massachusetts, Amherst.

KESNE is delighted to announce that our president, Colleen Olson, is the recipient of the 2010 Con-necticut Music Educators Asso-ciation Outstanding Elementary Music Educator award. Colleen is a dedicated and consummate mu-sic educator, and we are thrilled that she has received this justly deserved recognition. Bravo Col-leen from your KESNE family!

9

ADMINIStrAtOr CONNECtIONS: ELAINE BErNStOrF

Sometimes when you look out at a landscape with lovely trees, it’s hard to remember when that landscape was bare. Thinking back on the Johnny Appleseed story reminds me of the process that has been used for cultivating Kodály around the world and especially in the united States. The main difference is that we haven’t had just one Johnny. There have been many people who have planted the seeds for new Kodály programs. Here is one story that may inspire individuals to begin the plant-ing process.

Kansas, especially around Wichita, has always been a prairie area. Because of its history as a prehistoric ocean floor, the land is mostly flat, with few natural barriers to the wind and even fewer trees growing naturally. Over the years, the people who live here learned that growing grass and establishing hedgerows of trees keeps the dirt on the ground and not blowing across the prairie. What’s been good for Kansas in the past has now become good for Kodály in Kansas, and it may be a plan that works for others in the future.

Our first planting actually resulted from a couple of my former students at Wichita State university. Like kids who plant seeds in a cup to take home to Mom for Mother’s Day, Kirk Olson and Lisa Sim-melink approached me with an idea. They expressed a deep desire to plant Kodály in Kansas. Knowing that our Kansas teach-ers are ultimately independent, with many of their roots established firmly in the Comprehensive Musicianship program of the 1960s, I was somewhat reluctant. But it is hard to say no to two of your kids, so I let them plant their little seed with a one-hour Kodály summer workshop at the university. That was the beginning. Over the next three years, we continued to plant the program, adding one Kodály level each summer. Finally, we had the complete gar-den. The program had been fertilized along the way with Kirk and Lisa's enthusiasm.

But we also needed water. The first year, we were watered by the deans of Fine Arts and Admissions with extra scholarship dollars. The second summer, we were watered at the very last minute by a memorial scholarship that was offered to the School of Music. The third summer we struggled but managed due to the momentum of our level III stu-dents and their own financial watering.

Knowing that plants must establish a strong root system to survive in our climate, it was time for one of those miraculous thunderstorms that you see in the mov-ies. That thunderstorm came in the form of a professional development grant from the u.S Department of Education. The DOE’s Professional Development in Arts Education (PDAE) grant program assists school districts in strengthening their teach-ing force for the benefit of children with significant needs. The new Wichita State fine arts grant specialist, Justin Rorabaugh, was an eager beaver who just kept feed-ing grant announcements to the fine arts faculty. The PDAE announcement caught my eye because that is what Kodály train-ing is all about—professional development that helps children learn and grow. Justin and I explored the guidelines and got very excited. Then it hit—we did not qualify for the grant. universities were not allowed to apply. But—school districts could. So, armed with more of the little plants we had started and a lot of fertilizer brought along for good measure, we approached the Wichita Public Schools, specifically the Fine Arts Depart-ment.

The details of what came next are too numerous to describe in this short article, but there are a few significant points that should be made about the process. While the university fine arts department was cautiously supportive, the administrators realized that this proposal meant additional work, a lot of additional work. And they knew the grant had to be well written. This is where our Johnny Appleseed story takes

From Grassroots to Grant Routes to Ground Roots: Establishing a Kodály Program

an interesting turn.Most large school districts have their

own grant writer. In this case, the school district had Terry and the university had Justin. Justin was green, Terry was a well-established oak with deep roots and long branches. Without Terry, none of the rest of the story would have happened. You see, Terry was our Johnny Appleseed. We brought him our grassroots effort to estab-lish some lovely Kodály flowers in a small local school “garden,” and he let us know that we could plant sturdy oaks across the entire district if we worked together as a team. He took the lead, mentoring Justin along the way. By knowing the terrain of federal grants, he was able to plant our little seedlings following the grant guide-lines. We didn’t get washed out. Our team submitted a PDAE application titled Ac-centuating Music, Language, and Cultural Literacy through Kodály-Inspired Instruc-tion (2009).

Apparently the grant reviewers saw the potential of our little plants on the prairie. I might add that we used reading literacy to entice a second look at our grant and that we have a track record for literacy in our school district. But all in all, the grant was an honest effort to bring some new professional devel-opment to more teachers in the district.

As the story goes, Johnny Appleseed was well respected. He worked hard plant-ing his nurseries but he had to leave the tending to those who stayed on the land as he moved on to new sites. As soon as the grant was submitted, Terry moved on to a new position. That very month, he retired from the school district and moved into a position as a grant specialist with Wichita State university. We could still ask him questions, but essentially, we were on our

Spring 2010

own in new territory.When we got word that we had been

awarded one of the PDAE grants, we all had a lot of work to do. Justin stepped in to oversee the fine details of federal grant com-pliance. Kirk, Lisa, the Fine Arts Depart-ment (Shawn and Don), and I are watering and tending the program. Our external grant evaluators were brought up to speed, and we plowed our new ground.

We are now in our second grant year, and the plants are thriving. In addition, we are thrilled about having our Kodály pro-gram recognized with OAKE endorsement at the Dallas conference. But all who farm know that the tending never ends. Some years are especially productive, others are lean. On our prairies, we still burn off sec-

tions of the old grass and let the seedlings reestablish themselves. The goal is to keep soft fresh green grass for the cattle. We will want to do that, too. We will need to refresh our ideas and look at ways to keep attracting new teachers to our program. The grant has provided funding for some of the teachers in our area. But many of the teachers are paying their own way to learn the Kodály philosophy. They are seeking green grass for their careers and for the children they teach. We are happy to have them with us.

But in Kansas, we also know that the ecosystem cannot survive only on new green grass. We need to have a few old oaks around in the pasture to give the cattle some shade. Thanks to the route we were shown by two great grant specialists, we have seen

some new territory. I know we won’t always find a grant that fits our program, but if we can plant a few deep roots through the grant process, it will give us occasional breathers from the hot sun of funding droughts.

As I attended the administrator’s break-fast session at OAKE in Dallas, it became apparent to me that Johnny Appleseed had already been to Texas. The use of grants and foundations to assist Kodály programs throughout Texas is firmly rooted in prac-tice. Joy Nelson had asked me to talk about our experience in Kansas at the administra-tors’ session. Her vision for firmly rooted Kodály programs throughout the country is inspirational. We can all learn from the successful use of grants and other non-music funding streams. We can also learn to seek out experts who can share our vision and give us ideas on how to foster our programs. That is exactly why OAKE established the administrator connection. I am honored to be involved in that program.

But let’s return to the beginning of our story. Our program never would have begun without the grassroots efforts of those two Kodály trained teachers who wanted their colleagues to share in their lovely garden of musical learning. And this next Earth Day, I’m going to thank them for that gift, on behalf of all who teach the children in our prairie region that music makes a differ-ence. As Zoltán Kodály himself said, “The pure soul of the child must be considered sacred; what we implant there must stand every test, and if we plant anything bad, we poison his soul for life” (1974, p. 141). In our case, a lot of wonderful people worked together to plant something very, very good.

ReferencesKodály, Zoltán. (1974). The Selected

Writings of Zoltán Kodály. London: Boosey & Hawkes.

u.S. Department of Education. (2009). Professional Development in Arts Education Grant PR Award # u351C080059, Accentuating Music, Language and Cultural Literacy through Kodály-Inspired Instruction. Wichita Public Schools, uSD 259, Wichita, KS.

Elaine Bernstorf is professor of music edu-cation and administrator for workshops and Kodály programming at Wichita State Univer-sity as well as a certified speech pathologist in private practice. She can be reached at elaine.bernstorf@wichita.edu.

Summer 2010 11

BOOK rEVIEW II: gEOrgIA A. NEWLIN

Educating Young Singers: A Choral Resource for Teacher-Conductors

Mary Goetze, Angela Broeker, and Ruth Boshkoff (2009) by Mj Publishing; www.educatingyoungsingers.com.

Educating Young Singers is an essential book for all teacher-conductors of ensem-bles with young singers. Its premise is “to draw young singers into a relationship with the art of choral music through meaningful choral participation” (p. 1). The authors as-sist teacher-conductors to do this by includ-ing a substantial amount of qualitative in-formation learned through their combined years of experience. The authors anchored the text in areas they identified as central to choral practice: singers, performing, self, music, and context. These areas are the basis for musicianship, artistry, and love of choral music when the singers are placed at the center of choral practice.

The text is divided into three main units: “First Things First,” “The Toolbox,” and “Put-ting It All Together,” and includes substantial appendices. “First Things First” addresses what the teacher-conductor needs to prepare for choir rehearsals. “The Toolbox” includes, as one would expect, a vast array of pedagogi-cal techniques and materials. “Putting It All Together” offers suggestions for applying the topics in the first two units to planning and

teaching as well as addressing ways to handle choral challenges. The appendices include ways to assess singers, techniques for han-dling vocal challenges, and a sample release form for performers.

unit 1 is divided into four chapters. “Choosing Repertoire,” chapter 1, delves into six criteria to assist the teacher-conductor in the process of choosing individual pieces of music. Text means choosing pieces with words that can contribute to the emotional and in-tellectual development of singers. Singability refers to the range, tessitura, leaps and skips, chromatic tones, and vowels used in the up-per register. Form is based on the “clear and repetitious” principle as applied to both the large and small formal elements of a work. Part-writing techniques analysis insures that teacher-conductors do not exceed the vocal-independence skills of the choir. Accompani-ment is addressed in terms of choosing pieces with more transparent accompaniments that complement the vocal line. Pedagogical implications touches on the obligation of the teacher-conductor to educate singers about music while presenting choral repertoire.

Chapter 2: “Embracing the World of Vocal Music” discusses the joys and chal-lenges of including music from diverse cultures in young singers’ repertoire by hon-oring the culture of origin and embracing technology to make personal connections with native musicians. It also discusses the musical, social, and educational benefits to children when exploring diverse music.

“Learning the Score,” chapter 3, out-lines the process for analyzing and auralizing choral scores (auralizing means creating an aural picture of the piece in preparation for presenting it to the ensemble). An analysis template of the elements of music is includ-ed for looking closely at a composer’s craft and intent to determine whether a piece is worthy to be taught to young choristers.

Based on the belief that less is more, the information in chapter 4 helps teacher-conductors develop conducting gestures that encourage healthy vocal production and re-flect the music and its interpretation At this point in the text there are written directives

to watch the accompanying DVD where each gesture (e.g., posture, arm and hand positions, preparations and cues, cutoffs, phrase shapes and dynamics, articulation) is beautifully demonstrated.

In unit 2, “The Toolbox,” four chapters give tools for vocal development, musical literacy, teaching part-singing, and kindling creativity. Vocal development includes pedagogical ideas for coaching singers on physical and mental preparation, alignment, breath management, phonation, resonance, vowels, range extension, flexibility, articula-tors, and vertical tuning. The information about vocal registers will be particularly helpful to those teacher-conductors whose singers have a tendency to try to force their chest voice into a higher register and then complain that they can’t sing! Multiple pho-tographs of singers properly demonstrating the techniques are included in the pages.

The following chapter, “Tools for Musi-cal Literacy,” is divided into three sections: guidelines for teaching reading, systems for teaching reading, and activities for teaching reading. The numerous strategies are intend-ed to make learning to read music enjoyable, challenging, and gratifying for the singers. The teacher-conductor who is fed up with constantly drilling notes by playing them repeatedly on the piano will greatly benefit from these techniques. The authors make it clear that while there are no shortcuts to mu-sic literacy, well-developed pedagogy will lead to young singers being able to pick up many choral scores and sing passages at sight.

Chapter 7 gives ideas for teaching young ensembles to sing well in parts. These strategies begin with teaching contrapuntal pieces such as rounds and canons and end with steps towards understanding and per-forming homophonic music.

12 KODÁLY ENVOY

The final chapter in unit 2 is “Tools for Kindling Creativity.” It addresses the singers’ induction into a democratic choral environment by making musical judgments and choices as part of the choral experi-ence. One of the techniques is improvisa-tion used during warm-ups or related to 20th century choral practices. By allowing young singers to make decisions while rehearsing repertoire as well as teaching choristers to self-evaluate, they are being prepared for a lifetime of musical experi-ences through musical independence.

In the final unit, “Putting It All Together,” the authors brilliantly integrate the score study of unit 1 and the pedagogical tools of unit 2 into long- and short-term rehearsal planning to prepare concert repertoire while furthering choristers’ skill and conceptual development. These last three chapters help the teacher-conductor build the pedagogical structure that prepares the ensemble for concert performance.

Chapter 9 presents the process for de-veloping a pedagogical plan for each song to be taught. The accompanying DVD shows the authors presenting four choral octavos to young choirs. It cannot be overstated that many teacher-conductors are missing this long-term pedagogical element when pre-paring for concerts. The information in this important chapter relieves the humdrum of reteaching every song from the beginning during every single choral rehearsal.

In “Planning Rehearsals,” chapter 10, the pedagogical plans for each song from chapter 9 are combined into rehearsal plan-ning. The chapter maps out a long-term plan for all the rehearsals leading to a perfor-mance. In addition, that map is then divid-ed into teaching segments that become part of each rehearsal lesson plan. The chapter includes a complete sample choral rehearsal plan as well as giving tips for rehearsals. One important belief of the authors is that refin-ing the music should be fully integrated into the learning process with polishing begin-ning during the first rehearsal. This allows the choristers to experience the beauty of a piece early in the learning process.

The final chapter addresses choral chal-lenges that often present themselves during rehearsals of ensembles with young singers. In a question and answer style, the authors offer excellent tips for improving vocal production,

vowels and consonants, intonation, ensemble tempo, expression, and memorization skills.

Appendix A gives a six-step procedure for assessing a singer that yields a profile of the singer’s vocal and musical development. using this procedure, a rubric could easily be devised to score (1) pitch-matching skills and vocal range, (2) individual singing skills, (3) unison singing skills, (4) singing in parts with a familiar melody, (5) learning a new melody, and (6) singing in parts with the newly learned melody.

“Handling Vocal Challenges,” appen-dix B, discusses vocal problems that can be addressed in the choral rehearsal as well as those that require individual intervention in a private session with the teacher-conductor. The problems addressed are common to children within most groups of young sing-ers; the thoughtful answers from the authors will be helpful for all teacher-conductors regardless of years of teaching experience.

Educating Young Singers includes nu-merous photographs, excerpts of choral octavos, and an accompanying DVD to assist the teacher-conductor in assimilating the textual information into his or her own teaching. The general index is thorough, and the categorical index lets the reader quickly find (1) activities, warm-ups, and games, (2) musical scores and excerpts, and (3) vocal-izes to use or adapt in rehearsals.

The DVD features the Indiana univer-sity Children’s Choir, currently directed by Brent Gault. These young singers are true to life! One child does not match pitch during a song demonstration, and another child becomes confused during an improvisation warm-up. Watching the authors—master teacher-conductors—handle these situations is priceless and should encourage readers—teacher-conductors—to carry on the legacy of Educating Young Singers.

Georgia A. Newlin is assistant professor of music and coordinator of music education at Adelphi University, NY. She is a member of the VoiceCare Network; is called upon as a conductor and adjudicator for elementary, middle, and high school choral festivals; and is immediate past presi-dent of OAKE. Newlin is a faculty member of the Summer Kodály Institute at Indiana University; the Kodály Workshop at James Madison University, VA; and the VocalArts Camp in Harrisonburg, VA.

Summer 2010 13

rESEArCh CONNECtIONS: DAVID gADBErrY

Music Participation and Academic Success

watching. The educators surveyed reported similar effects of choral participation, such as increased self-confidence, better memory, and enhanced creativity. In addition, the participants identified other benefits, which included volunteerism in the community and increased school spirit. From these results, it appears that singing in choir is very beneficial for a child’s academic and social development.

