Kodály Envoy Quarterly of the Organization of American Kodály Educators Vol. 47 No. 1 • Fall 2020

We Gather Here Together (Harmonia Mundi) — Jonathan Rappaport Current and Past Directors of Holy Names University Part 1 of 3 — Kathryn Bach and Megan Ankuda Book Review: Solfege and Sonority: Teaching Music Reading in the Choral Classroom — Mary Neeley Stevens Every Student HAS A VOICE! Help them find it.

Spotlight on Music Discover a fully immersive and spiraled preK–8 music curriculum, including more than 1,300 interactive songs from a variety of cultures and artists, in addition to videos, virtual instruments, printed song anthologies, and much more—because music belongs to everyone.

Inspire a lifelong love of music making. Learn more at mheonline.com/spotlight-envoy KODÁLY ENVOY Fall 2020 Contents Volume 47 Number 1 The Kodály Envoy (ISSN# 1084-1776) is published quarterly by the Organization of American Kodály Educators. Copyright © 2020 Organization of American Kodály Features and Columns Educators. All rights reserved. 2 Message from the President: 2020, Moving Forward in a Send notification of change of address New Curricular Reality — Donna Menhart to OAKE National Office, 3415 S. 4 Inaugural Message from the Executive Director — Lauren Hirsh Sepulveda Blvd., Suite 1126, Los Angeles, 5 Editor’s Column — CA 90034 ; Reneé Higgins Fax: 310-441-3577; Phone: 310-441-3555; 6 OAKE’s Signature Song, “We Gather Here Together” — Ann Leffard [email protected]. 8 “We Gather Here Together” (Harmonia Mundi) — Jonathan Rappaport Send requests for reprint permission to 20 Current and Past Directors of Holy Names University the editor. Part 1 of 3 — Kathryn Bach and Megan Ankuda 23 Choral Connections: Evaluating Cultural Validity in Choral Repertoire: Three Final decisions regarding content, revisions, scheduling, style, presentation, grammar, Exemplars Illustrating Guiding Principles — Julia Shaw and artwork remain with the editor. The 26 Book Review: Solfege and Sonority: Teaching Music Reading in the Choral Classroom by Kodály Envoy Editorial Policy, Advertising David J. Xiques — Mary Neeley Stevens Policy, Guidelines for Contributors, and Style Guide may be obtained from the editor or at www.oake.org. News and Information from OAKE Statements and opinions expressed or implied 28 News from OAKE-Endorsed Certification Programs in the Kodály Envoy are those of the authors and 31 News from OAKE Divisions and Chapters do not necessarily represent the views of the 35 New Members: First Quarter 2020 editor or publisher. 36 2020–2021 OAKE Board of Directors and publication information Editor Reneé Higgins 12323 Almendra Dr. San Anronio, TX 78247 Cover: Southern Washington and Oregon Kodály Educators 210-710-1572 [email protected]      Copy Editor Susan Garrett OAKE Mission Statement [email protected] Inspired by the vision of Zoltán Kodály, the mission of the Organization of American Kodály Advertising Editor Educators is to support music education of the highest quality, promote universal music Colleen Graves literacy and lifelong music making, and preserve the musical heritage of the people of the OAKE National Office 3415 S. Sepulveda Blvd. Suite 1126 United States of America through education, artistic performance, advocacy, and research. Los Angeles, CA 90034 Fax: 310-441-3577; Phone: 310-441-3555      [email protected] OAKE is an affiliated member of the International Kodály Society. Associate Editor Emeritus Ruth Boshkoff Editorial Board      Elaine Bernstorf OAKE is an associated organization of Wichita, KS NAfME: The National Association for Music Education. Brian Myers Oxford, OH Andy Paney Oxford, MS Christopher Roberts Seattle, WA Christina Svec Ames, IA MESSAGE FROM THE PRESIDENT: DONNA MENHART

2020—Moving Forward in a New Curricular Reality

The fall 2020 semester is on the lawn, the tuba ensemble students confined to their desks underway. Instructional technologies practicing in Millard Circle, and and remembered that I had adapted and safety measures have been instructors bringing their students many movement pieces to an prioritized, with strategies and outside to sit on benches for environment that does not support procedures implemented at all levels academic classes. Everyone wears a movement. Their challenge — as and in all disciplines. Educators mask; we even have masks for the with many music educators — is have learned to improvise when instruments. keeping young students engaged and the technology malfunctions I am an optimist; my glass is interested without using traditional unexpectedly, but improvisation not half empty or half full, my glass pedagogical techniques. How do we never enters the picture regarding is overflowing. I see actions and add movement when our students safety, as we continually sanitize hear conversations that reaffirm are not allowed to move? and social distance. Veteran teachers my hope and joy in humanity. Following our meeting I have modified traditional lesson Teachers have always put their immediately thought “I wish I had plan sequences, newer teachers students’ safety and education first, more time!” Providing educators have applied the pedagogies learned and now is the perfect example with examples of how I have through recent collegiate study, of the dedication to our students. adapted songs with movement and all populations share ideas Although I have a minimal social is helpful to fill in the gaps of a for success with others. Although media presence, the abundance of robust and established curriculum. some current elements of education examples I have seen shared online What I really needed to share was are familiar, this is certainly not a by colleagues describing their ideas of how to adapt their existing typical start to the academic year. action plans “in the classroom” are curricula, with techniques that could I am greatly inspired by a perfect example of the persistence, be applied every day for every the flexibility, resilience, and determination, and eagerness to student. As a college-level Kodály willingness of teachers and students maintain the high standard of music teacher, I regularly modify the to try something new. We are education to which we all aspire, methods and materials I collect at learning how to communicate in and which our students have grown workshops and conferences. OAKE presentation formats that may to expect. has made substantial progress at the have been the exception in the A group of former students Secondary level, but 25 years ago past but are now the rule: remote- from the Summer Kodály Institute when I became a Kodály educator, synchronous, online-asynchronous, at Capital University contacted me the Kodály methodology was hybrid, which combines both in August. They had been holding focused on pre-K through 5, so I remote-synchronous and in-person, weekly meetings via Zoom to adapted. and in-person outside instruction. discuss addressing social justice For example, I learned “On At the Hartt School I have observed and classroom instruction with My Toe” at an Early Childhood/ a great deal of outside instruction: COVID-19 and invited me to attend. Elementary workshop sponsored private lessons occurring under They hoped I could help with how by KESNE and was excited to use tents, choral rehearsals occurring to teach remote and/or in-person the movement song in my classes. I

2 Kodály Envoy introduced the song and movement, present to them now, which allow remember: you are the expert in your for which the melodic content is for social distancing, continue to classroom, you know the abilities and the major scale. Once my students meet my objectives and bring joy. interests of your students, you have were comfortable with the original All of our students, regardless of dedicated yourself to be their guide form, I had them sing the song the level, will take our cue and on this musical journey, and you have with movement using the access to a community of natural minor scale, which like-minded individuals was a musical concept we My suggestion for those being who will support you every were currently studying. step of the way. It will take I continue to use “On faced with this challege is to ask some serious thought, time, My Toe” for all forms of energy, inspiration and minor scales and modes, themselves, “How can this song experimentation, but I am successfully adapting a optimistic that you will find Pre-K movement song activity be adapted to bring joy strength in the process and appropriately for college satisfaction in overcoming students. “On My Toe” to my students in the current the extraordinary works perfectly in my circumstances in which we classroom filled with desks educational environment?” currently exist. because students only need to stand in front of their desk to participate. respond to our presentation of the I have numerous examples song or game. I realize this is much of adapting songs and games in more involved for younger students, my classroom, but not all focus because movement is a larger part of on moving from elementary to their musical adventure than it may advanced skills. As a Kodály master be for older students. I am happy teacher, I discuss pedagogical to brainstorm possibilities and am sequences with my students to positive that questions posed to accommodate multiple levels of our Kodály community will result Create and generate populations, and generally the in multiple suggestions that will music exercises for free discussion begins with several provide the meaningful experiences questions: (1) What is the our students eagerly anticipate and objective of the activity? (2) What enjoy. background do the students have My suggestion for those being that supports this activity? (3) How faced with this challenge is to ask 12+ exercise types inspired does this activity support the overall themselves, “How can this song by the Kodály method to outcomes of the course? (4) Is the or activity be adapted to bring activity fun? ☺ Seriously, if the joy to my students in the current develop different skills activity does not bring joy to the educational environment?” This students, then it might be time to try question is something I have been a different activity. asking myself for 25 years, so it has I admit, as I did to my former become a habit. For others, who Capital students, that I am in have taught songs and games in the Assign as homework mourning for the collaborative same manner they were originally by sending a single link movement pieces I have learned, this is a significant shift traditionally done in my classroom. in how to approach classroom My students do not know of my materials and must happen www.musicators.com struggles because the adaptations I gradually. You cannot determine every solution overnight, but please

