NEW YORK UNIVERSITY
THE STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT
DEPARTMENT OF MUSIC AND PERFORMING ARTS PROFESSIONS
KODÁLY SUMMER INSTITUTE 2011
23RD SUMMER OF KODÁLY STUDIES AT NEW YORK UNIVERSITY • FOUNDED 1989
ENDORSED BY THE ORGANIZATION OF AMERICAN KODÁLY EDUCATORS
SOLFEGE 1 SYLLABUS • SECTION 3
MONDAY THROUGH FRIDAY
1:30 CLOCK HOURS PER DAY • 22:30 CLOCK HOURS FOR 3 WEEKS
ANNA (PANNI) KOVÁCS, INSTRUCTOR
WEEK 1
• introduction of terminology and basic concepts of movable tonic (movable do) solfege
(i.e., Kodály hand signs, rhythm syllables, stick notation for rhythm, and solfa notation)
• simple analysis of a melody through tone set and resting tone to discover the scale
system
• introduction to pentatony through examples from traditional (folk) literature, as well as
simple exercises
• sight singing, dictation
• writing and singing simple exercises from several different do positions on the staff,
using solfa and absolute pitch names (F, C, and G do placements emphasized)
• beginning part work through use of rhythm ostinati, exercises to sing and tap in canon,
and sing/play exercises, both in canon and in two parts
• simple form analysis
• melodic improvisation focus on question/answer
• singing sequences of intervals
• using different solfa names for the same intervals than later melody fragments
• good intonation and musicality is stressed in the performance of all exercises
WEEK 2
• continuation of the above skills and techniques, using all of the pentatonic scales
• development of fluency in sight singing using movable do solfege
• increased focus on strengthening dictation skills, using solfege as a strategy for hearing
and writing
• continued interval work by singing sequences (solfa and absolute names) and finding all
possible names
• introduction of the use of singing absolute note names with some flat and sharp
alterations
• singing and writing exercises in a larger variety of staff positions, using solfa and
absolute note names
• singing and writing the five pentatonic scales, in succession, from the same absolute
pitch
• form analysis of more complex pieces
• demonstrating the endless possibilities of creating different activities (from easy to hard)
using the same simple exercises in 333 Elementary Exercises of Kodaly
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WEEK 3
• continuation of the above skills and techniques, using do-centered and
la-centered diatony
• some two part dictation
• brief introduction of chromatic solfa names and hand signs, as they occur in the
literature
• analysis of several Bicinia Hungarica I examples for tonal versus real answers
MATERIALS
Erdei, Peter, ed.
1974 150 American Folk Songs to Sing, Read, and Play. New York: Boosey and
Hawkes.
Kodály, Zoltán. Choral Library: New York: Boosey and Hawkes:
1972 333 Reading Exercises. Revised English Edition taken from the 1966 Hungarian
edition.
1941 Bicinia Hungarica I: 60 Progressive Two-Part Songs. Revised English
Edition by Geoffry Russell-Smith.
1958/1969
*Pentatonic Music: 100 Hungarian Folk Songs, Volume I. (For dictation
only. Student purchase not required.)
Locke, Eleanor, ed.
1981 Sail Away: 155 American Folk Songs to Sing, Read, and Play. New York: Boosey
and Hawkes.
Molnár, Antal, ed.
1943 Klasszikus Kánonok (Classical Canons). Budapest: Zenemükiadó.
Tacka, Philip, and Susan Taylor-Howell, eds.
1986 Sourwood Mountain: 28 North American and English Songs Arranged for
Voices. Thibodeaux, LA: Organization of American Kodály Educators.
Taylor-Howell, Susan, ed.
1991 The Owl Sings: 22 Folksongs Arranged for 2 or 3 Voices. Thibodeaux, LA:
Organization of American Kodály Educators.
Several musical examples from classical and folk literature provided by instructor’s handouts.
*Examples used in class. Student purchase not required.
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