These data should be carefully general-ized, however. It should be noted that the results were compiled from the self-reports of parents and educators rather than quan-titative sources such as test scores or school grades. Also, the authors did not disclose the manner in which they recruited the study participants but stated only that the survey was “drawn from an existing, well-respected online panel” (Chorus America, 2009, p. 11).

Kodály educators might be quick to use this information in an attempt to advocate for their programs or music education in general. The results of the study certainly lend encour-aging statistics to the argument. However, mu-sic educators must decide what the focus of the profession should be. Should people participate in the performing arts because it helps other areas of their lives or because of the unique expressive opportunities that can be found in these media? Additionally, will districts and organizations continue to fund arts programs if the benefits are merely peripheral? This line of reasoning has been supported by a previous study related to that of Chorus America.

Johnson and Memmott (2006) investigat-ed the relationship between music programs and standardized test scores, perceived to show academic achievement. An additional variable was the quality of the music program, which was determined by university faculty who were familiar with the programs. Both elementary (n = 1,119) and middle school students (n = 3,620) were analyzed, and both instrumental and choral ensembles were studied.

The researchers reported that elemen-tary students with a strong music education program had higher scores than those in

Does music help students’ academic performance? This question has been inves-tigated in research literature for many years and with various intentions. One important, although potentially dangerous, intention is that of advocacy. Some believe that it increas-es the value of music if it can be shown that music makes students stronger academically. Others argue for teaching music because of its unique means of expression through art-istry. This long-running debate has spawned interesting studies on both sides.

A recent poll was conducted by the organization Chorus America. In 2009, this group investigated the choral participa-tion of American adults and children. The study also examined various attributes of choral participants and nonparticipants and compared them. The data were categorized into four key findings: (1) choral singing is the most popular means of performing arts participation, (2) adults who participate in choral singing are good citizens, (3) children who participate in choir exhibit beneficial life skills and academic success, and (4) a key area of concern is declining opportuni-ties for children to participate in choir.

The third key finding certainly sounds promising. Citizenship and strong academic performance are desirable attributes for chil-dren, and these attributes can definitely im-prove a child’s chances for success in society. The authors surveyed 500 parents, who came from a variety of financial levels and ethnici-ties, and 300 educators, who included math/science and social studies teachers as well as arts teachers. The results of the parental survey indicated that children who were involved in choir had higher instances of a grade of A (54% of participants versus 43% of nonpar-ticipants), and over half of these parents noted that their child had improved academically since joining the chorus (64% in language arts, 57% in math, and 61% academically overall). The parents also reported an assort-ment of other benefits such as stronger self-worth, creativity, and fewer hours of television

lower quality programs. However, it should be noted that the effect size was very small. The middle school sample produced very interesting results. Students enrolled in high-quality programs (band and choir) and those in lower-quality instrumental programs scored higher than those not enrolled in music and those enrolled in deficient choral programs. The authors strongly reminded readers that these relationships do not imply causation, they can only be considered relationships. They list several possible explanations: strong music programs could accompany strong aca-demic programs in schools, music programs may attract more gifted students than other activities, or strong programs encourage orga-nizational skills and in turn, academic success.

Perhaps the most interesting aspect of this study is the authors’ further discussion. Johnson and Memmott said that although the study showed promising relationships between academic success and music partici-pation, it is not the purpose of music educa-tion to enhance other subjects, just as it is not the purpose of other subjects to enhance music education. The authors stressed the importance of studying music for its unique opportunities and experiences rather than its possible ability to act as a booster of so-called academic subjects.

As advocates of music programs, mu-sic educators must take care to herald the benefits of music as its own endeavor. While statistics appear to show promising relation-ships between music and other subjects, causality is far too complex to be used for advocacy purposes. Furthermore, advocating music’s ability to improve test scores could have potentially dangerous side effects, and seeing music only as a means to improve test scores diminishes the professionalism and the importance of the profession. Students

can study music purely because it’s music.

ReferencesChorus America. (2009). The chorus im-

pact study: How children, adults, and communi-ties benefit from choruses. Retrieved from http://

OAKE SUStAININg MEMBErS

Alfred Publishing Company Inc.Kathy Johnstonekjohnstone@alfred.com

Alliance Music Publications, Inc.alliancemusic.com

arts education IDEASmtower@realtime.net

Backyard MusicDavid Crossservice@backyardmusic.com

Discus Music Educations Co.Les Deanlesdean@sbcglobal.net

Djembe DirectAndy Jonesinfo@djembedirect.com

Hal Leonard CorporationMarilyn Fleenormfleenor@halleonard.com

John’s Music Inc.Margaret Swainmargaret@johnsmusic.com

Macmillan/McGraw-HillRose Presley-Alstonrose_presley@mcgraw-hill.com

MacPhail Center for MusicDianne I. Babcockdbabcock@macphail.org

Music in Motionswinans@musicmotion.com

Pender’s Music Companyjwestbrook@penders.com

Rhythm Band Instruments, LLCashley@rhythmband.com

Rhythm Beesue@rhythmbee.com

Silver Burdett/Pearson EducationShirley LaCroixshirleylacroix@mac.com

Wenger CorporationStacy Hansonstacy.hanson@wengercorp.com

West MusicJudy Pine, Vice Presidentjpine@westmusic.com

www.chorusamerica.org/documents/Impact09/ImpactStudy09_Report.pdf

Johnson, C. M., & Memmott, J. E. (2006). Examination of relationships between partici-pation in school music programs of differing quality and standardized test results. Journal of Research in Music Education, 54(4), 293–307.

David Gadberry is currently pursuing a PhD in music education at the University of Kansas in Lawrence with a minor in music therapy. Previously, he taught K–5 general music in Plano, Texas. He is the current secretary on the OAKE Board of Directors and may be con-tacted at davidgad@ku.edu.

Summer 2010 15

Special Conference Section36th Annual OAKE Conference

March 18–20, 2010Dallas, Texas

KODÁLY ENVOY16

The beautiful, newly-renovated Sheraton Hotel in the Dallas Downtown Arts District was the site of the 2010 OAKE National Conference, March 18–20, 2010. With the theme “The Arts are Key: Deep in the Heart of Kodály” there was no doubt that this OAKE Conference was a very special “Dallas-classy” artistic event hosted by Southern Division (Karen Gentry, president) and the local Texas chapter Kodály Educators of Texas (KET; Lisa Roebuck, president) under the watchful eye of national program chair Cecile Johnson, along with the 2010 National Pro-gram team of Jim Lovell (KET), Eddie Lou Strimple (OKE), Alan Spurgeon (LAKE), Kari McCarty (LAKE), and Ann Crouch (KEGA). The caliber of concerts, sessions, special events, headliners, clinicians, exhibitors, guest conductors, the OAKE National Honor Choirs, and the Educating the Teacher of Teachers (ETT) track were all key to the suc-cess of this annual gathering of Kodá-ly-inspired teachers and musicians.

This year’s conference premiered a new schedule with the mini-con-ference offered on Thursday morn-ing from 9 a.m. to12 noon. Susan Brumfield led the mini-conference, “A Song of Childhood: Children’s Songs and Games from the Father Damian Webb Collection.” Susan has collected, transcribed, and anno-tated songs and games from England and Scotland, which have been pub-lished in three volumes with accompanying CD field recordings. A soon-to-be published volume focuses on songs and games from Italy. More than 125 participants attended the mini-conference and came away with an incredible collection of resources for songs, rhymes, and games.

Because of the morning mini-conference, the 2010 conference team was able to offer two blocks of break-out sessions on Thursday afternoon along with two matinee concerts even before the Thursday evening opening ceremonies and an-nual chapter banner parade. Sessions ranged from “Keys to the Blues” by Gábor Virágh, “Classroom Conduct-ing” with Phyllis King, “Art Music and Beginning Harmony” with Laurdella Foulkes-Levy, “Folk Songs and Dances” with Ann Eisen, “In-strumental Application” with Kristin Moore, “Choral Artistry” with Elaine Bernstorf, and “Revisiting the Songs

of Bessie Jones, Georgia Sea Islands” brought to us by Betty Hillmon.

Headliner clinician Jonathan Rap-paport gave two engaging sessions: “Multiple Ways to Teach a New Song” and “Twelve Skill Areas in Music Teaching.” (Always a good sign when a

Deep in the Heart of Kodály: Music, Sessions, and Sharing

By Cecile Johnson

Special Section: 2010 OAKE Conference, Dallas, Texas

Dancing after opening ceremonies. Photo by Kent Kuddes.

Betty Hillmon session. Photo by Kent Kuddes.

Francis Abernethy session. Photo by Kent Kuddes.

Summer 2010 17

session runs out of handouts!) KET spon-sored noted Texas folk historian and author Francis Abernethy, and he graciously agreed to a book signing with Pender’s Music at the exhibits.

The Thursday afternoon concert series opened with the Plano Children’s Chorale conducted by Kendall Allen and Brenda Keen. As an outgrowth of a sequential and vertically aligned Kodály-based curriculum adopted by the OAKE–endorsed Plano ISD, this select district choir embodied the essence of well-taught singing, ear-training, comprehensive musicianship, and choral skills. Later that afternoon, the American Boychoir, conducted by Fernando Malvar-Ruiz, performed a stunning program. They

also participated in a demonstration session Friday morning on “Musical Literacy at the American Boychoir School.” The choir completed its spring tour at this conference, and what a blessing it was to have them, their teachers, and conductor as part of this national program!

The Exhibitors’ Reception, spon-sored by Pearson/Silver-Burdett, was in the large, open Pre-Convene area of the hotel. Classy entertainment was pro-vided by the Sweetwater Jazz Quartet. Special thanks to all the exhibitors for coming to the conference and to Leigh Ann Garner for her work with publicity

and all of the conference exhibitors. We are most grateful to the exhibitors and companies for their support of OAKE and its mission.

The opening cere-monies Thurs-day night began with royal fanfares and the of-ficial “Call to the Hall” by

the Sundance Brass. OAKE President Geor-gia Newlin declared the 2010 OAKE Confer-ence open and introduced several dignitaries including International Kodály Society Presi-dent Gilbert De Greeve, who brought greet-ings from IKS, and Tom Waggoner, director of Fine Arts for the Texas Education Agency. The chapter banners were paraded into the hall and presented by the division presidents. The banners were then displayed on the walls of the Lone Star ballroom for the duration of the conference. Cecile Johnson, conference program chair and local host brought greet-ings from the National Program Team and extended a warm Texas welcome to all the attendees. Former OAKE president Sandra Mathias (2002–2004) introduced her friend and colleague Mary Goetze as the keynote speaker (speech reprinted in this issue). The opening concert was beautifully sung by the Houston Chamber Choir, Robert Simpson, artistic director. Following the concert, Gay deMontel led many of the teachers, honor choir singers, and conference guests through several Texas folk dances in a fun-filled com-munity folk-dancing session.

Friday’s full schedule of events brought many more wonderful sessions, including the special ETT track for teachers of teachers in Kodály training programs and the adminis-trators’ program with breakfast and a recom-mended slate of sessions. Micheál Houlahan and Phil Tacka were on hand to share their work on “Kodály in the 21st Century” and “Keys to a Successful Kodály Certification Program.” Other presentations included “Student Composing” with Linda Arbolino, “Traditional Voices of Texas” by Kathy Kud-des, and demonstration choral sessions by Deborah Lamb and Sandy Knudsen with the gracious help of singers from the Plano Children’s Chorale. The sessions were well- attended and covered a gamut of topics such as musicianship, solfège, pedagogy, folk mu-sic, art music, learning styles, differentiated instruction, use of technology, Celtic and Spanish traditional music, and panel discus-sions on high-quality repertoire. There was definitely something key to Kodály-related material for everyone.

Friday’s concert hour was also stellar. The choice of repertoire and performances

Special Section: 2010 OAKE Conference, Dallas, Texas

Susan Brumfield, Mini-Conference. Photo by Don Garrett.

Houston Chamber Choir at Opening Ceremonies. Photo by Kent Kuddes.

OAKE president Georgia Newlin (R) leads opening ceremony attendees in ""Harmonia Mundi." Also on podium (fr. L) Gilbert De Greeve, IKS president; Tom Waggoner, director of Fine Arts for the Texas Education Agency; Sandy Mathias, former OAKE president (2002–2004); and Mary Goetze, keynote speaker. Photo by Kent Kuddes.

KODÁLY ENVOY18

Special Section: 2010 OAKE Conference, Dallas, Texas

by the Park-er Elementa-ry Advanced Chorus of Houston ISD under the direction of Mari-anna Parnas-Simpson and Rich-ardson North Var-

sity Treble Choir with Melissa Roth, director, were just beautiful.

Following the OAKE General Assembly and business meeting, conference attendees were treated to a lovely social gathering with harp music provided by Jaymee Haefner, whose appearance was spon-sored by Louise Canafax of Fort Worth. The el-egant Golden Key Gala Banquet was held Friday

night in the Chaparral Room on the 38th floor of the hotel with spectacular views of the lovely evening-lit Dallas skyline. Special thanks go to Stephnie Champion and her banquet committee for the elegant table set-tings with favors provided by Phyllis King, Kathy Kuddes, and members of KET. The dinner was lovely and OAKE awards were presented by David Gadberry of the Rec-ognitions Committee to Constance Price, William Ray, and Kathy Kuddes for their contributions to the advancement of OAKE and Kodály-inspired teaching. The gala was topped off with fun, engaging entertain-ment by the local Dallas group Tin Roof Tango.

Saturday’s full morning of break-out sessions was also engaging and informative. Mary Goetze did a follow-up session to her keynote speech about “Oracy and Literacy in Teaching Music of the Worlds.” Other ses-sions included “Inclusion in the Classroom” by David Gadberry and Anita Gadberry, “Early Notation Systems” by Paul Sanders, “Listening Strategies” by Debbie Burton and Margaret Orem, “using the Juilliard Reper-tory Library” by Sandra Mathias, “From Folk Music to Art Music” by Rhona Brink, and repeat sessions by Julie Scott and Betty Hillmon, just to name a few. Warren Steel, noted authority on the Sacred Harp tradition of singing, along with Sacred Harp singers from Dallas and other parts of Texas led a fabulous demonstration of traditional Sacred Harp singing. The morning closed most fit-tingly with a gorgeous concert by the Youth Chorus of Greater Dallas under the direction of Nora Henson. Again the programming of repertoire was stunning, with featured selec-

American Boychoir concert. Photo by Don Garrett.

Leigh Ann Garner session. Photo by Kent Kuddes.

OAKE president Georgia Newlin presents certificates to newly endorsed programs. From left: Daniel Todd, West Texas Kodály Initiative at Texas Tech University; Carla Maltas, University of Central Missouri; Susan Brumfield, Texas Tech; Paul Rauschhuber, San Antonio ISD; Karen Gentry, San Antonio ISD; Anne Burbridge, San Antonio ISD; Lisa Simmelink, Wichita State University; Cecile Johnson, Aldine ISD; Elaine Bernstorf, Wichita State; Charlotte Morey, Minnesota State University; Rhona Brink, Aldine ISD; Brent Gault, OAKE past-president. Photo by Beth Pontiff. Elaine Bernstorf session.

Photo by Dustin Taylor.

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Special Section: 2010 OAKE Conference, Dallas, Texastions by Kodály and Bárdos.Throughout the conference, first-time

OAKE conference attendees could meet at the Newcomer’s Lounge, receive informa-tional material about Kodály teaching prac-tices, see and make different classroom ma-nipulatives, and network with a designated mentor and other conference goers. Thanks go to Naomi Cohen for spearheading this unique and valuable program.