Fall 2020 3 MESSAGE FROM THE EXECUTIVE DIRECTOR: LAUREN HIRSH

Inaugural Message from Lauren Hirsh

It’s my pleasure to share this OAKE’s mission remains as important outcome and more on the resulting issue’s Executive Director segment, as ever, and as we navigate these impact of how we proceed from here. the first since my time serving in times we can consider how to foster Our challenge is not only to look at this capacity. I have been a Kodály the OAKE mission in some new OAKE’s signatory piece; the way educator and OAKE member ways and possibly reach even more we explore this topic is symbolic of throughout my career, completing participants. Necessary alterations to our ability to collectively share and certification at Wichita State the National Conference programming progress on any subject of merit which University and having the opportunity and choirs are coming together with currently, and perhaps continually, to serve as President of our Kansas new vision. There are also many engenders a variety of perspectives. chapter. In 2017 I was hired as OAKE changes that would not be obvious Discussion around “Harmonia Mundi” Administrative Director, and now as to membership. Our National office will inherently reflect individual and Executive Director am committed as in Los Angeles has successfully collective purpose; it will prompt always to our shared philosophy and operated as a primarily remote office questions regarding the vision of our mission to transform communities since March 2020. Colleen Graves, role within music education, a subject through music education. OAKE Administrative Coordinator, which members, chapters, and training I am also personally committed made a variety of improvements programs have been exploring. to positive action in my Kansas and workarounds to accommodate Although there is a diversity of locale, participating in bicycling this change. Even amidst other thought on this subject, there is also and pedestrian activities, a civic personal and professional demands, commitment to shared values and engagement organization, parks and your OAKE Board of Directors and I hope all will remain part of the city planning, the board of my local committee chairs are creative, flexible, exchange, valuing ideas greatly and Wichita Public Library System, and and generous in their extensive community, still more. advocating for arts development volunteer duties. The OAKE National Office will through the Midwest Arts Alliance. There is still a great deal of new facilitate a process to include This year I’ve lent what energy I and regular work in action! Please • a variety of formats (online can to state and federal candidates I make time to listen to OAKE’s forums, published articles, video believe in. premier podcast which begins with town halls, surveys, etc) This piece will provide you an interviews of pioneers in the United • opportunity for members to hear update on OAKE business, which States Kodály movement. Current a variety of perspectives has shifted a great deal in response projects underway in the OAKE • ample time to engage and reflect to COVID-19. As the school year office include fall elections, new You’ll find articles on “Harmonia approached and in the interest of print publications, annual reporting Mundi” in this and future issues of the helping schools and educators make for Advisory Council and training Kodály Envoy. As OAKE Executive informed decisions about music programs, plus enhanced access to Director I look forward to building a classrooms and ensembles, OAKE OAKE history through the Kodály trustworthy process of engagement joined a coalition of organizations Envoy. and supporting membership. sponsoring research into how aerosols I’d like to share my personal behave in musical settings. Despite perspective regarding “Harmonia the challenges we face in 2020, Mundi,” focusing less on the musical

4 Kodály Envoy KODÁLY ENVOY ARCHIVE

Now available in digital format on the OAKE website!

in the Member Area menu at oake.org

MESSAGE FROM THE EDITOR: RENEE HIGGINS

I hope your fall term is off With the articles in this issue and running and leaving everyone on the song, “We Gather Here feeling more prepared to handle the Together” we hope to demonstrate challenges the pandemic has presented some transparency and you will see to us. Here in my personal piece of that along with many other values Texas, we are faced with a hybrid of that are important to the OAK Board remote as well as in person teaching. of Directors. In addition to Jonathan on the book, Solfege and Sonority: Preferences of the parents and families Rappaport, I would like to thank Teaching Music Reading in the Choral are the big consideration in phasing Kathryn Bach for the first in a three- Classroom by David J. Xiques, students to campuses slowly while we part article series on current and past Please also note the many await more healthy conditions. directors of Holy Names. This is part OAKE-related advertisements and OAKE and its many committees of the content we will be bringing announcements throughout this issue, have continued their intentional work you as we count down to the 50th including the new member area access to make the organization strong and anniversary of OAKE. to the past digital issues of the Kodály resilient in the presence of some of As always, we have news and Envoy. Thanks to Colleen Graves this uncertainty. This issue is full of updates from OAKE Endorsed for making this project a reality for transparency on recent developments programs and chapters and an members and the archives. More and I hope you will see that much excellent choral column from Julia announcements from the organization thought and effort is put into changes Shaw. You will also find a book review will be coming with the next issue. As which affect the OAKE members. from our own Mary Neeley Stevens always, enjoy your music and your students.

Fall 2020 5 OAKE’s Signature Song “We Gather Here Together” By Ann Leffard

A little over one year ago in September 2019, the topic As the background information began coming forth, of “does ‘Harmonia Mundi’ have a questionable past?” the OAKE Equity Committee learned that the melody of came to the attention of OAKE members via a social media “Harmonia Mundi” appeared in school music books during post. In this and future issues of the Kodály Envoy, we will Nazi Germany. You can see photographs of the exact melody address the matter. in Mr. Rappaport’s article. In addition, you will find links to To learn the original account of how “We Gather Here websites that describe what school children experienced in Together” became OAKE’s signature song, I refer you to the class during the years of the Hitler Youth movement.1 article penned by OAKE member Jonathan C. Rappaport in To me, this example is a very compelling anecdote to no this issue of the Envoy. Mr. Rappaport wrote this article in longer using the song. I can imagine the children singing a response to a colleague’s request to help us all understand rousing song about the beauty of Germany in connection to his knowledge about the origins and history of the text and coerced reverence to Der Fuhrer. This is brainwashing. As melody, and the creation of “Harmonia Mundi” as OAKE’s we “fast forward” to the present day, this information gives signature song. me an increased understanding of why this melody inspires While this topic has been in the public square over the distress in those who know of the inhumanity of the Nazi course of the past year, era. Even though our lyrics seemingly little research were not used by the Nazi has been available. I We have all struggled with the regime, the melody is identical would like to thank to that of “Harmonia Mundi.” Jonathan Rappaport for point at issue of what to do with Please consider a wordless his preservation of John performance of the melody Young’s work and his and how even that might affect further inquiry into this songs that have a questionable others who know this history. topic. I would also like As I presented these facts to the to share the processes in past. We cannot change what OAKE Equity Committee and which OAKE leadership the OAKE Board of Directors, has been engaged, happened historically. However, we talked through the including myself, members complexity of the issue. These of the OAKE Board as music educators, we have a discussions happened over of Directors, and the the course of many months, OAKE Equity Committee primarily in March – July 2020. (originally entitled the responsibility in regards to our We have all struggled OAKE Inclusion & with the point at issue of Diversity Task Force). response to history. . . what to do with songs that The OAKE Equity have a questionable past. We Committee became involved in this discussion while I cannot change what happened historically. However, as was still OAKE President, during the winter of 2019- music educators, we have a responsibility in regards to our 20. At the same time, the article by Jonathan Rappaport response to history, and how we share music and its context was undergoing the Envoy review process. It is unusual with others. What is our purpose? And, who is our audience? for an Envoy article to be discussed so thoroughly prior When we learn of such a conflict, can OAKE seek to do to publication, but because this was already a publicly better for our members? discussed topic, I asked to be kept informed of the timeline The lyrics of “Harmonia Mundi” speak to the healing for publication. I did this in my capacity as chair of the of mankind through music. As OAKE members, we sing OAKE Equity Committee. this song to experience a moment of unity and celebrate the As you read Jonathan Rappaport’s article, please keep precious humanity of shared music making. I have loved in mind that “Harmonia Mundi” is OAKE’s signature song. the message of this song, and performing it together with my This had a large influence on my opinion, and I expressed fellow OAKE members has been gratifying and fulfilling. this to the OAKE leadership and OAKE Equity Committee. However, after having deep conversations with those who