The phrases “Saving the best for last” and “Only the best is good enough” were perfectly embodied by the OAKE 2010 Honors Choir Concert, featuring more than 450 selected singers in the Children’s Choir, Youth Choir, and Concert Choir. This year’s concert was undoubtedly one of the best and most well-balanced of recent OAKE Honor Choir concerts. Held in the acoustically pleasing and beautiful Meyerson Symphony Hall, guest conductors Ruth Dwyer, Fernando Malvar-Ruiz, and Judit Hartyányi brought a new level of artistic and musical magic to each of the choir’s performances. Tickets sold out quickly and all who attended (in spite of the wintry weather conditions) were certainly moved by the aesthetic beauty of the space and the choral artistry of the singers. How fortunate that Morton H. Meyerson was in the audi-ence to hear such a fine concert in the hall he helped create. Special thanks go to all the guest conductors and the OAKE Honor Choirs Committee for their many hours of planning to make this part of the conference key to its overall success and a lasting, life-changing experience for the OAKE singers and their families.

Closing out the conference on Saturday night was the very-well attended reading session conducted by Rochelle Mann and graciously sponsored by J. W. Pepper.

Alongside all the wonderful sessions and concerts, the OAKE Board of Directors met at length. As a full board and in commit-tee they do the work of the organization to keep OAKE solvent, thriving, and mindful of its mission. We especially thank Georgia Newlin for her wonderful, caring leadership and her support and presence at this confer-ence. We welcome Joy Nelson as incoming OAKE president and extend our thanks to the OAKE National Office, Joan Dahlin, administrative director; Randy Dahlin, as-

sistant; Nancy Johnson National Conference business director; Leigh Ann Garner, national publicity director; and Penny Whalen, OAKE vice president. Thanks also to the “Fab Four” ladies for their many contributions of time and talent behind the scenes with registration and equipment needs. Personal thanks to the 2010 National Program Team and especially to Dustin Taylor, Jim Lovell, Robyn Heyde (session host coordina-tor), Hubert Stevens, David Dalton, Brenda Keen, Ann Hastings, Joan Howey, Phyllis King, Kathy Kuddes, Karen Gentry, Christine Beutner, Nancy Cheek, and the many KET members, volunteers, and friends too numerous to mention who worked tirelessly to ensure the success of this conference. Your contributions were magnan-imous and so much appreciated.

Make plans now to keep the momentum going and growing by attending the 2011 OAKE National Conference in Minneapolis “Acorn to OAKE: Nurturing Musical Growth” March 17–19, 2011.

Some comments about the 2010 OAKE Conference:

“I enjoyed my first OAKE convention! It was first-rate and such a notch above anything I have ever attended”

“I loved Parker Elementary School Chorus demo session with Sandy Knudson. Photo by Kent Kuddes.

Tin Roof Tango performs at banquet. Photo by Beth Pontiff

Phyllis King presenting. Photo by Kent Kuddes.

cont. p. 30.

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It is an honor to speak to you here to-night, fellow music educators. We are here because we share a love of children

and music, and we have in common our musical, educational, and Kodály training. I want to begin by asking you to consider that training. Like music students around the globe, we studied and performed the same basic musical canon, its history and theory. In fact, over 90% of the music performed in music schools and conservatories is from this single Eurocentic musical tradition to the exclusion of nearly all others.

There is a saying—“The fish will be the last to know water.” That is apt for most of us trained musicians, for Western art music is nearly the only musical “water” we’ve known. My excursions into ethnomusicology and visits to various countries have given me the opportunity, first, to observe the way the music is inextricably linked to the culture, and, second, to look back on the relationship between Western art music and its European origins. Here’s an example of that reflection. Picture the orchestra on the stage. It takes its structure and protocol from the royal court, with the conductor (king) on a podium (throne). Everyone in the orchestra rises when the conductor enters and remains standing until signaled to sit. No votes are taken on how fast or loud to play. Traditionally, the conductor reigns. Even the Western linear notion of time, progress, and teleology rooted in Aristotelian philosophy is reflected in the way we conceive of music. Like us, this music moves forward and develops. We even speak of the progression of harmonies. This is not true for all music, but it's the only way we are taught to think, hear, and talk about music. While some aspects of Western art music fit

our democratic values, others do not. The less formal style, individualism, and freedom in jazz and popular forms of music are a more clear reflection of American culture.

Almost a century ago, John Dewey wrote, “When an art product once attains classic status, it somehow becomes isolated from the human conditions under which it was brought into being and from the hu-man consequence it engenders in actual life-experience.” He suggested that what is displayed in art museums or performed in concert halls may be out of touch with actual life experience. Inherent in this state-ment is a charge for the arts in general to be in touch with the human conditions of to-day and to change with them. I also believe that this same notion applies to the materi-als and methods in music classrooms—they too must not be detached from, but rather relevant to our students’ life experience. The rapid pace of changes that take place around us calls for constant reexamination of in-

struction to insure that it is in touch with students in our classrooms and the world into which they are growing.

I’ve chosen to focus on three of the changes that currently impact classroom instruction and some of the implications these have for Kodály teachers—time, tech-nology, and the multicultural populations in classrooms and communities across the united States. Then I’ll speak about some of the lessons learned in aligning my own music instruction with today’s culture and postulate what Kodály might do if he were with us today.

TimeCurrently we hear about severe cuts

in school budgets that include closure of entire schools, the elimination of music and other programs, decrease in time for music instruction, and increased class sizes. Given these, Kodály teachers must decide what to retain of the ideal Kodály music program we studied as we received certification or the wonderful stories we heard of Hungarian music education. Sadly, music teachers must make choices about how to spend the pre-cious moments they have with learners. If you are faced with this decision in your situ-ation, I hope that you will remember what was most important to Kodály—that stu-dents develop a love for music. In my view, this is not done by learning about music, but rather through active participation in singing and playing music—joyfully, play-fully, enthusiastically, and expressively.

Because it is pertinent to how instruc-tional time is spent, I am not unhappy that there are no national music examinations dictating what you teach, taking students

Special Section: 2010 OAKE Conference, Dallas, Texas

2010 OAKE National ConferenceKeynote Address

By Mary Goetze

Mary Goetze giving keynote address. Photo by Don Garrett

Summer 2010 21

away from making music. The most im-portant things we have to teach cannot be quantified. As the child of a friend said of No Child Left Behind, “Mom, we want to be left behind.” So let us carry on with the unmeasured but profound impact we can have on student’s lives by engaging them in expressive music making. Let all music teachers—Kodály or non—not be pressured to focus on the intellectual, measurable aspects of music, if it means leaving behind the spirit, humanity, and emotion that an art like music captures and expresses.

TechnologyToday’s students are growing up in an

increasingly technological world. A recent conversation with an educator led me to think their brains may be developing in ways that are different from our own. My granddaughter, not yet 3, amazes me as she fearlessly mouses her way around games and educational programs on the Web. She will enter school fully prepared for the world of technology that is foreign to many adults. As frightening as it may be to some of you, technology can be a tremendous asset in music teaching—and it can save you time! I actually believe that if Kodály were alive today, he would laud its use in your classroom. I say that for two reasons. First, Jean Sinor shared this story with me: She related that Kodály was once asked why he didn’t use xylophones and glocken-spiels like Carl Orff. The answer was not, “Because I believe the voice is the best way to teach music.” Rather he responded by saying something like, “Because we are a poor country and can’t afford them.” The use of the voice has numerous merits and is educationally expedient, but this state-ment suggests that the exclusion of pitched instruments was not a matter of choice, but of necessity. Had he, and those who developed the method, had the resources, the method might have taken a different form. Second, because the DVD Psalmus Humanus produced in Budapest in 2006 shows children in Hungary writing and reading music on computers. The DVD recommends the use of technology in teaching music.

This opens the door for myriad pos-sibilities if you consider the equipment that is available to you today. used effectively, these skills can be developed and individual-ized using electronic keyboards, computers, or the Web, sometimes independent of a teacher. So I encourage you to keep pace with the technology available, especially if it allows you more time to engage students in making music together.

DemographicsWhen authoring series books, the larg-

est challenge our author team encountered was how to accommodate the projected changes in the American populace. I’m sure if I took a poll, it would be a rare teacher whose students are strictly Euro-American. When Kodály recommended the notion of musical mother tongue, Hungarian teachers taught a relatively homogeneous population.

Those who brought the Kodály method to the united States struggled with defin-ing the American musical mother tongue, and today in our country, the number of students whose families come from various nations has increased exponentially. I believe that our situation is so different that includ-ing musical material from a single cultural origin (most likely our own) is not an op-tion in the multicultural world of today, not only because it would ignore the mother tongue of at least some of the students in our classrooms, but because they would not encounter the musics and cultures that are part of the world into which they will grow. If confronted with this challenge, I believe Kodály would see the wisdom of choosing songs from cultures represented in the class-rooms as well as those from cultures abroad. In fact, while Kodály was deeply committed to the aesthetic development of young Hun-garians, he also had a cultural and social goal—that of inspiring national identity and pride among the Hungarian populace. Dur-ing the period when Hungary was under the rule of the Hapsburgs, German music and language were preferred by the Hungarian aristocracy. In short, beyond serving the same aesthetic goals to which we also aspire, Hungarian music education also served as a means of achieving a cultural end.

My Response to These Challenges

As many of you know, my response to these changes and challenges prompted me to migrate from teaching elementary general music and children’s choirs to exploring ways to meaningfully teach vocal music from diverse cultures. After a 3-year period of struggling with the problem, I woke with a vision of a new ensemble in the School of Music at Indiana university that would perform only music that was never studied or heard in schools of music—vocal music from the plethora of music cultures on our planet. In that moment, I turned from mu-sic education to cultural education.

Very briefly, my goal was to provide the college-aged mixed ensemble with meaningful experiences in learning about diverse cultures through singing their songs respectfully and with integrity. The singers learned songs from informants from the culture whenever pos-sible. Otherwise, we employed technology, learning from video models of native singers that I recorded or via connections over the Internet, using Internet phone or satellite linkups. Students “re-created” all aspects of the music—including movement and vocal timbre. I will provide a closer look at the ap-proach and materials I developed in my ses-sion on Saturday morning. Tonight I want to share with you the important lessons I learned about music and humanity—and insights that I believe are relevant to music teachers today.

Most likely, all of us have used scores and series-book recordings to teach songs from other traditions. As I listened to re-corded and live renderings of songs by natives of the culture, I realized how different our recordings sounded. Of course, notation is effective within the Western art tradition, but because these familiar symbols cannot cap-ture numerous details, such as complex and subtle rhythms, vocal timbre, microtones, and various styles of ornament, it is not ap-propriate for capturing the essence of unfa-miliar musical styles. In short, we have come a long way since the day that Guido d’Arezzo invented the system, and now we have choic-es. In my view, media may be more effective in transmitting all aspects of music, especially when there is a visual component.

Special Section: 2010 OAKE Conference, Dallas, Texas

KODÁLY ENVOY22

This realization led me to employ oral transmission almost exclusively with the en-semble. I gained a new respect for the impor-tance of oracy (in contrast to literacy), which I define as the ability to re-create all aspects of an audio or audio/visual model after listening and/or watching. In the ensemble, I even ex-perimented with using scores along with au-dio or video recordings. Interestingly, I found that when holding a score, the students and I sang what we saw, not what we had heard on the recording. Clearly music education has succeeded at “eye-training” better than ear-training. Therefore, when learning songs, instead of notation, singers saw only the lyr-ics and translation.

Not surprisingly, we found that re-membering songs learned aurally was a different, quicker, and more natural process than memorizing notated music. When we repeated a song learned the previous year or semester, I was amazed that the singers re-trieved it immediately and completely.

Oral transmission also led me to recog-nize that vocal timbre is an essential aspect of the songs we learned—and of any vocal style. I had to rethink my own caveat deliv-ered to teachers at workshops for over 20 years—that singing in any voice other than the head or light register would damage the voice. This I now recognize as ethnocen-trism in disguise, and now I want to set the record straight. I now know that the “right” or “light” vocal register of bel canto singing is in fact the “white” voice. Most important, I found that as long as the singers and I fol-lowed simple voice conservation practices, approximating an array of vocal timbres did not harm our voices nor interfere with the vocal technique of trained singers. When I considered the inherent message we send to a culture when we “correct” their vocal sound—when we do not respect their way of singing their own songs, I knew that I had to change my tune—and my “tone.”

Finally, and most surprising, was what students repeatedly reported: “This music feels more emotional than the other music I’m singing.” Did this music speak more di-rectly to them because it was learned aurally? Was learning aurally less “intellectualized” and left-brained than learning music from

notation? Was the emotion embodied in the songs more transparent than in Western art music? There is no time here to speak of the processing of music by the brain, but suffice to say that it seemed that learning aurally and visually provided a more direct link between the music and the singers’ emotions.

Just as Western art music reflects the European culture out of which it sprang, and just as jazz reflects American values, all musics provide unique windows into their culture of origin. I believe that the process of taking songs into one’s personal reper-tory is a way of knowing about unfamiliar cultures—and deep knowing through not only the intellect, but through feelings. This process has the potential to be transforma-tive. There is the possibility that when songs sing in your students’ minds and hearts—songs learned from a cultural representative, live or mediated and not off a page, songs into which the emotions of a culture are embodied—students’ attitudes toward those who differ in color, creed, or country al-legiance may change, fears may be alleviated and scorn minimized—whether the “others” are in their classrooms or across the globe. Thomas Alexander sums up the process in a chapter on John Dewey’s aesthetics:

Before there can be effective politi-cal debate, perhaps there must be a capacity to hear each other’s stories, experience the world from the other’s body, be at least momentarily held by their visions of paradise. Through their images of beauty we may be able briefly to enter aesthetics of oth-er cultures’ worlds. We may become open at least to the possibility of their experience, of their way of meaning. As we develop an “epistemology of the ear” we may be able to hear the voices of other cultures, of marginal-ized people in our own culture or women everywhere. As we learn to listen, so may others. When there is mutual listening, perhaps we may at least speak. Listening does not mean a passive acceptance. It means recep-tivity combined with imagination. (Alexander, 1998, p. 18)

I believe that making their music re-spectfully is the most direct way to enter the aesthetics of other cultural worlds, to hear their voices, to gain an understanding of their way of living and meaning, and to empathize with their deep longings, hopes, and dreams. What better way to fix a place for music in the public curriculum if it can contribute to creating better relationships between people as well as nurturing our stu-dents’ spirits.

So I challenge you to examine your prac-tice to see that it is in touch with the popula-tion and the times. As long as you are making expressive music in your classrooms, your work is aligned with Kodály’s ultimate goal. Take advantage of the tools that are avail-able to you today to enrich and bring music to life. And last, I hope you will join me in reaching for both aesthetic and social goals by teaching meaningfully and with integrity not only music of Euro-American origins, but also those of the many cultures around us.

ReferenceAlexander, Thomas D. (1998). The art of

life: Dewey’s aesthetics. In Larry Hickmam (Ed.), Reading Dewey: Interpretations for a postmodern generation. Bloomington: Indiana university Press.

Mary Goetze is a music educator com-mitted to multiculturalism, teacher education, and children’s singing. Recently retired from the Indiana University Jacobs School of Music, Bloomington, Goetze taught music in general studies and music education courses and found-ed the International Vocal Ensemble (IVE) and the University Children’s Choir. With her workshops and publications, Goetze continues to promote cultural understanding through the meaningful presentation of world music—an innovative approach she developed with IVE. Goetze has gained wide recognition for her ar-rangements and compositions for treble and women’s voices and many choral conductors and music teachers have benefited from her work as one of the driving forces of the children’s choir movement in the United States. Goetze holds degrees from Oberlin Conservatory of Music, Ohio; Indiana University; and the University of Colorado. OAKE named her Outstanding Educator of the Year in 1993.

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Special Section: 2010 OAKE Conference, Dallas, Texas

2010 OAKE ScholarshipsCaroline Crocker

OAKE is proud of the many scholars seeking advanced training in the Kodály philosophy. We applaud your efforts in self-training that will impact thousands of children in the years to come!

There was a very healthy number of applications for both the Jenö Ádám and Susan Taylor Howell Memorial Scholar-ships this year. The committee worked very hard to be sure to support as many well-deserving teachers as possible to fulfill Kodály certification, levels training, and advanced study.

2010 Jenö Ádám ScholarshipThe Jenö Ádám Scholarship was cre-

ated in honor of the educational work of Jenö Ádám, a student, and later profes-sional colleague, of Zoltán Kodály. The two collaborated closely to reform music education in Hungarian schools. Jenö Ádám developed teaching methods and curriculums during this collaboration that have become integral parts of what is often referred to as the Kodály method. Support of this scholarship comes exclusively from individual contributions.

The recipients for this year’s Jenö Ádám Scholarships were Margo Leatham, Jody Delaney, Lennie Davis, and Kerry Moss. Each student will receive a $1000 scholar-ship to support his or her Kodály study.

2010 Susan Taylor Howell Memorial Scholarship

The Susan Taylor Howell Memo-rial Scholarship was created to honor the memory of Susan Taylor Howell and her many contributions to the musical lives of children. Susan was the coeditor (along with Philip Tacka) of Sourwood Mountain and the editor of The Owl Sings, two of OAKE’s most successful publications. In addition, Susan’s book, Recorder in the Kodály Classroom: An Integrated Methodology continues to serve as an excellent resource for music teachers

wishing to apply Kodály-inspired teaching to recorder instruction. Support of this scholar-ship comes primarily from the proceeds of the sale of Recorder in the Kodály Classroom, as well as individual contributions.

This year’s recipients of a $500 scholarship each were Stephen Soich and Cathy Setzler.

Contributions can be made to any of the scholarship funds as a part of the OAKE Legacy Campaign in honor of someone or some event. The reason for

recognition can be of your choosing—retiring officer, new baby, marriage, happy birthday, and so forth. To make a tax-deductible donation, contact the OAKE National Office.

For information about applying for OAKE scholarships, go to www.oake.org/downloads, and click on the scholarship applications

Caroline Crocker is chair of the OAKE Scholarship Committee.

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Special Section: 2010 OAKE Conference, Dallas, Texas

panied by Heather Cooper. Judit is the assistant professor of orchestra and choral conducting at the Liszt Academy in Buda-pest, Hungary. Judit exposed her singers to a high level of choral literature. During each rehearsal, the singers in the Concert

Ah, springtime in Dallas, Texas—sun-shine, tulips, daffodils, warm weather, and the sound of beautiful voices rising from the stage of the Morton H. Meyerson Sym-phony Hall. What could be better!

For me, it has been a real joy to be involved with the activities and growth of the OAKE National Honor Choirs over the past several years. I am humbled to be a member of this organization and witness to the profound impact these choirs and their directors have on our singers.

The 2010 National Honors Choirs concert was the culmination of four days of intensive rehearsals with over five hundred of the finest singers from across the nation by three nationally recognized conductors and ended with three standing ovations.

From the first note of the warm-up to the last note of the final concert, each conductor created an inspirational and re-warding experience for all. With every re-hearsal, they guided, molded, energized, and motivated their singers to reach their fullest potential. For every singer, working with his or her respective conductor was sure to be a life altering experience. For the audience, it was indeed an afternoon to remember.

This magical concert began with the OAKE National Chil-dren’s Choir under the direction of Ruth Dwyer, accompanied by Will Varner. Ruth came to Dallas from Indianapolis, where she is the direc-tor of education and associate director of the Indianapolis Children’s Choir. She is a published composer, choral ar-ranger, and editor. Ruth is no stranger to OAKE, having conducted several

honors choirs in the past. Her high energy and enthusiasm captured the attention and won the hearts of her young singers as she led them toward a successful concert. Dur-ing each rehearsal, she breathed life into every note of every song, constantly shaping and modeling.

The second choir to take the stage was the Youth Choir under the direc-tion of Fernando Malvar-Ruiz, accom-panied by Kerry Heimann. Fernando is the Litton-Lodal Music Director of the American Boychoir in Princeton, New Jersey. This year marked his third appearance as a guest conductor for OAKE. Throughout the week, Fer-nando led his singers to discover a high level of artistry and artistic excellence as they worked toward their final perfor-mance. With every rehearsal he was able to inspire his singers through his quiet intensity and musical and personal in-tegrity. Not only did he inspire his sing-ers to reach their fullest potential, but also touched the hearts of every music educator and parent in attendance.

The final choir to take the stage was the Concert Choir under the direction of Judit Hartyányi, accom-

National Honors Choirs ConcertJeanne Wohlgamuth

Youth Choir in concert. Photo by Jon Holiday, Image One Media.

Youth Choir rehearses. Photo by Don Garrett.

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Special Section: 2010 OAKE Conference, Dallas, Texas

Choir were challenged to excel musically, intellectually, and emotionally. Judit’s pas-sion for music was evident as she meticulously guided her singers to give life to each song while finding the perfect marriage between text and music.

Singers, parents, mu-sic educators, and honored guests left the concert in-spired by the work of each of these conductors: from Children's Choir members take a break. Photo by Don Garrett

Children's Choir in concert. Photo by Dustin Taylor.

Concert Choir in concert. Photo by Dustin Taylor.

Concert Choir casual portrait. Photo by Jon Holiday, Image One Media

their musical vision to the skill and facility by which they communicated their musi-cal ideas. It was indeed a fitting end to an amazing conference.

I would like to take this opportunity to thank our 2010 choir coordinators: Meredith Napolitano and Brenda Keen, Children’s Choir; Deborah Lamb and Jena Dickey, Youth Choir; Emily Mason and Jayne Wenner, Concert Choir. They are to be commended for the countless hours spent planning and organizing the week’s rehearsals as well as tending to the needs of our singers, parents, and conductors.

In closing, I would like to thank all the dedicated and hard working teach-ers who strive to make music an inte-gral part of every child’s life. The daily work of these teachers contributes to the high quality of the OAKE National Conference Choirs. Please consider sending singers to the 2011 National Conference in Minneapolis, Minnesota, where the conductors will be Jon Noyes (Children’s Choir), Mairee Pantzer (Youth Choir), and Angela Broeker (Concert Choir).

Jeanne Wohlgamuth is the National Honors Choirs Committee Chair.

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Outstanding Educator: Constance Price

Georgia Newlin, OAKE president (left) presents the Outstanding Educator Award to Constance Price. Photo by Kent Kuddes.

Constance Price has spent her teach-ing career bringing the joy of music and music making to hundreds of students, first teaching high school choirs and AP courses in Hartford, Connecticut, and later in Framingham, Massachusetts, where she taught elementary vocal music. In addi-tion, she has taught at the junior high and elementary school levels, organized and in-structed Kodály training programs, presented for chapters and conferences, contributed arrangements to a choral publication, and given many years of service to OAKE. Her crowning achievement has been founding and leading the Essex Children’s Choir, which has performed for many music educa-tion conferences, radio and television, and three Vermont gubernatorial inaugurations.

An alumnus of the choir said of Price, “The Essex Children’s Choir, with the guid-ance of Mrs. Price, taught me dedication, focus, and the value of family. Most impor-tant, I learned about the power and rewards of hard work.”

Another said, “My experiences in choir taught me to listen … with my

mind, my heart and soul, and to find beauty in every situation, no matter how sad the melody might be.”

Below are excerpts from letters support-ing Constance Price’s nomination:

Mary Allmon EpsteinFounder and director, Kodály Music InstituteNew England Conservatory, Boston, MA

Mrs. Price possesses a rare gift to nur-ture and instill in young people the ability to read music, understand the language of music, improvise, and make music come alive. Not only can Mrs. Price produce musical performances of the highest level, but the process itself is stunning and of the highest aesthetics. Being in the presence of these moments under Mrs. Price’s artistic direction can take one’s breath away.

In July 2006 I was moved to tears in an informance session presented by the Essex Children’s Choir at New England Conserva-tory. The purpose of the session was peda-gogical, but in fact it showed uncommon musicianship and scholarship. These chil-dren were led through their regular warm-ups in which tone color, breathing, diction, blending, articulation, and improvised folk materials were all combined, connected, and woven into art music. I’ve never seen any-thing like it. Hungarian master teachers and proponents of Kodály’s ideals have taught us that everything comes from the music; Mrs. Price elevated those ideals to a new heights. Participants of the Kodály Music Institute were so awed that they gave a standing ova-tion for the informance session.

René FerrellDirector of Music EducationCalifornia State University, Bakersfield

This very wise woman has worked tire-lessly for many years to preserve OAKE’s history in a central brick and mortar reposi-tory. Like many other prestigious music

education organizations, such as MENC, our historical documents are housed at the university of Maryland Library Archive. I’ve served on Connie’s Archive Committee for many years. I am aware of how hard she’s had to labor, the many hours she’s put in to working hands-on to sort through and organize our materials at the university, and the endless flow of letters, phone calls, and e-mails she’s made to communicate with the university library archivist. I am also aware of how she’s had to (as diplomatically as possible) obtain important documents, pho-tos, and other records from our founders, our chapters, and our officers so they can be housed in a single research-oriented venue. Connie Price is relentless when it comes to preserving our history.

Connie Price has given a prodigious gift back to her profession—to OAKE.

James FieldsDistinguished professor (retired)Nicholls State University, Thibodaux, LA

Connie and I became acquainted after I joined OAKE as a member in 1978. Over the years our acquaintance developed into a good friendship personally and profes-sionally. My respect for her commitment and contributions to teaching has grown over the years as we had opportunities to visit at OAKE conferences … I know that her Essex Children’s Choir has been invited to perform at several MENC, ACDA, and OAKE conferences as well as at other notable events in Vermont and the New England region.

As I recall, the Eastern Division of OAKE elected her as its representative to the board in the early 1990s. I served as the executive secretary at the time. Her contributions to the board were informed, instructive, and in the interest of how deci-sions would ultimately impact teaching of the children.

2010 OAKE Recognition AwardsDavid Gadberry

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Betty HillmonHead of the Music DepartmentPark School; Brookline, MA

Although Connie, as most know her, maintains professional memberships in sev-eral music organizations, she has dedicated the majority of her time to OAKE, holding a membership since 1975.

Indeed, Ms. Price has an impressive list of achievements and accomplishments but the jewel in this list has yet to be added. This is the Essex Children’s Choir of which Ms. Price is the founder/director. Wait! Not completely true! The children, inspired by the singing of the Hungarian Radio Children’s Choir, the Vienna Choir Boys, and their own choral sound (which they developed with Ms. Price as their teacher) met and organized as a choir. They then ap-proached Ms. Price, and the rest is history.

under her leadership, this choir has received distinguished recognition at MENC national and regional conferences and the OAKE and ACDA conferences. The choir has performed with several orchestras in-cluding the Vermont Symphony Orchestra; Charlie Haden Liberation Orchestra; Gar-rison Keillor/Prairie Home Companion; and for the 2005, 2007, and 2009 Vermont gu-bernatorial inauguration. The choir has been honored by the Vermont Musician’s Associa-tion as one of twelve distinguished Vermont organizations for their commitment and excellence in the presentation of live music to the community. In 2005, the choir presented a demonstration/lecture as part of the Kodály Summer Institute at the New England Con-servatory of Music. In each performance, the choir demonstrated the quality vocal tone and intonation that is Ms. Price’s mark.

János HorváthAssociate Professor, Music EducationUniversity of Calgary

Over many years of knowing Connie, I have observed her work with both her music classes and chorus. As a classroom teacher, she understands, demonstrates, and upholds the ideals of excellent teaching based on the philosophy of Zoltán Kodály. She has in-stilled the love of music in her students to the extent that as adults, they continue to pursue and support music activities.

Further evidence of her outstanding work is the Essex Children’s Choir. A group formed by her classroom music students. The Essex Children’s Choir is of high quality and achieves the sound quality, intonation and phrasing of a choir trained using the ideals of Kodály.

Ann C. KayDirector, Center for Lifelong Music MakingMinnetonka, MN

Connie is a rare individual, skilled not only in teaching but also in understanding others. She has been able to combine her expertise as a musician and Kodály educator with her great ability to reach children. She demonstrates that teaching is not just a craft, it is an art, and Connie is an artist teacher.

My relationship with Connie was pri-marily from 1996–2002 when she was the OAKE archivist/historian and I was serving as president-elect, president, and past-presi-dent of OAKE.

We had conversations about the im-portance of bringing people together, com-municating, and building a strong structure so that the Kodály movement could be more effective nationwide.

Ivy Rawlins WardConnie Price has spent her teach-

ing career bringing the joy of music and music making to hundreds of students, first teaching high school choirs and AP courses in Hartford, Connecticut and later in Framingham, Massachusetts, where she taught elementary vocal music. When she left, Massachusetts her principal said, “Her music classes have been exciting and full of joy [with] one of her finest achievements being her power to develop [in her students] an appreciation of various cultures.”

While in Massachusetts, Connie studied at the Kodály Musical Training Institute and received her graduate certificate in 1977. In 1978 she moved to Vermont where she taught junior high and elementary general music and choir, employing the philosophy and skills she learned at KMTI along with her natural musicality and teaching skills.

In 1984 she organized and taught in a Kodály summer course for teachers at the university of Vermont, Burlington, with

both American and Hungarian teachers on the faculty. The course ran until 1987.

Connie has also made many contribu-tions to this organization. She joined OAKE in 1975 and has been an active member ever since, including service as an OAKE board member. In 1991 she became the OAKE archivist, a position she held for many years.

In addition, she has given presentations at OAKE conferences and for OAKE chap-ters and was a contributor to Two Part Songs in English published by OAKE.

Pamela S. WoodSenior Lecturer in MusicMassachusetts Institute of TechnologyCambridge, MA

In January of this year, I had the pleasure of sitting in on three of Mrs. Price’s classes. The younger group met first. The teens joined with them for a group of singing games, then gathered for their own lesson. Each session was a thing of beauty, flowing seamlessly through all of the elements we learned to include when studying pedagogy during the 1970s. The children were singing beautifully in tune, recognizing rhythmic patterns culled from their folk-song repertoire, observing form in known question/answer songs, creat-ing ostinati and other musical improvisatory activities, and playing singing games nonstop. The youngsters were having such fun learn-ing(!) in order and elegance, that we observers couldn’t resist the urge to participate!

I was also privileged to hear the Essex Children’s Choir in performance. What a sound! I wept at the beauty, the purity of tone, vowel shape, intonation—like that of Hungarian choirs—which we hear much too seldom in America!

This year, we were very lucky to have multiple nominees for the OAKE Outstand-ing Administrator Award. Two of the nomi-nees were tied in their votes from the Recogni-tion committee, so the committee elected to give the award to both nominees: Kathy Kud-des, and William Ray.

Outstanding Administrator: William O. Ray

William O. Ray is the vice provost and graduate college dean at the university

KODÁLY ENVOY28

Special Section: 2010 OAKE Conference, Dallas, Texas

of Oklahoma, Tulsa Campus. He has sup-ported the Kodály Training Program at the university of Oklahoma Tulsa Graduate College for over 9 years by seeking out and providing funds for the crucial components that make a program successful.

Ray has taken a personal interest in the progress of each of the teachers and provided scholarships and non-resident tuition wavers to ensure that everyone, re-gardless of financial situation, could attend the courses.

Below are excerpts from the nomina-tion letters for William O. Ray:

Georgia Newlin, OAKE president (left), presents William O. Ray the Outstanding Administrator Award. Photo by Kent Kuddes.

Sandy KnudsonInstructor in solfège, conducting, and choirOklahoma University Kodály summer certifi-cation program, Norman and Tulsa

Dr. Bill Ray has done everything within his power to support the Kodály certifica-tion program in Tulsa. Normally, most of our courses are offered on the Norman cam-pus, but he has worked tirelessly to make these classes available in Tulsa for six sum-mers. Despite challenges with buildings and equipment, Dr. Bill Ray has acquired stereo equipment, a keyboard, adequate classroom space, and performance venue for our final concert and ceremony. He budgets on our behalf, regardless of class size, because he wants the program to be offered to teach-ers in the eastern part of the state. Dr. Ray personally attends our closing ceremonies and proudly applauds those who finish the coursework. He is a great advocate for the Kodály approach and music education in our state and region.