6 Kodály Envoy cannot help but be brought to sadness by the melody, I feel we perform the song knowing that it gives pain to fellow differently. I know now that this melody brings pain to other OAKE members? Should we continue to claim what we OAKE members. As I discussed this with many others, it now know is a divisive melody as our signature song? Can was obvious that virtually everyone needed to go through a OAKE do better? grieving process as we considered the possibility of letting This is why the OAKE Equity Committee, after many the song go. hours of discussion, recommended to the OAKE Board of It has been approximately 100 years since the Nazi Directors that OAKE begin a process for seeking a new regime was established, but only 75 years since it was signature song. The decision was not unanimous among eliminated. The Nazis stole many things from humankind, the committee or the board, but after talking it through, the both physical and emotional. Taken items have been board approved this motion. This was an extremely difficult and are still being reclaimed (furniture, jewelry, musical decision, considered over the course of many months. We instruments, and other heirlooms). But so many lives have acknowledge that this process has been painful to everyone been lost that can never be reclaimed. While most who lived involved, regardless of the feelings about the final decision. through the Nazi years have passed away, their families We also have hope that after time and consideration, are still coming to grips with the horror and the loss. The OAKE members will begin to understand this decision and pain lives on. While some people are ready to reclaim become involved in the resolution and process in creating what was lost, many others are not. Even now in the year and/or choosing a new song for OAKE. Our signature song 2020, anti-Semitism is not even close to becoming extinct. should truly express our mission and speak to the souls The stunning reality is that according to a report by the of each and every OAKE member. Thank you for your Anti-Defamation League, in 2019 the American Jewish continued passion for the cause of music for all. community experienced the highest level of antisemitic Ann Leffard is Immediate Past President of OAKE, incidents since tracking began in 1979.2 Chair of the OAKE Equity Committee. She is a recently Some of us may feel reluctant to abandon “Harmonia retired music educator in Florida. Mundi”. It has been precious in the hearts of many OAKE members. It is OAKE’s signature song. For many of us, it Endnotes: is the very expression of the Kodály Philosophy through 1. Spartacus Educational Publishers, Ltd., Education musical performance. And yet now I come to the reason in Nazi Germany, John Simkin, https://spartacus- why your elected OAKE leaders expressed through educational.com/GEReducation.htm committee and board consensus that we should change our signature song, and why we may want to consider changing 2. https://www.adl.org/news/press-releases/antisemitic- at least some of the lyrics. The message of the song is incidents-hit-all-time-high-in-2019 about healing mankind. But is that truly what occurs, when

Fall 2020 7 “We Gather Here Together” (Harmonia Mundi) By Jonathan C. Rappaport

This is a tale of musical genealogy—tracking down who was so enthusiastic about the song that it was the ancestors of a piece of music, as well as its musical introduced at Boston-area KMTI and then Kodály Center relatives. The Song is “We Gather Here Together”, of America (KCA) summer courses for all participants to also known as “Harmonia Mundi,” universally used in sing. The piece’s heartfelt lyrics pointed out the power gatherings of Kodály educators around the world. of music to create community and heal humankind. It In recent postings on the Kodály Educators quickly became KCA’s “theme” song. It soon spread to Facebook page, considerable conversation has occurred other Kodály courses, and eventually to OAKE and IKS regarding the use of music that may have origins in conferences as well. blackface minstrels as well as other “folk” materials KCA published and copyrighted the piece in 1979. that could be potentially offensive to different groups As can be seen from Figure 1, the music attribution is of students. This article applies these same standards to as a German madrigal (Anonymous, 16th Century). the piece, “Harmonia Mundi.” As we shall see, there is Somewhere along the way, as the piece spread across a contentious issue regarding the historical background the globe, its title was changed to “Harmonia Mundi.” and former use of the music of this composition. Perhaps a reader of this article will know the history of This is my personal story, experienced over most the name change. of my professional life spanning more than 50 years (I received my first Kodály training in 1970). I first encountered We Gather Here Together as a participant at the 1973 Kodály Musical Training Institute (KMTI) summer course held on the campus of Wellesley College in Massachusetts. Denise Bacon (1920-2013), Founder-Director, passed out purple ditto copies1 of this handwritten song to the over 120 participants of this four-week summer course. She described the origins of the piece to everyone present. The story began in 1972.2 Several well-known Kodály master teacher-musicians were meeting Denise Bacon at her home in Wellesley, Massachusetts, for dinner. They were László Vikár (1929-2017), eminent Hungarian ethnomusicologist; Katalin Komlós, Hungarian musicologist and fortepianist who was the principal collector of American folk songs that formed the basis for 150 American Folk Songs to Sing, Read, and Play; and Seán Deibler (1947-2009), Figure 1: Phrase 1 of the KCA original publication American conductor, composer, performer, and educator from Philadelphia.3 Shortly after publication, indicators appeared that The three guests, traveling together, did not have there might be something amiss with the attribution time to purchase a gift for Miss Bacon so they decided of the music’s origins. In the early 1980s, “We Gather to create a musical one instead. Vikár recalled a three- Here Together” was used in a choral reading workshop part German song which he wrote down by memory. organized by a local New England Kodály Educators He believed it was a 16th-century anonymous German chapter. The clinician scoffed at the notion that it madrigal. Deibler created English lyrics to the song, and was either a madrigal or from the 16th century. The Komlós and Vikár penned Hungarian lyrics as well. Later clinician felt the piece contained a clear Romantic-era that evening they performed the piece for Miss Bacon, harmonization and flavor. Further doubt about the song 8 Kodály Envoy occurred after 1982, when John Alfred Young (1930- present knowledge, especially as (1) this is likely 1986) joined the faculty of KCA. He, too, questioned the to be quoted by many future scholars and (2) it can authenticity of the piece and was curious to learn more easily be built upon with the discoveries of future about the background and roots of the music. scholars.5 John Young was an extremely well-trained and These words were to become most prophetic. versatile musician having lived, studied, and worked on three continents. He normally went by the professional John Alfred Young’s Initial Research name of Alfred Young or J. Alfred Young. A native of Australia, he received diplomas and certificates in John Young applied his tenacious research skills piano, education, and music education in his native into the background of the music of “We Gather Here country. He then studied in London, Berlin, and Paris Together.” Living in Boston in the early 1980s and including diplomas in both harpsichord and piano from fluent in the German language, John learned that the the Hochschule für Musik. He won first prize in piano Boston Public Library had an extensive collection of in the National Music Competition in Paris in 1959. German books and materials, especially from the Nazi His performance career seemed launched! Having lived era. Following World War II, the US Library of Congress in Germany for several years, John was fluent in the “dispatched missions to the main German cities and language. made arrangements to obtain wartime publications. Unfortunately, John This gave rise to the Cooperative Acquisitions Project, suffered a significant injury in which the Library became the executive arm of an to one of his hands, forcing effort to procure and supply U.S. libraries with important him to consider new career works that had appeared in Europe during the immediate options. In 1970 he settled prewar period and throughout the war years.”6 in Vancouver (becoming Over two million pieces were obtained, and several a Canadian citizen) and US libraries, including the Boston Public Library, was appointed head of the received large collections of these materials.7 John Kodály program at the exhaustively researched the song at the BPL, and Vancouver Academy of also traveled to libraries in New York City, probably Music, writing many choral including Columbia University. This was in the early arrangements4 and student 1980s, well before the ease of having the internet at music text books according Figure 2: John Alfred Young one’s fingertips. John wrote his conclusions about the to the Kodály concept. roots of this song succinctly, including a strong opinion John and I first met in the summer of 1972, both at the end: attending the 2nd International Kodály Seminar in 1. The melody of “We Gather Here Together” is Kecskemét, Hungary. Our paths then crossed again taken from a German song, “Nun will der Lenz grüßen” in 1982 when we were both hired as full-time faculty (Now the Spring Desires to Greet Us). members at KCA, ending with his premature death in 2. This song was promoted by the regime of Nazi 1986. Germany. John took a scholarly approach to everything he did, 3. The text extolling love of the German country believing it important to fully research subjects to gain was also imposed on music education in Nazi-occupied mastery of any topic. While at the Kodály Center of countries. America (1982-85), he taught conducting and solfège, 4. The claims that this song uses a text by the and began to gain expertise as a video photographer and medieval poet Neidhart are false. editor, creating some excellent teaching videos of those 5. This tune was constructed to a formula. It of us on staff. His high standards regarding research are perhaps originated in the “Wilhelmus,” the national expressed in John’s hand-written notes which are in my anthem of the Netherlands, ironically broadcast daily by possession: “Radio Orange” during the Nazi regime as a symbol of As you know I am dedicated to authenticity resistance. whenever it is attainable. In this respect I believe I 6. In John Young’s opinion, he felt that the uphold the Kodály ‘credo.’ “Wilhelmus” melody to be superior as it consists of I am also of the opinion that a published “majestic lines of... ancient melody, so beautifully informative work by a reputable institution should welded to the text” while “Nun will der Lenz grüßen” is fully explore a subject to the absolute extent of formulaic.8