Joy NelsonSamuel Roberts Noble Presidential ProfessorDirector of Kodály ProgramsUniversity of Oklahoma

For the past nine years, Dr. Ray has provided extraordinary leadership and sup-port for the Kodály program at the univer-sity of Oklahoma Tulsa Graduate College. As dean, he has searched for and provided much needed funds, including faculty salary and housing, national advertising, brochure design and mailing, and technical support. In spite of extremely tight budgets and re-straints, he has found the funds to support the program year after year. We have never had to ask for anything. His questions have always been—what do you need? How can I be of assistance? What can we do to ensure the continued success of this program?

From the beginning, Dr. Ray recog-nized the inherent value of the Kodály-based courses. Though he is not a musician himself, he made sure we had the classroom space we needed, purchased much needed stereo systems, arranged for tuning and purchase of high-quality instruments, and, despite an extremely busy administrative schedule, faith-fully and willingly attended every concert. Dr. Ray has taken a personal interest in the progress of each of the teachers, and provided scholarships (something virtually unknown in our summer graduate programs) and non-resident tuition waivers to ensure that every-one, regardless of financial situation, could attend the courses. He has always been ready to offer words of encouragement and never asked for anything in return.

In all of my years as a college instructor, I have never seen support and commitment of this nature at the administrative level. I can only guess what “hoops” Dr. Ray may have had to “jump through,” what justifica-tion he may have had to provide, or what sacrifices he may have had to make in order to provide the best for the Kodály program. I can truly say that this program is funded and supported today because of what Dr. Ray has done and continues to do on our behalf.

Outstanding Administrator: Kathy KuddesKathy Kuddes joined the staff of Plano Independent School District in 1995 as

music specialist at Weatherford Elementary. She rose rapidly through the ranks to Vocal Coordinator K–12, and finally to director of Fine Arts for the Plano Independent School District, which is the position she holds today. The 68 Plano ISD campuses serve approximately 54,000 students, and the dis-trict employs 158 certified music educators. Kathy oversees all district professional de-velopment for music education, has chaired several revisions of the district’s Kodály-inspired curriculum, and has worked to vertically align the music curriculum from kindergarten through the twelfth grade.

Georgia Newlin, OAKE president (left), presents Kathy Kuddes the Outstanding Administrator Award. Photo by Kent Kuddes.

Below are excerpts from the nomina-tion letters for Kathy Kuddes:

Linda ArbolinoEast Cluster Elementary Music Team LeaderMusic Specialist, Hedgcoxe ElementaryPlano Independent School District, TX

I have known Kathy ever since she joined the staff of Plano ISD in 1995 as music specialist at Weatherford Elementary. She rose rapidly through our ranks to vocal coordinator K–12, and finally to director of Fine Arts for the Plano Independent School District which is the position she currently holds today. Our district has experienced tre-mendous growth, and Kathy has stood at the helm of our fine arts program. Music instruc-tion is provided at all campuses by specialist teachers except at the early childhood and special programs schools. As director of Fine Arts, Kathy has chaired several revisions of our Kodály-inspired elementary music cur-riculum and also created a task force to deal with the inclusion of assessments for each

Summer 2010 29

Special Section: 2010 OAKE Conference, Dallas, Texas

grade level. She oversees all district profes-sional development sessions for all levels of band, orchestra, choir, theory, theater, and the visual arts, and is both inspirational and motivational to all of us under her leadership.

Kathy’s most recent vision has been to unify the music teaching of Plano ISD into a K–12 Kodály-inspired, sequential, developmentally appropriate, and verti-cally aligned curriculum.

Kathy has fostered the continuation of the Plano Children’s Chorale, a 90-member chorale chosen by audition from over 5,000 fifth-grade students within the Plano ISD. Last year, the Plano Children’s Chorale was awarded the title of Elementary Honor Choir at the Texas Music Educators Con-vention, bringing further recognition to our district’s Kodály program at the elementary level. In addition to her administrative role within our district, Kathy remains active as a clinician presenting workshops and ses-sions locally, regionally, at the state level, nationally, and also internationally at the Australian IKS Conference.

Kathy has taught in the OAKE- endorsed university of North Texas Kodály Institute, which provides three levels of Kodály teacher training culminating with certification for those who complete the coursework and projects. Kathy’s leader-ship is apparent here as she has aligned Plano ISD with the Texas Kodály Training program so that teachers have the option of beginning their Kodály training during the summer at the university of North Texas and continuing it one Saturday each month at the Sockwell Teacher Training Center in Plano.

Kathy’ s involvement with the North Texas Kodály Institute led to an invitation from the uNT associate dean of academic affairs, Dr. Warren Henry, to join a team of instructors for an experimental course de-signed to place music methodologies into a broader historical and cultural context. And so the course Kodály in Context was born. The instructional team was made up of four experts; Dr. Henry, who served as instruc-tor of record and tour organizer, Dr. Donna Emmanuel, who taught cross-cultural un-derstanding and is conducting research with the students regarding their experiences,

Kathy Kuddes, the Kodály expert, and a colleague, Julie Scott, as the Orff Schulwerk expert. The class culminated in a trip to Hungary to see firsthand the richness and quality of music education in that country.

Kathy has also served in leadership positions within the Kodály Educators of Texas and the Organization of American Kodály Educators. She brings a wealth of knowledge and expertise into her role as director of Fine Arts for the Plano ISO. Just as Zoltán Kodály believed that it is the right of every citizen to be taught the elements of music, Kathy is the guiding force behind that philosophy here in our district. Kathy has taken that to heart and has provided the district not only a fine curriculum with top notch teachers to teach the curriculum, but also one which includes live fine arts performances as field trips for the children in grades 1 through 6. The fourth graders attendance at a symphony concert is one of the favorites of the children.

It is very evident Kathy’s leadership has changed the entire face of music within the Plano ISD, and our children are the better for it. Plano is known, not only as a top school district within the state of Texas, but also nationally for its musical excellence. The music program attracts teachers from all over the united States. It is to Kathy’s credit that we have a high consistency of quality music instruction that produces the out-standing musicians that graduate from our school district.

Kodály said that it is the richness of both the musical experiences themselves and the memory of them that makes a good musician. Kathy’s many experiences are the memories that she brings to each new vision for our school district. We, the teachers of PISD are so very appreciative of her knowl-edge and leadership.

Karen GentryPresident, Southern Division, OAKE

One day at a music staff meeting in Plano, Texas, a new teacher was introduced. What a surprise for me, and what a blessing to Plano! It was Kathy! We both loved and respected our elementary music supervisor, Mary Ozanne—a former recipient of this very award—and we both loved teaching

in Plano. When Mary decided to retire, the search was on for a person to fill mighty big shoes. There were strong and capable candidates, but Kathy’s clear thinking, her excellent communication skills, her vi-sions for the future, her knowledge of the curriculum, and her passion for bringing quality music to young students couldn’t be overlooked. She became our elementary music supervisor and then our vocal music supervisor and then our fine arts director in Plano. During those years she worked with Linda Arbolino and Jim Lovell in revising and updating the Kodály curriculum for Plano. She began opening the communica-tions between elementary, middle, and high schools. Vertical planning is ongoing in Pla-no. She presented outstanding training ses-sions for the district and brought in national names to share their expertise. She initiated the PISD Kodály training for her teachers, and then joined forces with North Texas to create a two-track option (summer or year round) for teachers to receive instruction in their levels. She spends her summer vacation teaching the music literature strand in the PISD/NTu and serves as director of that nationally certified training program. The high quality of music demonstrated year after year at TMEA is but one testament to Kathy’s leadership.

Jim LovellMusic SpecialistBrinker Elementary School; Plano, Texas

Kathy had very large shoes to fill when she was hired to replace the retiring el-ementary music coordinator, Mary Ozanne, the first to be given the OAKE Outstand-ing Administrator Award. However, with Kathy's outstanding organizational and communication skills, and with her zeal to carry on Zoltán Kodály’s mission of music for everyone, she has elevated the quality of music education at every level in the Plano Independent School District.

As director of fine arts for the PISD, she has always strived to bring the secondary choral, orchestra, and band teachers on board with the Kodály philosophy and methodolo-gies that were already well-established in the elementary schools. As one can imagine, she was met with resistance from teachers un-

KODÁLY ENVOY30

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comfortable with change, but Kathy patiently persevered. By 2007, she was able to obtain a grant to hire curriculum consultants and to put together a team of elementary music teachers as well as secondary band, orchestra, and choir teachers, and over the course of a year, a comprehensive, vertically aligned K–12 music curriculum was created.

As a result of the new curriculum, marching bands are singing chorales to

improve their intonation. Beginning instru-mentalists in the middle school continue working with rhythms and meters they learned in elementary school in spite of having to learn a new modality of musical expression. Elementary students are utiliz-ing some of the same musical terms that the Advanced Placement theory students are using. All of the music teachers in the Plano Independent School District know

being around others with high energy and passion and enthusiasm for Kodály and teaching music.”

“The banquet was a lot of fun and the food and entertainment the best!”

“Loved the exhibit entertainment; the brass was amazing, as was the Houston CC!”

“Wow! You did it up just right at OAKE. What a wonderful time everyone seemed to have. Texas should be glowing

with well- deserved pride. Bravo!”“I especially liked starting earlier on

Thursday, with sessions spread over three days instead of two, making for a less strenuous schedule. And the final concert was superb. I think it contained the best repertoire, with wonderful conductors and an afternoon concert that was less tiring than in the past.”—Anne Laskey

“I had a wonderful experience with

the children, the parents, and the teachers. Meredith and Brenda did an extraordinary job! They went way above the call to duty. I will remember this experience for a long time; both musically and socially.”—Ruth Dwyer

Cecile Johnson is the 2010 OAKE Na-tional Program Chair

Conference, cont. from p. 19

where their students have been musically and where they are going. They better un-derstand their own role, their unique part, in their students’ musical education. This is something all Kodály-inspired music teach-ers dream about.

Kathy Kuddes made it happen.

David Gadberry is chair of the OAKE Awards Committee.

Summer 2010 31

Special Section: 2010 OAKE Conference, Dallas, Texas

The OAKE Administrator Program at the 2010 conference was designed to encourage dialogue on music educa-tion between teachers and administra-tors. Eleven administrators attended the conference this year; ten attended the Administrator Program breakfast and session, and many attended sessions, the opening ceremonies, and the general membership meeting.

Edith Barton (Elementary Fine Arts Coordinator, McKinney Independent School District, Texas) presented the administrator session; her presentation on the origins and philosophy of Kodály music education inspired a lively discus-sion among the administrators and teach-ers present on how to create a Kodály training program in a school district. Following the administrator session and breakfast, the visiting administrators at-tended sessions of interest to them. The administrators in attendance were:

Loretta Bourn, Music/P.E./Health Coor-dinator, Cypress-Fairbanks ISD

Brenda Hass, fine arts coordinator, Gar-land ISD

Greg Hutchinson, head of school, St. Thomas Episcopal School

Jodi Jordan, lead elementary music con-tact person, Frisco ISD

Vicki Keller, fine arts specialist, Arling-ton ISD

David McCullar, director of fine arts, Denton ISD

Margaret Randle, principal, Wheatley Elementary, Lubbock ISD

Robert Rumph, director of fine arts, Lubbock ISD

Russell Sanders, director of fine arts, Mansfield ISD

Thomas Waggoner, director of fine arts, Texas Education Agency

Ann M. M. Crouch (OAKE Admin-istrator Committee Chair) and Cecile

Administrator ProgramAnn M. M. Crouch

Johnson (2010 National Program Chair) presented the OAKE administrator cer-tificate of recognition to David McCullar. McCullar has been supportive of the Kodá-ly teachers and programs in his district. In addition, he was instrumental in helping OAKE borrow the musical equipment used at the 2010 conference.

A big thank you to Kathy Kuddes for all her work. With her help, this year’s Ad-ministrator Program was a huge success.

“The purposes of the OAKE Admin-istrator Program are to foster communica-tion between educators and administrators, to create a liaison between administrators and local Kodály chapters, and to reward administrators who currently support the Kodály methodology in their schools, districts, or universities” (Garrett, Kodály Envoy, vol. 34, no. 4. p.23.).

If you are interested in more informa-tion about the OAKE Administrator Pro-gram, please contact Ann M. M. Crouch at acrouchKodály@gmail.com.

Ann M. M. Crouch is the OAKE Admin-istrator Committee Chair.

OAKE president Georgia Newlin addressing Administrator Breakfast. Photo by Kent Kuddes.

Administrator Breakfast attendees. Photo by Beth Pontiff.

KODÁLY ENVOY32

Special Section: 2010 OAKE Conference, Dallas, Texas

Newcomers ProgramNaomi Katz Cohen

The Newcomer Program at the OAKE conference continues to grow each year. We had 24 newcomers, with more signing up at registration. A huge thank you goes to the Kodály Educators of Texas (KET) chapter and Cecile Johnson, as well as Nancy John-son, for helping make the program a success. Cecile and Nancy made sure that we had a newcomer lounge for people to gather and meet in. Cecile and the folks of KET col-lected materials for newcomers to take away, from goody bags to lesson plans to a die-cut machine on which to make manipulatives. The newest part of the newcomer program is the addition of mentors. This year we at-tempted to pair up newcomers and mentors. Some were able to meet up in the newcomer lounge and spend time talking and making friends. We look forward to the Newcomer Program expanding in years to come.

Naomi Katz Cohen is the Newcomer Pro-gram chair.

Newcomer's Lounge. Photo by Dustin Taylor.

The proposed 2010–2011 fiscal year bud-•get with total income of $398,920, total cost of goods sold of $233,604, and total expense of $165,316 was adopted.The Investment Committee Articles of •Organization was adopted.The investment policy adopted on March •8, 2006, and amended on March 21, 2007, was rescinded and a new invest-ment policy and guidelines were adopted.Gift policies and procedures were ad-•opted.Margo Leatham, Jody Delaney, Lennie •Davis, and Kerry Moss were each awarded a $1000 Jenö Ádám Scholarship.Stephen Soich and Cathy Setzler were •each awarded a $500 Susan Taylor Howell Memorial Scholarship.

Christina Caballero, Jeshurun Gnanase-•garam, Tiffany Gonzalez, Tiana Lazard, Gina Reynolds, Chelsey Shirley, and Taylor Watson were each awarded $400 National Conference Choir scholarships.The teacher education programs spon-•sored by the San Antonio Independent School District (TX), Aldine Independent School District, Wichita State university (KS), university of Central Missouri (MO), Texas Tech university (TX), and Minnesota State university Moorhead (MN) were granted OAKE endorsement.The • Guidelines for OAKE-Endorsed Teacher Education Programs (2010 edition) were adopted.OAKE Research Poster Session participants •must join OAKE as members before the con-

ference in which they will present.In the event of a tie in the Outstanding •Educator and Outstanding Administra-tor Awards, the chair of the Recognition Committee will have the tie-breaking vote. In the case of a tie in the Lifetime Achievement Award, the immediate past president will have the tie-breaking vote.All previously adopted OAKE research-•award categories were rescinded. The OAKE Outstanding Research Award, to include the following categories: (1) The László Eősze Award for Professional and Non-Doctoral Research, (2) The Alexan-der Ringer Award for Doctoral Research, and (3) the Award for Academic Research to be named at the fall 2010 Board meet-ing was adopted.

News from the Board of Directors MeetingMarch 17–20, 2010

Summer 2010 33

34

NEW MEMBErS : FIrSt QUArtEr 2010

See the complete member listings in the members-only section of www.oake.org. Restricted solely to the personal use of OAKE members and official OAKE business.