Fall 2020 9 John Young told me separately that the earliest written source he could find for “Nun will der Lenz grüßen” was from around 1890. If this information is correct, how did a prominent musician and ethnomusicologist such as László Vikár believe this was a 16th-century German madrigal? How would he have learned this German song to begin with? It is speculated that Dr. Vikár (born in 1929) could have learned it as a young teenager during the war years. We will never know the answer to this question, however. John Young also speculated that perhaps Dr. Vikár was playing a joke on Bacon, but as my research unfolded, I began to discard that theory.

Current Research of “Harmonia Mundi”

I decided recently to do my own research to see if what I learned confirmed John’s initial investigations of some 35 years ago, and if I could learn more. Not Figure 3: Page 50 of Karl Ströse’s Book, Indicating the inspiration only did my research corroborate most of John Young’s for his poem as described in the paragraph above. initial factual conclusions, but I was able to determine the specific origin of this song. In the process I believe The attribution of this poem to Neidhart in that I may have figured out Dr. Vikár’s confusion about subsequent musical settings stems from the title of this the provenance of the music. Please note that this section of Ströse’s book, which has Niedhart’s name is not intended to be an in-depth scholarly research prominently displayed at the top. The confusion stems study of this subject. However, sufficient research has from the fact that Ströse was not entirely clear about been completed that the underlying facts are without the authorship of the poems in this book. The book’s dispute. Hopefully I clearly state what are opinions title page states that these poems were “frei űbertragen” or speculations separately articulated from the facts (“freely transmitted” or “transferred”) by Ströse.11 He presented. doesn’t specifically state he was the editor or the author. The melody of “We Gather Here Together” is as However, each page of poetry clearly gives the title claimed by John Young the same as the German song, of the original poem by that poet, and even a quick “Nun will der Lenz grüßen” which also goes by the comparison shows that Ströse’s version is always quite alternate title of “Maienfahrt”9 (May Enters) in some dissimilar. sources. Regardless of the title, however, the song is There are significant differences between the Ströse identical. and Neidhart texts. The poem written by Neidhart von Reuental “Diu zît ist hie” (Summer Song) in Middle Original text by Karl Ströse High German is a dialogue between two friends and is primarily a love poem. Ströse’s poem is an anthem The text of “Nun will der Lenz uns grüßen” about the spring, extolling the beauty of the country side. actually was written and published in 1878 by German The name of Irmengard appears in both poems. In the poet Karl Ströse (1853-1918) in his book of poems Neidhart poem, this makes sense as the poem is about a Deutsche Minne aus alter Zeit – ausgewählte Lieder conversation between Irmengard and a friend discussing der Minnesänger des Mittelalters (German Love Songs a love situation. In the Ströse text, the name comes out of from Old Times - Selected Songs of the Minnesingers the blue. It is not in the purview of this article to go into of the Middle Ages). In this collection, Ströse presents greater detail, but the original German Niedhart text is in his own free interpretation of medieval poetry. For three the citation here for anyone who wishes to make further Tanzweisse (dance styles), Ströse was inspired by poems comparisons.12 by the medieval poet Neidhart von Reuental (c. 1180 – c. The original text by Karl Ströse (1878), reads as 1250). Ströse’s poem “Nun will der Lenz uns grüßen” is follows in both English translation and the original found on page 50, and it is loosely based on Neidhart’s German (English Literal translation via Google poem “Diu zît ist hie.”10 Translate, so it is not poetic):

10 Kodály Envoy 1. 1. the original five- stanza poem with the exception that Now spring wants to greet us Nun will der Lenz uns grüßen, it blows mildly from noon; von Mittag weht es lau; stanza 4 is omitted. His melody is loosely based on the sprout from all meadows aus allen Wiesen sprießen “Wilhelmus van Nassouwe” (William of Orange) from 15 the flowers red and blue. die Blumen rot und blau. the 16th century (today’s Dutch national anthem). For the author of the lyrics, Weber also named “Neidhart von 2. 2. Reuenthal” instead of the real author, Karl Ströse. This The brown heather weaved out of it Draus wob die braune Heide mistake was often perpetuated in various publications a robe is fine; sich ein Gewand gar fein 16 and loads in festive clothing und lädt im Festtagskleide throughout history. Weber’s melody forms the basis of to the May dance. zum Maientanze ein. the tune used for “We Gather Here Together”/”Harmonia Mundi.” 3. 3. Waldvöglein sing songs, Waldvöglein Lieder singen, as you only desire. wie ihr sie nur begehrt. So jump on, Drum auf zum frohen Springen, the rice is worth its weight in gold! die Reis’ ist Goldes wert! 4. 4. Well on the May trip! Wohlauf zur Maienfahrt! You blonde Irmengard Du blonde Irmengard, The maids are at hand Die Magde sind zur Hand, Put on your dance clothes! Schlüpf’ in das Tanzgewand! 5. 5. Hey, under green linden trees, Hei, unter grünen Linden, white dress shine! da leuchten weiße Kleid! Heya, now we have children Heija, nun hat uns Kinden an end to all winter wear! ein End all Wintersleid! Ströse’s poem was initially set to music (voice and Figure 5: Original 1892 Publication of Male Choir Pieces by piano) by the German composer (Carl) August Fischer Weber, including Maienfahrt (1828-1892) and published in Bremen in 1885.13 This version of the song was not widely distributed or well Weber’s version of “Nun will der Lenz uns grüßen”17 known, and has a completely different melody from “We was hardly known at the beginning of the 20th century Gather Here Together.” Fischer (incorrectly) attributed and only as a men’s choral song. However, starting the text to Niedhardt as can be seen in the beginning of in the 1920s, the melody was included in song books the score. of the German youth movements such as in the 1926 collection, Was singet und klinget (Songs of Youth). Here it is in the form of a two-part song. Again, “Neidhart von Reuenthal” is falsely claimed to be the author of the lyrics.18

Figure 4: Carl August Fischer’s setting of the Nun will der Lenz text

Origin of the Melody of “We Gather Here Together”

Swiss composer Gustav Weber (1845–1887) composed an entirely different four-voice men’s choral piece in 1886 using Ströse’s poem and titled, “Maienfahrt” (May Enters).14 The text is identical to Figure 6: “Nun will der Lenz” from 1926 Was singet und klinget Fall 2020 11 The melody composed by Gustav Weber in 1886 Valerius (c. 1575-1625) wrote down the current form does not have the second section repeated, as is the of the melody in his Nederlantsche Gedenck-clanck performance custom with “We Gather Here Together.” published posthumously in 1626. Valerius slowed Therefore, it is in strict A-A-B-Av form. This structure is down the speed of the melody presumably to allow it important to remember as we examine other similar songs. to be sung in churches.23 The song, with its unmetered rhythm, changing beat groupings, and sung at this slower tempo is indeed “majestic” as described by John Young. By comparison, “Nun will der Lenz uns grüßen” does feel formulaic. It is easy to compare the two melodies and see similarities.

Figure 7: Melody setting by Gustav Weber, as it appears in: “Nun will der Lenz uns grüßen” and the Nazi Era https://de.wikipedia.org/wiki/Nun_will_der_Lenz_uns_ gr%C3%BC%C3%9Fen John Young’s assertion that “Nun will der Lenz uns grüßen” was commonly used during the Nazi regime is in fact accurate. I visited the Boston Public Library to find the books he listed in his abbreviated bibliography of nine Nazi school and youth music text books in which the song appears, dated between 1934- 1940.24 Unfortunately, the rare books section of the library is under renovation, and many of the books are not currently available. But some were in the general collection, and I was able to acquire another through interlibrary loan.

Figure 8: unbarred 1626 Valerius notation of the Wilhelmus https://en.wikipedia.org/wiki/Wilhelmus

The “Wilhelmus,” which may have provided the basis of Weber’s melody, has a long and complicated history. It is thought to date back to at least 1572, making it among the oldest national anthems in the world. The origins of the lyrics are obscure, but are believed to have been written between 1568-72. The text has been attributed to several potential authors, but recent stylometric research suggests that it may have been written by Pieter Datheen (1531-1588).19 The poem is in the form of an acrostic; each of 15 stanzas starts with a successive letter of Figure 9: Kraft durch Freude. Wir wander und singen – Wilhelmus van Nassouwe’s name (and thus is a very long Liederbuch der NS Gemeinschaft. Berlin: Verlag für deutsche poem!) as originally spelled (Willem van Nassov).20 Musik, 1935, The melody of the “Wilhelmus” was borrowed from p. 131. Pocket size book, solo melody line only, early a well-known Roman Catholic French song titled “Autre Nazi-era publication. chanson de la ville de Chartres assiégée par le prince de Condé” (Another song from the city of Chartres besieged It was a disquieting experience to hold and look by the Prince of Condé), or in short: “Chartres.”21 This through books that had either the swastika on the song ridiculed the failed Siege of Chartres in 1568 by cover, or have titles such as Hitler Youth Song Sheets the Huguenot (Protestant) Prince de Condé during the (Liederblätter der Hitler-Jugend) or Strength Through French Wars of Religion. The Dutch Protestants took over Joy (Kraft durch Freude) which was published by the the melody and reversed the protest, not an uncommon National Socialist Society (Nazi Party). Other books practice of the time.22 were school textbooks published by the Nazi regime The original version of the “Wilhelmus” would have and included this song in many grades.25 been sung at a fast tempo. Dutch composer Adriaen 12 Kodály Envoy So far we have conclusively shown that the melody of this song was composed in 1886 by a known composer, based on an 1878 poem by a known poet, so therefore not an anonymous 16th-century madrigal. It was used extensively by the Nazis as a form of propaganda for the belief in the superiority of the German fatherland and landscape to school-age youth. So why did László Vikár think it was a 16th-century madrigal?

A Side Journey: Finding Musical “Cousins” of “Nun will der Lenz”

In my research I utilized many resources to find as many versions of “Nun will der Lenz uns grüßen” as possible. One such website that I frequently use is called ABCNotation.com, which has over 600,000 folk songs catalogued from around the world using both standard and ABC notation systems. Each song, wherever possible, is linked to melodic families of similar tunes Figure 10. 2-part arrangement from Liedblätter der Hitler-Jugend, 2e through a unique grid system to the right of the notated Jahresband. Berlin: Verlag Kallmeyer, 1937 (No. 34). song. Here is a screen shot from the “Nun will der Lenz Song Sheets of Hitler Youth ( ) uns grüßen” page:27

“Nun will der Lenz uns grüßen” under that title or the alternate, “Maienfahrt,” appears in many Nazi-era books. By 1939 this song was marked as one of the 30 obligatory core songs set down by the Nazi Ministry of Education.26 Initially the song is a two-part pedagogical piece. In later school books it also is arranged for three or four parts for older students. To date, however, I have not found the exact same 3-part arrangement used in “We Gather Here Together.” Further research needs to Figure 12: Nun will der Lenz screenshot from ABC Notation website be done to discover if that version exists in a previously published form. Note the graph to the right with dots and lines and more dots. The dot in the center is the song currently being examined. However, if the cursor is placed over any of the other dots, a miniature score of a related song appears. You can click on that song and it appears on a new page. A similar graph for the new song is shown, and you can find other “relatives” of that song as well. It was through this process that I discovered a German madrigal from ca. 1575 that has a similar melody and structure to “Nun will der Lenz uns grüßen” using A A B A form. Could it be possible that Dr. Vikár knew this composition as well and perhaps was conflating the two? Of course, this is complete speculation on my part and can never be proven beyond reasonable doubt. The first song that was somewhat similar to the “Nun will der Lenz uns grüßen” melody is “Es flog ein kleins Waldvöglein” (A Little Forest Bird Flew). Here is the Deutsche Musik für Figure 11: 3-part arrangement as it appears in song from the ABC Notation28 site: höhere Schullen, IV Teil Chorbuch. ca. 1939, pp. 62-63 (German Music

for High Schools, Volume 4, Chorus Book)

Fall 2020 13 and perhaps confused with the three-part song he wrote down by memory. The complete four-part madrigal is in figure 10.31 Note that the alternate title references May, just as the alternate title “Maienfahrt” of “Nun will der Lenz uns grüßen” does as well.

Figure 13: “Es flog ein kleins Waldvöglein” from the ABC Notation website

As can be seen, this song uses the exact same formulaic structure of A-A-B-Av. The “A” sections end with the similar l,-d-d-t,-d cadential pattern. The “B” section ends on a V chord tone “re” which is also the same. Looking through linked songs to “Es flog ein kleins Waldvöglein,” the next song29 seemed to hit the jackpot:

Figure 15: Original four-part version of “Mit lieb bin ich umfangen”written in contemporary notation as taken from The Lute Book of Philipp Hainhofer, 1603, edited by André Van Ryckeghem