Jeanette AdlemanPearland, TX

Matthew BakerRapid City, SD

Melisa BauerEureka, MO

Ann BaughBedford, TX

Janie BenjaminLouisville, KY

Nicole BernierCoralville, IA

Angele BienvenuCut Off, LA

Maria BotelhoPhiladelphia, PA

Loretta BournHouston, TX

Karen BoutonGraceville, FL

Alana BrecheenMesquite, TX

Aimee BretzkeHouston, TX

Christina BrownKileen, TX

Joan BrundageTucson, AZ

Theresa CanadayGarland, TX

Sarah CanePalo Alto, CA

Stephanie ChampionLaredo, TX

Karen ClarkChagrin Falls, OH

Laura CollinsTulsa, OK

Jillian ComrieCovington, WA

Marianne CrispinNew Caney, TX

Sheila DonahueBelton, TX

Nellie DotyHouston, TX

Christian EmighOakland, CA

Elizabeth FrancolinoNewington, CT

Crystal GarciaSan Antonio, TX

Diane GlazerLos Altos, CA

Bonnie GrahamArvada, CO

Greg GuzevichAllentown, PA

Charles HaighFort Wayne, IN

Ronda HaireAbilene, TX

Robyn HeydeRichardson, TX

Miranda HillFort Worth, TX

Donna HoganLubbock, TX

Joan HoweyHuntsville, TX

Alyssa HunsuckerSan Antonio, TX

Rhonda IvyCoolidge, TX

Lucas JanesMarionville, MO

Rebecca JuarezSan Antonio, TX

Rachel KeenPlano, TX

Leslie KeigSpring, TX

Jenny KellyRichardson, TX

Laura KinnairdDenton, TX

Avery KiserSpring, TX

Amanda KlokeOmaha, NE

Irene KwokCupertino, CA

Linda LaCounteLittle Elm, TX

April LaymonJacksonville, FL

Kyle LeeLawrenceburg, KY

Christy LockhartTomball, TX

Jessica MaherBismarck, ND

Ronald ManningOklahoma City, OK

Charles MartinBoulder, CO

Margaret MauriceAtlanta, GA

Lisa MaxwellSan Francisco, CA

Timothy McHargueBerea, KY

Sheri McKelfreshFort Collins, CO

Marilyn MillerTaos, NM

Kristin MooreRichardson, TX

Cami MowerHerriman, uT

Judy PanningLake City, IA

Katherine ParkerBroken Arrow, OK

Dana PattersonAustin, TX

Kevin PearsonSkiatook, OK

Kathy PetreeRichardson, TX

Jennifer PrattForney, TX

Krista ProulxOmaha, NE

Tamera RaburaPort Gamble, WA

Cynthia ReynoldsNew Rochelle, NY

Jessica RucinskiNewton, MA

Eve SadaTulsa, OK

Juan SaldañaShiner, TX

Amy SchoeneWest Des Moines, IA

Patricia SchusterFrisco, TX

Vicki SeiglerWichita Falls, TX

Janice SikesRound Rock, TX

Maritza StadermanArlington, VA

Samantha StallerDeKalb, IL

Warren SteelOxford, MS

Justine SteenblokWest Harrison, NY

John-David StruckmannHouston, TX

Neesa SunarBayside, NY

Sarah TomlinLewisville, TX

Jessica TranMcKinney, TX

Stephanie TrinneerSeattle, WA

Theresa TurnerMcKinney, TX

Sr. Martina VuHouston, TX

Pattilyn WalkerAbilene, TX

Wendy WeeksAbilene, TX

Stacy WeemsArlington, TX

Ramona WilliamsBaltimore, MD

Cindy WilliamsCrescent Springs, KY

Michele WilsonAbilene, TX

Patsy WinnBaytown, TX

Elise WintersAustin, AL

Brittany WootenDallas, TX

Debi WootenPlano, TX

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easily it can be assimilated into our class-room curriculum.

We found fellowship at our Meet, Greet and Eat, and camaraderie at our first ever Holiday Sing Along. Along the way, we went to EGMC, OAKE, and CMEA. We presented, volunteered, supported, car-ried equipment, provided snacks and did a hundred other tasks happily, knowing that everything was done for the love of our art and our children. Please consider volunteer-ing. Your input is welcome at all levels. Do your part and be part of this wonderful or-ganization. We’ll see you at a workshop.

KESNE is delighted to announce that our own Colleen Olson is the recipient of the 2010 Connecticut Music Educators Associa-tion Outstanding Elementary Music Educa-tor award. Colleen is a dedicated and con-summate music educator and we are thrilled that she has received this justly deserved rec-ognition. In September, Colleen will take the helm as president of KESNE and we all look forward to her inspired leadership.

KNJKodály/New Jersey Lindsay Jackson, President 609-915-8818 lindsayjackson01@yahoo.com

KONYKodály Organization of New York Karen Paulson, President 212-861-9825 karenpaulson@gmail.com

MUSIKMaryland United Specialists in KodályAmy Branum Huggins, President410-617-2391 abhuggins@loyola.ed

This year, MuSIK continued its suc-cessful partnership with two other Kodály-inspired organizations: the Children’s Chorus of Maryland (CCM) and the American Kodály Institute (AKI) at Loyola university Maryland. Both organizations were actively involved with our chapter’s 2009–2010 series of three exciting workshops, held in the beau-tiful Fine Arts Center of Loyola university Maryland, home of the American Kodály Institute, from 8:30 a.m. to 4:00 p.m., with luncheons from 12:00 noon to 1:00 p.m.

Workshops for this year included:

November 14, 2009Around the Circle of the Year: Seasonal

Songs, Games, Activities, Choral Music, and Teaching Strategies for the Vocal Music ClassMore than 100 music educators from

Maryland, Washington DC, and sur-

rounding states participated in MuSIK’s extraordinary fall Kodály workshop, fea-turing seasonal materials for every facet of the vocal music program, held in Loyola university Maryland’s beautiful McManus Theater. Presenters included Amy Branum Huggins, Tasha Maglocci, Anne Culbertson, Mary Flora, and special guest Tim Gregory, who offered a preview of the workshop on authentic African songs and dances for the music class to be presented at MuSIK’s spring workshop on May 15. Participants enjoyed a wonderful luncheon in Loyola’s Tudor mansion and went home with an enormous packet of seasonal songs, games, dances, and choral music to use in their school music programs.

March 13, 2010A Day in the Life of a Kodály Certification

Student, Take Three!Designed to promote Kodály music

education and OAKE/MuSIK membership and encourage Kodály training, the third in a series of highly successful annual free workshops guided participants through a typical day of classes in Solfa, Methodology, Materials, Conducting and Choir, as well as a session about OAKE membership and ac-tivities. Sessions were taught by instructors and graduates of the AKI/Loyola university Kodály master’s degree program, including Amy Branum Huggins, Tasha Maglocci, Caroline Crocker, and Julie Maragos. Break-fast and a fabulous buffet luncheon were provided, and teachers took home an out-standing collection of songs, games, dances, and teaching materials for the music class.

May 15, 2010Kodály Double Feature Workshop: Impro-

visation in the Music Class & Songs and Dances from Africa for the Music Class For our spring workshop, MuSIK’s

guest presenters, Berta Hickox and Tim Gregory, led an exhilarating day of songs, dances, games, and activities for the music class! Berta’s improvisation session provided teachers with a wealth of highly creative and motivating activities that are perfect for the “practice” segment of teaching the rhythmic, melodic, and harmonic elements of the vo-cal music curriculum. Tim’s African music session picked up where he left off at our fall workshop, with participants learning and performing more of the engaging, authentic songs and dances that Tim collected in the field. As always, participants took home a

Eastern DivisionBAKE

Boston Area Kodály Educators Elizabeth Higgins, President 781-963-4412 EHiggins@mpsd.org

KEEPKodály Educators of Eastern Pennsylvania Emily Reep, President717.840.2528 sea2reep@comcast.net

KESNEKodály Educators of Southern New England Lillie Feierabend, President860-658-4482 lhfmusic@aol.com

Here we are the end of another amazing year and the end of my time at the helm of this wonderful organization. Happily, there are no good-byes. The KESNE team will continue to bring you remarkable and motivating leaders as the torch is passed to Colleen Olson. Colleen has a stellar reputa-tion throughout the state. She is a gifted educator who will guide us with a deft hand, a twinkle in her eye … and wait until you taste her brownies!

KESNE would like to publicly thank Colleen, Diana, Tim, Meredith, Donna, Charlie, and Keira for their outstanding service. Each has gone above and beyond the call, giving of their special talent. It has been my joy and pleasure to work with you, get to know you and appreciate what you do each and every day to make this world a better place for children.

Our year began with children. Jon Noyes led us through a wonderful session about cultivating not just children’s choirs, but children’s voices. We were delighted to have this master teacher work with children in a rehearsal setting to better understand and watch the actual process of vocal de-velopment take place right before our eyes and ears. Susan Brumfield then took us to the children of the British Isles where she led us through songs, games and dances that came alive due to her uncanny ability to understand the spirit with which children play their games. We had a rolling rollicking session that taught us how to teach these gems with the same sense of joy. We ended our year with Kristen VanOllefen, who fear-lessly treads where lesser mortals dare to go … composition. She showed us how to overcome our apprehension and use com-position as another important tool to aid in music development. She brought video and audio clips that reinforce how necessary a skill this is for our children to have and how

NEWS FrOM DIVISIONS AND ChAPtErS

Summer 2010 37

great collection of songs, games, and activities to use in their classrooms. Complimentary breakfast and box lunches were provided!

For information about MuSIK’s work-shops, the 4-summer (month of July) AKI/Loyola university Kodály Master’s Degree program, or Children’s Chorus of Mary-land opportunities for students and music educators, contact MuSIK president, Amy Branum Huggins at ahuggins@american-Kodály-institute.org. Everyone is welcome!

SNYKESyracuse New York Kodály EducatorsRachel Appleby, President917-202-7493 rkg20@hotmail.com

VOKEVirginia Organization of Kodály Educators Gretchen Liechty-Lynch, President703-879-7069 gcliechtylynch@gmail.com

VOKE had an exciting year, hosting our annual free sharing session, three outstand-ing workshops (with Jay Broeker, Kristen Van Ollefen, and Lillie Feierabend) and a fabulous choral festival with nearly 150 children in attendance led by internationally renowned guest clinician Elaine Quilichini. Two Virginia universities—George Mason in Fairfax and James Madison in Harri-sonburg—will both be offering all three levels of Kodály certification this summer and information is on the VOKE Web site. VOKE expanded its executive board, adding the positions of historian (Erin Rosa), music librarian (Eric Sennett) and choral festival chairs (Teresa Smith and Carrie Ragona).

Workshop and choral festival details for 2010–2011 will be posted on our Web site during the summer months—please stay tuned!

Kristen VanOllefen presented a workshop in February titled “A Multitude of Musicianship Activities.” She and VOKE president Gretchen Lynch show off their best mi’s and re’s. Photo by Erin Rosa.

Midwestern Division

AWAKEAssociation of Wisconsin Area Kodály EducatorsDiane Johnson, President715-762-2971 djohnson2@csdk12.net

The AWAKE chapter partnered with the Milwaukee Children’s Choir to present the Roots and Wings Festival on March 27. It was a day full of different experiences for treble singers in grades 2 through 8. The day included concert rehearsals, break out ses-sions, an evening concert, and a service proj-ect for a nonprofit organization. AWAKE members lead the folk-dancing break-out sessions.

The general meeting date has been set for Wednesday, July 7 at Silver Lake Col-lege. The meeting will begin at 12:15. Gilbert De Greeve, president of the Inter-national Kodály Society, will address the membership. A luncheon will be provided. De Greeve will also perform a piano concert the evening before at Silver Lake.

The AWAKE Board will announce fall and spring workshops for 2010–2011 at the general membership meeting.

CAKEChicago Area Kodály EducatorsColleen E. Cetera, President773-583-6731 colleencetera@juno.com

CCKECapital Collegiate Kodály EducatorsRebekah Sharpe, President513-910-7335 rsharpe@capital.edu

CIKECentral Illinois Kodály Educators Joan Moreau, President217-454-8092 joan131313@sbcglobal.net

CIKE received its chapter charter from OAKE in Dallas, Texas, in March 2010. CIKE and its founding members, Melissa Miller, treasurer, Joan Moreau, president, and Christine Smith, vice-president would like to thank Aileen Brown, the MKMEA board, Joy Nelson, and Greg Williams for their encouragement, support, and assis-tance in establishing our chapter. We look forward to being of service to music educa-tors in the Central Illinois area.

CMKECentral Missouri Kodály EducatorsBarb Sanders, President816-633-4838 blskom@aol.com

IKEIndiana Kodály EducatorsDiana Gillespie, President317-598-0034 thgilles@insightbb.com

KAKEKentucky Area Kodály EducatorsJune Grice, President606-783-2470 j.grice@moreheadstate.edu

KCMKodály Chapter of MinnesotaAndrea Halverson-Forsberg, President763-498-3318 ajhalverson@gmail.com

KCM hosted Ivy Rawlins Ward on Feb-ruary 13th at the university of St. Thomas’s Minneapolis campus. Ward presented “Af-rican-American Songs and Singing Games,” keeping participants singing and moving while sharing many great pieces to use in the classroom. Our final workshop of the 09–10 season will be our chapter sharing event on August 10.

We are also looking forward to serving as the host chapter for the 2011 OAKE con-ference in Minneapolis on March 17–19.

KEIKodály Educators of IowaShelley Droe, President319-830-9941 droe@cfu.net

KEI had a great turn out for our work-shop on March 6 with Sr. Lorna Zemke about using jazz in our curriculum. Sr. Lorna inspired us all with great ideas and tireless energy while presenting to partici-pants at the university of Northern Iowa in Cedar Falls. Items from the Kodály Related Publications Catalog were available for pur-chase from Silver Lake College. We all had a great day and cherish our time spent with Sr. Lorna and Sr. Marella.

Our Membership Chairperson, Mary Schmelzer was able to attend the OAKE convention in Dallas for free because of the great work in getting new memberships. KEI is looking forward to having Bruce Swank present for us in the fall along with other exciting workshops yet to be finalized.

KMEKKodály Music Educators of KansasRachel Reynolds, President316-680-4525 rreynolds2@usd259.net

KOZKodály of the OzarksJohn F. Devos, President417-467-5003 jfjdevos@hotmail.com

NOCKANorth Coast Kodály AssociationNancy Lineburgh, Copresident330-618-0892 lineburgh@gmail.com

NPKC Northern Plains Kodály ChapterCharlette Moe, President701-212-3692 charlette.moe@ndsu.edu

KODÁLY ENVOY38

PSKOrPlains States Kodály OrganizationAlaina S. Wilson, President402-572-9005 alaina.wilson@ops.org

In Eastern Nebraska, we have had snow on the ground for almost 3 months straight. The cold has taken its toll, but we were warmed with the gathering of friends and colleagues at our winter sharing sessions. On February 20, almost 30 people gathered in Omaha for a Make & Take activity. Over 10 manipulatives were made available for participants to create. We even had adminis-trators from the Omaha Public Schools peek in and see some of the exciting things we do in our classroom and use for assessment of our students. The following weekend, four of our board members headed west and took our materials to Hastings, Nebraska, for another Make & Take. We had over 20 people in attendance. Our winter sharing sessions brought music teachers with and without Kodály backgrounds, students with music education or elementary education majors, as well as teachers with backgrounds in other subject areas.

On April 10, Nancy Vondra presented ways to use music series books as a resource in our classrooms, as well as offering ideas for go-ing beyond the materials in the series books.

This has been an exciting year for our chapter, as we have increased attendance at our workshops and rising interest in teachers taking their Kodály levels. Take a moment to see what our chapter is up to at our Web site: www.pskor.org.