Figure 14: “Mit lieb bin ich umfangen” as it appears on the ABC Other versions have the beginning of the “A” Notation site section altered, such as the following version adapted as a hymn that appears in many hymnals in the USA and In researching “Mit lieb bin ich umfangen” [(I am Europe, with the music attributed to Steuerlein.32 It is Embraced by Love), also known as “Wie lieblich ist der obvious how closely this “A” section version melody is Maien” (How Lovely is the May)] further online, it became to the “We Gather Here Together” melody. obvious the flatted tones in the last system are incorrect in the version on the ABC Notation site. This song is also in A-A-B-A form, with the “B” section ending on a tone of the V chord, and the ending bars (see below) have a similar cadential pattern in the three “A” sections as the other songs thus studied. It was easy to find numerous versions of this piece online as well as YouTube performances. Interestingly, this piece was composed as a four-part choral song by Johann Steurlein (also spelled Steuerlein) (1546- 1613) around 1575.30 I speculate that this may be the 16th- century German madrigal that Vikár had intended to use Figure 16: Altered beginning adaptation of Steuerlein’s Melody 14 Kodály Envoy Conclusions the classes and cross-examined the teacher before his pupils and, if they thought necessary, arrested him at To summarize this investigation, the original song once.”34 to “Harmonia Mundi”/”We Gather Here Together” was Furthermore, attendance in the various youth groups based on a late 19th-century German composed song, was mandatory.35 The Nazis did not want children being “Nun will der Lenz uns grüßen,” also known by the title influenced by their parents, and kept them busy from of “Maienfahrt.” The text was written and published in early morning through evening at school and youth 1878 by German poet Karl Ströse, with the melody set activities.36 Songs learned in school were reinforced in by Swiss composer Gustav Weber in 1886. It was widely these youth group meetings as well as other propaganda used by the Nazi regime as propaganda to support love tools used by the Nazi regime. Lisa Pine, in her book of the German countryside in their efforts to brainwash Education in Nazi Germany, noted the interconnection the youth of Germany. It clearly is not a 16-century between school and youth groups as most students were madrigal. Further examination uncovered an actual involved in both. Pine believed that interpreting one topic 16th-century German madrigal by Johann Steuerlein independently of the other offered an incomplete picture that has similar melodic and formal characteristics. My and understanding.37 speculation is that Dr. László Vikár may have conflated In spite of the strong, positive message of Seán these two pieces; however, this cannot be proven Deibler’s beautiful lyrics used in We Gather Here conclusively. Together, the fact remains that the historical misuse It was because of the historic usage of this melody of this music in the first half of the twentieth century by the Nazis that I would not allow “We Gather Here represents quite the opposite—it is symbolic of one of the Together” to be sung at the Kodály Music Institute most brutal regimes in the history of mankind. Music and in Boston, which I co-founded with Mary Epstein in songs were used in a chilling way to brainwash German 1998. I do believe that each organization and music youth in the schools and youth movements. The impact teacher using this song needs to examine whether the of the 30 required core school songs such as “Nun will troubling history of this melody, with its potential to der Lenz uns grüßen” cannot be overstated: offend the relatives and descendants of the estimated 17 At school the students were taught to worship million civilians murdered by the Nazis, makes its use Adolf Hitler: ‘As the teacher entered the class, questionable. The cost of human life lost during World the students would stand and raise their right War II is thought to be somewhere between 75 to 100 arms. The teacher would say, For the Führer a million human beings, from millions of soldiers as well triple victory, answered by a chorus of Heil! as civilians across Europe, Northern Africa, and the three times... Every class started with a song. The Pacific rim. Just as we are now examining a large body almighty Führer would be staring at us from his of American folk and popular songs originating in the picture on the wall. These uplifting songs were black-face minstrel tradition, and realizing the harmful brilliantly written and composed, transporting us nature of this material, we need to examine music from into a state of enthusiastic glee.’38 all cultures and ethnicities using a similar lens. With so Perhaps the greatest irony of this entire story centers many online resources now available, this can become around Zoltán Kodály’s first wife, Emma Gruber (née the new norm. Sándor), who was Jewish. Remaining in Hungary during There should be no doubt that songs listed in these the second world war period was extremely risky for Nazi-era books were regularly taught, and nothing else. the Kodálys, as Hungary’s fascist-leaning government It wasn’t optional. “ had passed several anti-Jewish laws starting in the late All school textbooks were withdrawn before 1930s which limited percentages of Jews from positions, new ones were published that reflected the Nazi reversed the equal citizenship status of Jews, and barred ideology. Additional teaching materials were marriage between Jews and Hungarians.39 During issued by Nazi teachers’ organizations in different the invasion of Hungary by Hitler’s forces and the parts of the country. A directive issued in January subsequent siege of Budapest in 1944-45, the Kodálys 1934 made it compulsory for schools to educate had to remain carefully hidden.40 Starting in May 1944, their pupils ‘in the spirit of National Socialism.’ the deportation of Hungary’s Jews to Auschwitz began. Children were encouraged to go to school wearing In just eight weeks, some 424,000 Jews were deported. their Hitler Youth and German Girls’ League By the end of the Holocaust, 565,000 Hungarian Jews uniforms.33 had been murdered.41 One can only begin to imagine Any teachers who were resistant to the new teaching what Kodály might think of the use of “Maienfahrt” as materials and curriculum were quickly dismissed from the basis of a Kodály anthem. their positions. “Nazis were sent to schools, walked into Fall 2020 15 In closing, thank you for joining me in my personal available). Examples: journey with this song. We examined facts that John Young uncovered so many years ago. My recent research National Anthem of the Netherlands not only corroborated John’s research, but uncovered https://www.youtube.com/watch?v=gwBrR_G70RE additional historical information that discovered the Strong, moving vocal version with male chorus and full provenance of this song. The origin of “Nun will organ. Dutch text with English translation on the video. der Lenz uns grüßen” was benign, but then it became seriously tainted during the Nazi era. 6 Variations: Orchestra and chorus 2015. Large male It is recognized that most people within the Kodály choir with full orchestra, huge brass section. Entire movement have not known about the dark history of how audience joins the male chorus, singing lustily. the melody and original text of “Nun will der Lenz uns https://www.youtube.com/watch?v=b1eayrUsmm0 grüßen” was misused by Nazi Germany. The goal of this article was to share this information, and to encourage Organ and male chorus, all 15 verses Kodály music educators across the globe to reflect on https://www.youtube.com/watch?v=_U2HsdbbDgI current use of “We Gather Here Together”/”Harmonia Mundi.” Perhaps you will concur with my conclusion: it Other Composers: is time for us in the Kodály movement to consider finding https://www.youtube.com/watch?v=R9zYTmpvYIE a different “theme” song that expresses the positive Variations on the melody of “Wilhelmus van Nassouwe” power of music making through not only the song’s by the blind carillon-player Jacob van Eyck (c. 1590 – lyrics, but through the music itself. 1657) in his mid-17th century collection of variations Der Fluyten Lust-hof. For solo Recorder. Main theme * * * * * * * * * * similar to the melody used and known today for the Author’s personal statement: Often it is difficult anthem. for an author of the Jewish faith to write about the Holocaust era in a balanced, objective manner. My Mozart Variations: Theme and 7 Variations for Piano. grandmother’s sister and her family never emigrated The main theme44 is quite different from the song as from Lithuania. Two of my father’s first cousins (young it is now sung. The source of this melodic version is women) allegedly got the last train out of Lithuania as unknown. Video shows the score as it is being played. it was being invaded by Germany in 1941 and spent Written by Mozart at age 9. Notice the A-A-B-A form. the remaining war years in Kazan, Tatar Republic (now https://www.youtube.com/watch?v=NOvOGjcCa5o Tatarstan), which at that time was part of the Soviet Union. Their lives were miraculously spared. However, their sister and father met a very different fate. They were rounded up in Lithuania, lined up in the bottom of massive trenches, and shot along with hundreds of other innocent men, women, and children. This is believed to have occurred on August 15 and 16, 1941. The eyewitness reports of these mass murders across Lithuania are incredibly disturbing. More than 95% of Lithuania’s Jewish population was massacred—ca. 195,000 people.42 Because of this personal family history, the use of “We Gather Here Together” at Kodály gatherings causes me deep pain and discomfort. So if this article appears to express strong opinions regarding the subject of the Nazi era, it may be understandable to the reader. (In memory of Israel and Minnie Kagan, z”l.43) Figure 17: Theme statement used by Mozart in his Seven Resources for Further Study Variations for Piano

Wilhelmus van Nassouwe (William of Orange) has been used by a variety of composers in compositions that Mozart uses this same version of the melody for the could be fun for students of all ages to study. The song concluding fugue of Gallimathias Musicum K32, is simple enough to sing (and English translations are composed in The Hague. Composed at age 10.

16 Kodály Envoy https://www.youtube.com/watch?v=3Udnrq9ZOBU 4e845963da5d9&action=click. Brass ensemble At 14:25 of the recording. #18. Fuga. Franz Liszt Chamber Orchestra, János Rolla, director. Organ variations https://www.youtube.com/watch?v=IHJ6St1EzEk https://www.youtube.com/watch?v=_HgR4jXxsfk Based on Wie lieblich ist der Maien Johann Wilhelm Wilms (March 30, 1772 (baptized) -- July 19, 1847) was a Dutch-German composer, Other set of organ variations: best known for writing Wien Neêrlands Bloed, which https://www.youtube.com/ served as the Dutch national anthem from 1815 to 1932. watch?v=rx3YgCEOAus&list=PLQJ9z_ Work: Variations on Wilhelmus van Nassouwe for flute, FXtzY35OFj0kg-EQvBAt6ezlYim&index=16 clarinet, bassoon, violin and violoncello, Op.37 (1814). Based on the same melodic version used by Mozart. Orchestra: Netherlands Radio Chamber Orchestra Bibliography of Nazi-Era German Youth & School Conductor: Anthony Halstead Song Books with “Nun will der Lenz uns grüßen” (alternate title: Maienfahrt) “Mit lieb bin ich umfangen” (I am embraced by love) (in Chronological Order, Prepared by John Alfred Young, 1985) The 16th-century madrigal by Johann Steuerlein is represented by dozens of examples in its various Ed. Reichsleitung des NS Lehrbundes. Sing Kamerad – iterations available through YouTube and other websites. Liedbuch de Deutchen Jugend. München: Verlag F. Eher, Here are a few: 1934, p. 163 https://www.youtube.com/watch?v=-YD9INK0CDc Ed. NS Gemeinschaft. Kraft durch Freude. Wir wander Performed by adult chorus at a fairly appropriate tempo und singen – Liederbuch der NS Gemeinschaft. Berlin: and feeling. Verlag für deutsche Musik, 1935, p. 131 https://www.youtube.com/watch?v=-UzxzXEvhL4 Ed. Kulturamt der Reichsjugendführang. Liedblätter der With folk instruments and small ensemble of male Hitler-Jugend, 2e Jahresband. Berlin: Verlag Kallmeyer, voices 1937 (No. 34). https://www.youtube.com/watch?v=e_jPsjoQFMM Eichenauer / Pallman. Unser das Land. Berlin: Verlag Absolutely gorgeous rendition, but different arrangement Kallmeyer, 1937, p. 19 (not original) with a more contemporary setting. Original Gericke / Moser / Quellmalz. Lieder unseres Volkes. album doesn’t give who wrote the arrangement (on line). Berlin: Deautsche Schulverlag, 1938, p. 13 All male chorus. Ed. Fischer / Herrman / Hoffman. Deutsche Musik Provided to YouTube by NAXOS of America “Mit für höhere Schullen, IV Teil Chorbuch. Berlin: Verlag Lieb bin ich Umfangen” · Dresden Kreuzchor Die 150 Vieweg, 193(9?), pp. 62-63 schonsten Volkslieder ℗ 2010 Capriccio Released on: 2010-04-06 Choir: Dresden Kreuzchor Composer: Ed. Gansser. Deutsche Lieder. Stuttgart: Metzlersche Johann Steurlein Verlagsbuchhandlung, 1939, p. 129. “Nun will der Lenz uns grüßen” is marked as one of the 30 obligatory core Also quite good songs set down by the Nazi Ministry of Education. https://www.youtube.com/watch?v=yqJuoz10rsU Fischer. Wer jetzig Zeiten leben will. Berlin: Verlag small male ensemble, very expressive Vieweg, 1940, p. 70 https://www.youtube.com/watch?v=O9HThxnvgQo Note: Books with “Ed” means it was edited, though the Variant: Wie lieblich ist der Maien book does not necessarily indicate a specific person. In https://video.search.yahoo.com/yhs/search?fr=yhs-pty- German this is designated by “hrsg” which stands for pty_maps&hsimp=yhs-pty_maps&hspart=pty&p=Wie+li HeRauSGeber, German term for “editor.” eblich+ist+der+Maien#id=3&vid=32e4f460e24409f2965

Fall 2020 17 Appendix A (Figure 18): The original handwritten 4. Currently published by Pro Canto Press, Westborough, “ditto” copy of “We Gather Here Together” as sung at the Massachusetts. www.procantopress.com 1973 Kodály Musical Training Institute summer course, 5. Hand-written notes by John Alfred Young, unpublished, held on the campus of Wellesley College, MA. Note both in possession of the author. 6. Krewson, Margrit B. and David B. Morris. The German the Hungarian and English texts. Collections at the Library of Congress, 2007. https:// www.loc.gov/rr/european/coll/germ.html 7. Ibid 8. Young, J. Alfred. “Historical Note,” as printed in Anthem, a satirical 2-part arrangement using the “Nun will der Lenz uns grüßen” melody by J. Alfred Young (in strict bicinium style). 9. Fischer, Hans; Herrman, Willy; and Adolf Hoffman. Deutsche Musik für höhere Schulen. Volume 4, Chorbuch. Chr. Freidrich Vieweg, Berline-Lichterfelde, ca. 1939, pp. 62-63. (“Maienfahrt,” 3-Part arrangement by Hans Fischer). 10. Ströse, Karl. Deutsche Minne aus alter Zeit, Ausgewählte Lieder der Minnesänger des Mittelalters. Leipzig: Verlag von Johann Ambrosius Barth, 1878, pp. 50-51. https://play.google.com/books/reader?id=w33_ aUoF5ToC&hl=en&pg=GBS.PA50 11. Ibid, p. viii 12. “Nun will der Lenz uns grüßen,” Populäre und traditionaelle Lieder: Historisch-Kritisches Liederlexikon. This article (in German) gives the original Neidhart text as well as Ströse’s text. http:// www.liederlexikon.de/lieder/nun_will_der_lenz_uns_ gruessen/editiona 13. Fischer, August. Drei Lieder für eine Singstimme, Op. 2, No. 1. Bremen: Praeger & Meier, 1885 14. Weber, Gustav. Sammlung von Volksgesängen für den Männerchor, Band II. Zürich, Zürcher & Furrer, 1886, pp 440-1 15. “Nun will der Lenz uns grüßen,” Wikipedia article in Endnotes: German. https://de.wikipedia.org/wiki/Nun_will_der_Lenz_uns_ gr%C3%BC%C3%9Fen 1. See Appendix A, Figure 18, for the purple “ditto” copy as 16. Schmitz-Gropengiesser, Frauke. Nun will der Lenz uns handed out in 1973. This is the only existing version that grüßen, February, 2009. http://www.liederlexikon.de/ the author knows with not only Deibler’s English lyrics, lieder/nun_will_der_lenz_uns_gruessen but also the Hungarian text written by Komlós and Vikár. 17. Weber, Gustav. Sammlung von Volksgesängen für den 2. Denise Bacon later published the story in the Kodály Männerchor, II. Band. Zürich, Zürcher & Furrer, 1892, Center of America Newsletter, Vol 1, No. 1, September, pp. 440-1 1977, p. 4, along with a copy of the song with English 18. Nenninger, Rudold, ed. Was singet und klinget—Lieder text by Seán Deibler only. Bacon omits Komlós as co- der Jugend (Songs of Youth), Wülfingerode-Sollstedt: author of the Hungarian text in this version of the story, Treue-Verlag, 1926, p. 54 although the original ditto copy lists Komlós as a co- 19. Schrijver Wilhelmus is te ontdekken met author. Otherwise the story is identical to oral versions computeralgoritme (Writer of Wilhelmus can be heard previously. discovered with computer algorithm) as found in https:// 3. The author has known personally and professionally all www.nu.nl/overig/4259667/schrijver-wilhelmus- four of these individuals in many capacities since the ontdekken-met-computeralgoritme.html?redirect=1 (in early 1970s. No one should construe this article to be a Dutch) criticism of any of these people, but rather an uncovering 20. The Dutch National Anthem. https://www. of factual information for a full understanding of the real historyofholland.com/dutch-national-anthem.html roots of “We Gather Here Together.” 21. Ibid. Also in Wilhelmus, Wikipedia article. https:// en.wikipedia.org/wiki/Wilhelmus