SEMKESoutheast Michigan Kodály EducatorsStephanie Terpening, President906-643-6739 stephterpening@aol.com

SLAKESt. Louis Area Kodály EducatorsKimberly Brush, President618-632-5066 kbrsh90@stclair.k12.il.us

trIKETri-City Kodály EducatorsAndrew Brown, President740.654.7392 abrown102@hotmail.com

Southern Division KEgA

Kodály Educators of GeorgiaMary Hoffman, President770-436-4397 mhoffman@peachtreepres.org

KENFKodály Educators of North FloridaAnn Leffard, President850-932-9852 Kodályflutist@excite.com

KEtKodály Educators of TexasLisa Roebuck, President512 464-5637 lisa_roebuck@roundrockisd.org

It was fabulous to see so many of you in Dallas at the OAKE conference. Special thanks to Cecile Johnson and all of you who volun-teered to make the conference such a success.

Central Texas Region hosted a spring KET workshop that included the following topics and presenters: Music and Move-ment—Patty Moreno and Lisa Roebuck; Singing by Ear —Paul Rauschhuber; Songs and Games —Lauren Bain. The workshop took place at Mead Elementary in Northside ISD–San Antonio, Texas. Texas Summer Training OpportunitiesFort Worth ISD Kodály TrainingKodály Institute of Houston–university of

Houston/Moores School of MusicThe Kodály Institute of North Texas–uni-

versity of North Texas and Plano ISDThe Kodály Teacher Training Program–

Aldine ISD The West Texas Kodály Initiative–Texas

Tech university and Lubbock ISDSan Antonio ISD Kodály Training Texas State university and Austin ISD Satel-

lite ProgramPlease visit the KET online newsletter at

http://ket.oake.org for additional informa-tion about the trainings and workshops.

KONCKodály Educators of North CarolinaPatti Anderson, President704.866.8574 pattijoa@aol.com

LAKELouisiana Association of Kodály EducatorsKari McCarty, President337-912-8592 piccoloqueen@hotmail.com

OKEOklahoma Kodály EducatorsEddie Lou Strimple, President580-234-4840 elstrimple@hotmail.com

SECKESoutheast Chapter of Kodály EducatorsMichael Perryman, President423-870-8079 mlperryman@juno.com

As we finish our school year here in southeast Tennessee, we are looking forward to another great summer program at the Kodály Institute at the university of Ten-nessee at Chattanooga. SECKE held its annual winter workshop on February 27 at the university of Tennessee at Chattanooga. The workshop, titled “Music Composition in the Classroom,” was led by John Bryan, who not only demonstrated how to teach com-positional techniques to students, but how

those same practices can be applied to choral arrangements of folk songs. We enjoyed learning and singing together as John gave an excellent presentation.Western Division

AKtSArizona Kodály Teachers SocietyEtna Thompson, President480-545-6037 et.thompson2@cox.net

The AKTS spring workshop was March 6 at Arizona State university with Brent Gault as the clinician. We had 40 in at-tendance for his “Listen up! Active Music Listening Lessons for the General Music Classroom.” It was an outstanding presenta-tion with a bonus activity included.

At that workshop Evan Thompson, a band and general music teacher and son of Barry (and Etna) Thompson, presented the 2010 –2011 Membership Scholarship in Barry’s name. The recipient is our treasurer, Diane Sippel. The scholarship will pay her OAKE dues for a year.

Evan Thompson, Brent Gault, and Etna Thompson with scholarship recipient Diane Sippel, second from left.

Our spring election was held and new officers were elected. Lisa Harney is our president-elect, Amy Van Winkle is secre-tary, and Dalene (Andrea) Husky is our new member at large.

Our chapter is proud to have our past president, Liza Meyers as the new Western Division president! We are also excited to host the 2012 conference in Phoenix. We hope all of you can be in attendance.

Our chapter has updated our logo and it is now in color. Our member at large and newsletter coeditor, Melanie Baker, and her husband, David, updated this.

AKTS continues to look forward to our fall 2010 workshop with Christopher Rob-erts presenting “Singing Games for upper Elementary Students” on September 18 at Arizona State university. On March 5, 2011, AKTS will be hosting our spring workshop in

Summer 2010 39

Tucson at the university of Arizona. Sandra Stauffer will be our clinician.

BYUFOLKSBrigham Young University Fellowship of Local Kodály SpecialistsJerry Jaccard, President801-422-3778 jerry_jaccard@byu.edu

CCAKECentral California Association of Kodály EducatorsKaren Lasky, President559-439-5351 klasky31@sbcglobal.net

EEKEnchanted Educators of KodályMika Proctor, President505-450-9539 mproctor@cae.rrps.k12.nm.us

KASCKodály Association of Southern CaliforniaAmy Brehm, President626-296-3175 amycbrehm@yahoo.com

NCAKENorthern California Association of Kodály EducatorsNancy Linford, President510-524-7392 nancymusic@sbcglobal.net

NKENorthwest Kodály EducatorsMegan Oberfield, President253-383-7235 moberfield@harbornet.com

rOCKERegional Organization of Colorado Kodály EducatorsCarrie Nicholas, President720-270-4699 carrienicholas@mac.com

ROCKE’s final workshop of the school year was on Saturday, April 10. Rochelle Mann presented a choral workshop in the morning titled “Pathways to Musical Inde-pendence for Young Singers.” Thank you, Rochelle, for all of your great ideas! And a big thanks to J. W. Pepper for providing our music for the reading session. In the afternoon, participants enjoyed a Make-n-Take workshop and went back to their classrooms with many new manipulatives and activities.

The ROCKE board is bidding a fond farewell to past-president Amy Abbot. We thank Amy for all of her hard work and dedication to our chapter these past four years. We also warmly welcome new members to our board: Mallory Harrison, president-elect; Jenny Authier, secretary-elect; and Jenna Olschlager and Susie Bloom-McCollum, treasurers-elect.

The ROCKE board is working hard finalizing plans for our workshops for 2010 –2011 and beyond. Be on the lookout for our workshop flyer to arrive via e-mail very soon. You can also find information at our

Web site at www.rockeonline.org. Please mark your calendars now for our first workshop of the season: August 28 with Cecile Johnson!

SWOKESouthern Washington and Oregon Kodály EducatorsJanos Nagy, President503-332-9807 thenagys5@yahoo.com

My music room has been full during recess time these past few weeks. Students in second and fourth grades gladly gave up their recesses to sing, play music games, and play dulcimers. When is it going to rain again so we can go into the music room? Many children have a difficult ex-perience during under-cover recess. Sound sensitive children find it trying, as I do. This was a solution that has worked well for myself and for my students. Consider giving this idea a try.

This year has been successful for SWOKE. Our membership has gone up by

about 20 percent. Our goal is to continue to grow at this rate for next year. We have had many former members rejoin our ranks. Thank you to all of you returning members. We have also added new members.

In October we were given an inspir-ing dulcimer workshop by Jill Trinka. In November we held a members-only sharing event, which was fantastic. SWOKE mem-bers Bryan Wilkins and Lynnda Fuller pre-sented a workshop on how Kodály teaching addresses the national music standards.

Mandy Miller conducted our choirs and held an in service in April. Choir students made beautiful music at St. Philip Neri church in downtown Portland. We were all so proud of our students. Parents and principals alike were touched by emotionally charged musical selections.

UFOLKSUtah Fellowship of Local Kodály SpecialistsJulianna Barker, President801-372-1996 juliannb@provo.edu

WEST CHESTER UNIVERSITY School of Music

College of Visual and Performing Arts

SUMMER 2010

Earn credit toward NASM accredited master’s degree and certificate programs in Kodály Methodology taught by nationally renowned specialists as part of West Chester

University’s Samuel Barber Institute for Music Educators

Kodaly I: János Horváth, Jennifer Irlen, Sallie Ferrebee Kodaly II: János Horváth, Kristen Albert, Sallie Ferrebee

Kodaly Conducting: János Horváth Kodaly Games and Materials: Sallie Ferrebee

Kodaly: Folk Music: Kristen Albert Ballads and Play Parties : Jill Trinka

For information, contact:

J. Bryan Burton, Chair John Villella, Associate Dean Department of Music Education School of Music (610) 436-2222 (610) 436-2495 jburton3@wcupa.edu jvillella@wcupa.edu

KODÁLY ENVOY40

NEWS FrOM OAKE-ENDOrSED CErtIFICAtION PrOgrAMS

Aldine Independent School Districthouston, tX

Colleen Riddlecriddle@aldine.k12.tx.us

Arizona State Universitytempe, AZ

Sandra Stauffers.stauffer@asu.edu

Brigham Young UniversityProvo, Ut

Jerry Jaccardjerry_jaccard@byu.edu

Capital University, Kodály InstituteColumbus, Oh

Tracy Herrmanntherrman@capital.edu

The Kodály Institute at Capital uni-versity will hold its 30th annual summer courses and masters program in 2010. It is amazing to realize that this program has been growing for thirty years!

Congratulations to all of those students who recently graduated in May 2010 with a Master of Music in Music Education with a Kodály Emphasis and a Kodály Certificate, as endorsed by the Organization of Ameri-can Kodály Educators! These students were: Stephanie Galemmo, Lindsay Guaman, and Heidi Ridenour. These music educators have worked extremely hard and are most excited to have received their degree. It is no doubt that the young students who are in the class-room with these wonderful music educators will grow to become both musically literate and possess a true love for music. Again, special congratulations to each of you!

The Kodály Institute at Capital was estab-lished in 1980 and is one of the few schools in the united States to offer special tracks of study for elementary teachers and a unique secondary choral perspective for choral music educators. For further information, please contact Tracy Herrmann, at therrman@capital.edu or call 614-236-6267.

Colorado State UniversityFort Collins, CO

Kendra Abernathykendra.abernathy@colostate.edu

holy Names UniversityOakland, CA

Anne Laskeylaskey@hnu.edu

The HNu Kodály Center was well-represented at the 2010 OAKE Conference in Dallas, TX. Judit Hartyányi, a frequent

teacher at Holy Names, conducted the OAKE National Concert Choir. The choir performed Pachelbel’s Magnificat, the largest choral work yet undertaken with a confer-ence choir. Their performance of Kodály’s “Esti Dal,” which closed the concert, was breathtaking.

HNu alums presenting sessions at the conference included:Jerry Jaccard, MM ’76, and Julianna Barker,

MM ’05—“Differentiation: The Heart of Individualized Learning”

Nancie Kester, MM ’75, and Karen Arlen, MM ’83—“Singing History through Choral Arrangements”

Robbin Marcus, MM ’82, and Rita Klinger, MM ’81 (and former HNu faculty member)—“Discovering and Evaluating Quality Song Material: A Guide to us-ing Online Collections”

Anne Laskey, Kodály Center director, with Robbin and Rita—“What is Quality Song Material?”

Anne Laskey—“Developing Musicianship in the Elementary Classroom” and “Inte-grating Concept and Skill Development in Methodology Courses”

Debbie Burton, MM ’87—“Listening: A Key to Good Musicianship”

Gail Needleman, MM ’98—“The Hexa-chord: A Key to understanding Early Music”

The past president of OAKE, Georgia Newlin, MM ’88; incoming president Joy Nelson, MM ’78; and president-elect Kelley Foster-Griffin, MM ’92, are all graduates of Holy Names university.

The 42nd HNu Kodály Summer Insti-tute is scheduled from July 12–30, 2010. A registration form and information on the workshops and the HNu summer course is available at www.hnu.edu/academics/gradu-atePrograms/musicKodályMA.html. For more information, please contact laskey@hnu.edu or call 510-436-1234. We hope you will join us!

Indiana University School of MusicBloomington, IN

Brent Gaultbgault@indiana.edu

James Madison Universityharrisonburg, VA

Gary Ritcherritchegk@jmu.edu

Kodály Association of Southern CaliforniaNorth hollywood, CA

Kurt Cereskekcereske@aol.com

McNeese State UniversityLake Charles, LA

Michele Martinmmartin@mcneese.edu

Anne Laskey's session "Developing Musicianship in the Elementary Classroom" OAKE 2010 Conference. Photo by Kent Kuddes.

Summer 2010 41

Minnesota State University MoorheadMoorhead, MN

Jenny Dufaultdufault@mnstate.edu

Nebraska Wesleyan UniversityLincoln, NE

Jeannette Youngjry@NebrWesleyan.edu

New England ConservatoryBoston, MA

Mary Epsteinmary.epstein@necmusic.edu

New York UniversityNew York, NY

Jerry Kerlinjk23@nyu.edu

Plano Independent School DistrictPlano, tX

Kathy Kuddeskathy.kuddes@pisd.edu

Portland State UniversityPortland, Or

Debbie Glazeglazed@pdx.edu

San Antonio ISD, Fine Arts DepartmentSan Antonio, tX

Ann Burbridgeaburbridge@saisd.net

Silver Lake CollegeManitowoc, WI

Sr. Lorna Zemkelzemke@silver.sl.edu

texas State UniversityKyle, tX

Patricia Morenopatricia.h.moreno@austinisd.org

texas tech UniversityLubbock, tX

Susan Brumfieldsusanbrum@aol.com

University of Central MissouriWarrensburg, MI

Carla Maltasmaltas@ucmo.edu

University of hartfordWest hartford, Ct

John Feierabendfeierabend@aol.com University of North texas

Denton, tXJulie ScottJulie.Scott@unt.edu

University of OklahomaNorman, OK

Joy Nelsonejnelson@ou.edu

University of St. thomasSt. Paul, MN

Bev Johnsongradmusic@stthomas.edu

University of tennessee at ChattanoogaChattanooga, tN

Lee Harrislee-harris@utc.edu

Webster UniversitySt. Louis, MO

Kathryn Bowersbowers@webster.edu

West Chester University of PennsylvaniaWest Chester, PA

Kristen Albertkalbert@wcupa.edu

Westminster Choir College of rider UniversityPrinceton, NJ

Scott Hoerlwoce@rider.edu

Wichita State UniversityWichita, KS

Elaine Bernstorfelaine.bernstorf@wichita.edu

July 11-23, 2010

Kodály Summer Institute

• OAKE Nationally Certified • In-State Tuition for All

Participants • Housing Available

Clinicians: Ann Eisen, Laurdella Foulkes-Levy, Kari McCarty, Nora Thomas

For information, contact:Dr. Carla Maltas 660-543-4160maltas@ucmo.edu

University of Hartford Strawberry Social Folk Dance and Sing-In with participants from levels I, II, & III.

KODÁLY ENVOY42

2010–2011 OAKE BOArD OF DIrECtOrS OUtStANDINg AChIEVEMENt

Constance Price..................2010Joan Isaacs Litman..............2009Anne Laskey........................2008John Feierabend, Marilyn Brooks.. 2007Diane Geller, Sandra Mathias .. 2006Jerry Jaccard, William Dederer ..2004Jill Trinka, Cheryl Paschke ..2003Christine Jordanoff .............2002John May, Gerardo Gloria ..2002Betsy Moll, ursina Swanson..2001Lamar Robertson ................2000Martha Rosacker ................1999Ruth Boshkoff, Paul Hillyer ..1998Pamela Wade ......................1997Lois Choksy .......................1996Mary Ozanne, David Falconer . 1995Gene Okerlund ..................1994Mary Goetze ......................1993Katinka Dániel ...................1992Michael Murray .................1991Jean Sinor ...........................1990Denise Bacon .....................1989Sr. Mary Alice Hein ............1988Helen Bryan, Mary Richards ... 1987Eleanor (Toni) Locke ..........1986Sr. Lorna Zemke .................1985

LIFEtIME AChIEVEMENt

Lois Choksy....................... 2009Sr. Lorna Zemke .................2002Katinka Dániel ...................2001Sr. Mary Alice Hein ............2001Denise Bacon......................2000Jean Sinor ...........................2000Alexander Ringer ................1998

FOUNDErS

Lauren AbernethyLois Choksy

Rita ConcannonDoris Englehard

Sr. Mary Alice HeinStephen Jay

Christine JordanoffShirley Linscott

Betsy MollNorman WeeksMark Williams

Sr. Lorna Zemke

Executive Officers

PresidentJoy NelsonNorman, OKpresident@oake.org

President ElectKelly Foster GriffinKirkland, WAtomkelhay@verizon.net

Vice PresidentPenny WhalenBloomfield, CTpenny.whalen@comcast.net

SecretaryDavid GadberryLawrence, KSdavidgad@ku.edu

TreasurerGreg WilliamsSouth Hadley, MAgreg.allen.williams@gmail.com

Administrative DirectorJoan DahlinMoorhead, MN218-227-OAKE office218-227-6254 faxoakeoffice@oake.org

Ex Officio Members

National Conference Business DirectorNancy JohnsonOwatonna, MNnancy@oake.org

National Publicity DirectorLeigh Ann GarnerMinneapolis, MNlamockgarner@comcast.net

Past PresidentGeorgia NewlinGarden City, NYgnewlin@adelphi.edu

Editor, Kodály EnvoyElizabeth PontiffSterling, VApontiffediting@comcast.net

Members at Large

Jerrilyn MacDanelHarrisonburg, VAjmacdanel@hotmail.com

Lynn Reynolds MakrinSchenectady, NYlrmakrin@aol.com

National Advisers

IndustryKathy Bohstedt%West MusicCoralville, IAkbohstedt@westmusic.com

Higher EducationKristen AlbertGap, PAkalbert1@comcast.net

Secondary EducationShea ClayAbingdon, VAsbubbaclay@aol.com

Eastern Division

PresidentAmy Branum HugginsBaltimore, MDamybhuggins@yahoo.com

Regional RepresentativesNaomi Cohen, Eastern-1New York, NYnkcsings@yahoo.com

Caroline Crocker, Eastern-2Annandale, VAcaroline.d.crocker@gmail.com

Midwestern Division

PresidentKelley J. BrillOrtonville, MItykybrill@yahoo.com

Regional RepresentativesAileen Brown, Midwestern-1Columbus, OHaileen43130@yahoo.com

Nyssa Brown, Midwestern-2Minneapolis, MNnyssa_brown@yahoo.com

Southern Division

PresidentKaren GentryAustin, TXkkgentry@austin.rr.com

Regional RepresentativesTina M. Arenas, Southern-1Denton, TXtarenas@dentonisd.org

Ann Crouch, Southern-2Atlanta, GAacrouchKodály@gmail.com

Western Division

PresidentLiza MeyersMesa, AZllmeyers@cox.net

Regional RepresentativesKurt Cereske, Western-1North Hollywood, CAkcereske@aol.com

Jane Smith, Western-2Newberg, ORjanemendenhallsmith@yahoo.com

PASt PrESIDENtS

Georgia Newlin ............2008–10Brent Gault ..................2006–08Katherine Hickey ..........2004-06Sandra Mathias..............2002-04Jill Trinka ......................2000-02Ann Kay ...................1998-2000John Feierabend ............1996-98Patricia Teske ................1994-96Pamela Wade ................1992-94Betsy Moll .....................1990-92Virginia Irvin ................1988-90Lauren Abernethy ..........1986-88Laurdella Foulkes-Levy ..1984-86Jean Sinor ......................1982-84Christine Jordanoff ...........1980-82Sr. Lorna Zemke .................1980Helen Wyzga ......................1979David Buttolph ..................1978Mark William .....................1977Stephen Jay ........................1976

Summer 2010 43

Member Benefits•TheKodály Envoy — OAKE’s quarterly journal•Onlinemembershipdirectory•Reducedregistrationfeesatnationalconference•Nationalconferencechoirs—OAKEmembers’students may audition to participate•Divisionalnewsletters•JenöÁdámScholarship&SusanTaylorHowell

Memorial Scholarship—for Kodály studies in the u.S. or abroad

•OAKEWebsiteandchatroom—www.oake.org•ReducedpricesonOAKEpublications•DVDlibrary—rentfree!•ChaptergrantsfromDivisions•Votingprivilegesandtherighttoholdoffice•Onlineaccesstolessonplans

Membership LevelsActive: Persons interested in Kodály music education.

All benefits and rights including holding office and voting.

Corresponding: Individuals who reside outside the u.S. and are not American citizens but wish to support the organization’s goals and activities. All benefits except the right to hold office and vote.

Student: Full-time undergraduate and graduate stu-dents. Same benefits as corresponding members.

Institutional: Institutions/schools. Required of all OAKE-endorsed Kodály Teacher Education Programs. Privileges of corresponding members and exhibiting rights at OAKE conferences upon payment of prescribed exhibit fees.

Library: Libraries receive one copy of the OAKE quarterly journal, Kodály Envoy.

Retired: Regular privileges for those 55 or older and retired.Sustaining: Any firm, retailer, business, or commercial

venture that desires to support the purposes of

OAKE. Exhibiting rights at OAKE conferences upon payment of prescribed exhibit fees.

Lifetime: Active members paying full lifetime dues.IKS: Membership is open to individuals and institutions

sharing the International Kodály Society’s aims.

OAKE-Affiliated ChaptersARIZONAAKTS - Arizona Kodály Teachers SocietyCALIFORNIACCAKE - Central California Assoc. of Kodály EducatorsKASC - Kodály Assoc. of Southern CaliforniaNCAKE - Northern California Assoc. of Kodály EducatorsCOLORADOROCKE - Regional Org. of Colorado Kodály EducatorsCONNECTICUT/WESTERN MASSACHUSETTSKESNE - Kodály Educators of Southern New EnglandFLORIDAKENF - Kodály Educators of Northwest FloridaGEORGIAKEGA - Kodály Educators of GeorgiaILLINOISCAKE - Chicago Area Kodály EducatorsCIKE - Central Illinois Kodály EducatorsINDIANAIKE - Indiana Kodály EducatorsIOWAKEI - Kodály Educators of IowaKANSASKMEK - Kodály Music Educators of KansasKENTUCKYKAKE - Kentucky Area Kodály EducatorsLOUISIANALAKE - Louisiana Assoc. of Kodály EducatorsMARYLANDMuSIK - Maryland united Specialists in KodályMASSACHUSETTSBAKE - Boston Area Kodály EducatorsMICHIGANSEMKE - South East Michigan Kodály EducatorsMINNESOTAKCM - Kodály Chapter of Minnesota

MISSOURICMKE - Central Missouri Kodály EducatorsKOZ - Kodály of the OzarksSLAKE - St. Louis Area Kodály EducatorsNEBRASKAPSKOR - Plains States Kodály OrganizationNEW JERSEYKNJ - Kodály New JerseyNEW MEXICOEEK - Enchanted Educators of KodályNEW YORKKONY - Kodály Organization of New YorkSNYKE - Syracuse New York Kodály EducatorsNORTH CAROLINAKONC - Kodály Educators of North CarolinaNORTH DAKOTANPKC - Northern Plains Kodály ChapterOHIOCCKE - Capital Collegiate Kodály EducatorsNOCKA - North Coast Kodály AssociationTRIKE - Tri-City Kodály EducatorsOKLAHOMAOKE - Oklahoma Kodály EducatorsOREGONSWOKE - Southern Washington & Oregon Kodály EducatorsPENNSYLVANIAKEEP - Kodály Educators of Eastern PennsylvaniaTENNESSEESECKE - South East Chapter of Kodály EducatorsTEXASKET - Kodály Educators of TexasUTAHBYuFOLKS - Brigham Young university Fellowship of Local Kodály SpecialistsuFOLKS - utah Fellowship of Local Kodály SpecialistsVIRGINIAVOKE - Virginia Organization of Kodály EducatorsWASHINGTONNKE - Northwest Kodály EducatorsWISCONSINAWAKE - Assoc. for Wisconsin Area Kodály Educators

(first name) (middle initial) (last name)

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Check the appropriate categories:Teaching level Teaching arear Preschool r Choralr Elementary r Bandr Junior/Middle school r Orchestrar Senior high school r Keyboardr College/university r Guitarr Administration r Music therapistr Private/studio r General musicr Private/community r Researchr Church musician r Teacher educationr Other _________ r Jazz r History/Theory/Comp. r Voice r Technology r Other _________

r New r Renewal r Intermittent (past member)Chapter Affiliation _____________________________ID number ___________________________________Type of membership Please enter amountActive ..........................................$75 $_______Corresponding ............................$70 $_______Full-time Student*.......................$20 $_______Institutional ................................$75 $_______Library ........................................$70 $_______Lifetime ..................................$1,000 $_______Retired ........................................$40 $_______Sustaining .................................$125 $_______IKS..............................................$30 $_______Tax deductible contribution to: Legacy Endowment $_______ Contingency Fund $_______ Jenö Ádám Scholarship $_______Susan Taylor Howell Memorial Scholarship $_______ National Conference Choir Scholarship $_______ TOTAL ENCLOSED $_______ Do not send cash. Make checks payable to OAKE or use credit card. Check should be in u.S. currency drawn on u.S. bank. International money order is acceptable. Dues are nonrefundable. *Individuals attending recognized music education institutions as full-time undergraduate or graduate stu-dents may apply for student membership. Include copy of current college ID card (front and back).

Please fill out the application completely and return it to:

OAKE National Office1612 - 29th Avenue South

Moorhead, MN 56560fax 218-227-6254

OAKE MEMBErShIP INFOrMAtION & APPLICAtION

KODÁLY ENVOY44

The Kodály Envoy seeks articles pertain-ing to Kodály-based music education at all teaching levels, as well as articles on related music and music education topics.

Kodály Envoy articles are refereed by practicing professionals who have exper-tise in the Kodály concept, membership in OAKE, writing and editing skills, and significant teaching, practicing, and writ-ing experience. This peer review process is double-blind. The initial review takes a mini-mum of six weeks, and most submissions require revision and re-review. Therefore articles should be submitted at least three months prior to the content deadline of the issue in which publication is desired.

Manuscripts and other documents ac-cepted for publication are edited to conform with Kodály Envoy style policies, which are based on The Chicago Manual of Style (15th edition). A copy of the Kodály Envoy Style Guide may be obtained from the Editor. Manuscripts may also be altered to meet the requests of the editorial board or to fit avail-able space. Copy that is significantly edited is e-mailed in PDF format to the author for approval before publication. Final decisions regarding whether a manuscript or other document will be published and its content, revisions, scheduling, style, presentation,

grammar, punctuation, spelling, and artwork remain with the editor.

Authors receive no financial compensa-tion, but do receive a complimentary copy of the issue in which their article appears.•Electronicsubmissionviae-mailisstrongly encouraged. Microsoft Word files are preferred, but virtually any type of text file is acceptable.•Double-spacealltext,includingblockquotes, endnotes, and references. A suggest-ed length is 1,500 to 3,500 words, though articles may be longer or shorter. The font should be 11-point Times New Roman. use endnotes instead of footnotes. use only one space after a period.•Selectandfollowasinglescholarlystylethroughout (e.g., The Chicago Manual of Style or Publication Manual of the American Psychological Association).•Useaseparatetitlepagetoshowtheau-thor’s name, address, phone number, e-mail address, and brief biographical information. The author’s name should appear only on the title page. Photos relating to the article are encouraged, particularly classroom pictures. Be sure to have parental permission for all minors. Photos will not be returned.•Avoidjargon,termsthatsuggestbias,orsexist language.

•Submitanyphotographsorillustrations,including musical illustrations, in camera-ready format or as electronic files. If submitting photos, identify any persons in the photo and suggest a caption by placing information on a sticker attached to the back of the photo (do not write on the back of the photo). If submitting photographs as electronic files, they should be 300dpi TIF files (preferably not JPG). Send elec-tronic graphics files to the editor at pontiff editing@comcast.net•Submissionofamanuscriptimpliesthattheproposed article is not currently under review by another publication and that it has not appeared elsewhere in part or in its entirety. Authors must secure and provide permission for the use of copyrighted material.

Content Deadlines: Fall: July 1; Winter: October 1; Spring: January 1; Summer: April 1.

Contact: Send all manuscripts, articles, reports, news, letters, items for review, other contributions, questions, comments, sugges-tions, or requests for permission to reprint to the editor: Elizabeth Pontiff, 46781 Backwater Dr., Sterling , VA 20164; 571-434-0516; pontiffediting@comcast.net.

Guidelines for Contributors

Advertising Rates & PolicyOutside Back Cover3/4 Page 7 × 7½" $405 4-color onlyInside Front/Back CoverFull Page 7 × 10" $405 4-color onlyHalf Page 7 × 5" $220 4-color onlyInside PageFull Page 7 × 10" $3352/3 Page 5 × 10" $235Half Page 7 × 5" $1801/3 Page 5 × 5" $1251/3 Page 2½ × 10" $1251/6 Page 2½ × 5" $75

NO BLEEDS ACCEPTED!

Discounts for repeated ads: two consecutive issues: 10%; three consecutive issues: 15%; four consecutive issues: 20%.Payment: New advertisers must pay for

1 fonts, and be sure all fonts and graphics are included or embedded. All electronic submis-sions must be accompanied by a reference hard copy of the ad. Additional charges to handle electronic ads that do not meet these specifications will be billed to the advertisers. The Kodály Envoy will not be responsible for printing problems that result from electronic ads that do not meet these specifications.

Ad Deadlines: Fall: August 1; Winter: Novem-ber 1; Spring: February 1; Summer: May 1.

Contact: Send all requests for ad informa-tion, completed ad contracts, camera-ready or electronic ads, and ad correspondence to the Advertising Editor: Bonnie Johnson, 10205 Antietam Court, Fredericksburg, VA 22408; 540-891-4290; jeepfolk@gmail.com.

their first ad in advance. All other advertis-ers will be sent an invoice accompanied by a tear sheet within 10 days of issue delivery. Payment is due within 30 days in u.S. dollars, by check drawn on a u.S. bank or major credit card. A service charge of 1½% per month or 18% per year is charged on all balances not paid within 30 days.Acceptance: The Kodály Envoy reserves the right to reject any ad for any reason at any time, with or without notice to the adver-tiser, and whether or not such ad was previ-ously published.Specifications for electronic submission: The Kodály Envoy accepts ads in EPS, TIF, or PDF file formats, and may also accept native InDesign or Illustrator files. Files must be high resolution, black-and-white only inside, 4-color only cover. use only Postscript Type

PUBLICAtION INFOrMAtION

OAKE National Office1612 29th Avenue SouthMoorhead, MN 56560

Nonprofit OrganizationU.S. Postage PAID

Ames, IA 50010Permit No. 14

Plans are underway for the 2011 OAKE National Conference! We look forward to a wonderful conference focusing on fostering musical artistry in all individuals. Downtown Minneapolis, a vibrant center for the arts, will be the host to our conference, with the beautiful Minneapolis Hilton serving as our conference headquarters.

Our exploration of the many ways Kodály-inspired teachers nurture musical growth will begin with a mini-conference featuring nationally known choral clinician Dan LeJeune, who will explore musical development in a choral setting. Our opening ceremonies will feature the inspirational words of keynote speaker Karl Paulnack, director of the music division of the Boston Conservatory of Music, in addition to an outstanding performance by the professional choral ensemble Vocal Essence.

Opportunities for artistic and professional growth will continue throughout the conference

with outstanding ses-sions for teachers including featured cli-nicians Bruce Swank and Marion Rose. We encourage you to have the young singers you work with at home audition to participate in one of the three outstanding OAKE National Con-ference Choirs. The 2011 Conference Choir conductors will be Jon Noyes, conducting the OAKE National Children’s Choir; Mairee Pantzer, conducting the OAKE National Youth Choir; and Angela Broeker, conducting the OAKE

National Concert Choir. Each of these directors is poised to provide the highest musical experience for all singers.

We look forward to seeing you in Minneapolis! Look for more details in the fall issue of the Envoy or online at www.oake.org.

The 2011 OAKE National Conference