18 Kodály Envoy 22. Melody Origin for Wilhelmus, in Dutch Song 41. Yad Vashem website. Murder of Hungarian Jewry. Database, http://www.liederenbank.nl/text. https://www.yadvashem.org/holocaust/about/fate-of- php?recordid=87856&lan=en (in Dutch) jews/hungary.html#narrative_info 23. Wilhelmus, Wikipedia article. https://en.wikipedia.org/ 42. Frysh, Paul. The Holocaust in Lithuania. One Man’s wiki/Wilhelmus Crusade to Bring Justice. CNN. http://www.cnn. 24. See Bibliography above for Nazi-Era German Books com/2010/WORLD/europe/06/03/lithuania.nazi. with Nun will der Lenz uns grüßen prosecutions/index.html 25. See Bibliography above for Nazi-Era German Books 43. z”l, acronym of (zikhronó liv’rakhá, with Nun will der Lenz uns grüßen “may their memory be a blessing”). 26. Ed. Gansser. Deutsche Lieder. Stuttgart: Metzlersche 44. Mozart, Wolfgang Amadeus. Variationen. Frankfurt, Verlagsbuchhandlung, 1939, p. 129. Nun will der Lenz London, New York: C. F. Peters, 1934, Nr. 273, p. 101 uns grüßen is marked as one of the 30 obligatory core songs set down by the Nazi Ministry of Education. Jonathan C. Rappaport is a conductor, educator, 27. Nun will der Lenz uns grüßen, transcribed by Frank composer and author. Rappaport has published 20 Nordberg - http://www.musicaviva.com. As found in choral works, 3 instrumental works, and 5 books, and is http://abcnotation.com/tunePage?a=trillian.mit.edu/~jc/ the recipient of numerous awards for teaching and arts music/abc/mirror/musicaviva.com/tunes/germany/nun- education advocacy, including the Lifetime Achievement will-der-lenz/0000 Award from OAKE. He has taught music, trained 28. Es flog ein kleins Waldvöglein, transcribed by Frank teachers nationally, and directed choruses for 50 years. Nordberg - http://www.musicaviva.com. As found in He was the Co-Director and Founder of the Kodály http://abcnotation.com/tunePage?a=trillian.mit.edu/~jc/ Music Institute in Boston and the Executive Director music/abc/mirror/musicaviva.com/germany/es-flog-ein- emeritus of Arts|Learning, Medfield, MA; he is the past kleins/0000 Executive Director of the Conservatory Lab Charter 29. Mit Lieb bin is umfangen, Found in erk10.abc from School (Boston) and the Performing Arts Liaison of the the Seymour Shlien ABC collection. As found in http:// Worcester (MA) Schools. abcnotation.com/tunePage?a=ifdo.ca/~seymour/runabc/ esac/erk10/0454 30. Wie lieblich ist der Maien. https://hymnary.org/tune/ wie_lieblich_ist_der_maien_steurlein OAKE SUSTAINING 31. Van Ryckeghem, André, transcriber. Mit Lieb bin is umfangen. As found in https://imslp.org/wiki/Mit_Lieb_ MEMBERS bin_ich_umfangen_(Anonymous) 32. Monsell, John S. B. Sing to the Lord of Harvest (1866). Hal Leonard Corporation Tune: Wie lieblich ist der Maien. Published in 109 www.halleonard.com hymnals, as found in https://hymnary.org/text/sing_to_ [email protected] the_lord_of_harvest Macie Publishing Company 33. Richard Evans, The Third Reich in Power (2005) page www.maciepublishing.com 264 as appears in https://spartacus-educational.com/ [email protected] GEReducation.htm 34. Ogilvie, Vivian. Education Under Hitler. London: Mad Robin Music & Dance, LLC Friends of Europe, 1934, p. 6 www.madrobinmusic.com 35. Ian R. James, Education in Nazi Germany. https:// [email protected] cupola.gettysburg.edu/student_scholarship/715, p. 16 36. Ibid, p. 15 QuaverMusic 37. Ibid, p. 4 www.quavermusic.com 38. Ungerer, Tomi. Tomi: A Childhood under the Nazis, [email protected] Roberts Rinehart Publishers; English Language edition (1 Oct. 1998), page 63 as cited in Education Silver Burdett/Pearson Education in Nazi Germany, https://spartacus-educational.com/ [email protected] GEReducation.htm 39. U.S. Holocaust Memorial Museum website. Anti- STL Ocarina Jewish Laws in Hungary. https://www.ushmm.org/ www.stlocarina.com learn/timeline-of-events/1933-1938/anti-jewish-laws-in- [email protected] hungary 40. Eösze, László. Zoltán Kodály—His Life and Work. West Music Boston: Crescendo Publishing Co., 1962, p. 41 www.westmusic.com [email protected]

Fall 2020 19 Current and Past Directors of Holy Names University Part 1 of 3 By Kathryn Bach and Megan Ankuda As the 50th anniversary of OAKE approaches, we reflect to teachers who had multifaceted skills as opposed to just on the many teacher training programs that have impacted people who were specialists in one area. He and I kind of Kodály-inspired music education in the United States. became friends, and I told him that I was thinking about Beginning in 1969, Holy Names University in Oakland, going to Hungary. California has maintained an internationally recognized I started taking private figured bass lessons with program in teacher training. This is the first of a three-part (Munkachy) out of a Hungarian book, and that’s what got feature on interviews with current and past directors of the me going. In addition he had a student who was a couple of Kodály Center at Holy Names. years older than me, Christine (Kunko) Jordanoff. She went Dr. Edward Bolkovac studied conducting for two to Duquesne as well. She went off to Hungary. That was years in Hungary, and earned his doctorate from Stanford sort of the connection to it was this teacher from Duquesne University. He was appointed as full- who was Hungarian that set me on the time faculty at Holy Names College at path to go over there. the age of twenty-six, where he taught ear training and choral conducting. How did you become a Director Dr. Bolkovac directed the college at Holy Names? choirs, and later the college orchestra, I got my Master’s degree at what’s eventually becoming Director of the now called Binghamton University. Kodály Center. The Choral Professor there was a After sixteen years in the Bay guy named David Buttolph, a former Area, Dr. Bolkovac was appointed president of OAKE, who was a really Senior Lecturer in Music and Director good conductor. He took his entire of Choral Activities at the University family to Hungary for a year. When he of Queensland in Brisbane, Australia. was there, I was a student at the Liszt Following four busy and productive Academy and I went to his concert and years in Australia, he was named it was really great. Primrose Fuller Professor of Choral I came back and got my Master’s Music at the University of Hartford degree with him. He was looking for a Hartt School, where he led its Vocal grad assistant who could teach solfege Studies Division from 2001-2013. and improve the literacy of the group. He became director of the New I spent two years with him. That was Haven Chorale in 2003, and has kind of how I made the transition into conducted numerous performances teaching. When I finished my Master’s in collaboration with Hartt School degree, I wrote a letter to every Kodály choruses and Symphony Orchestra, The Hartford Symphony, program in the United States, and I got responses from two The New Haven Symphony, and the Hartford Chorale. Dr. or three of them. Sister Mary Alice Hein wrote back to me Bolkovac retired from Hartt in the spring of 2020. from Holy Names and said: ‘We don’t have any openings, but thank you for writing. Denise Bacon offered me a job How did you become a music educator and in Boston to teach at the Kodály Musical Training Institute. specifically a Kodály-inspired music educator? All of a sudden, out of the blue, Sister Mary Alice called When I was an undergraduate, I went to Duquesne me back and asked me if I can teach solfege. Would I like University. The head of the ear-training program was a a job? She sent me a contract after a phone conversation. Hungarian who had left Hungary in 1956, his name was That’s how I ended up at Holy Names. Munkácsy Lajos. He went by Louis Munkachy. He played viola really well. He conducted well, he figured bass really How would you say the Hungarian influence shaped well, he spoke several languages, and I became attracted the program at HNU?

20 Kodály Envoy The simple answer is good role models for excellence. There has to be an intellectual aspect to it. There has to Look, nobody’s perfect, and once you get to study with the be a skill aspect. There has to be an aural aspect to it and Hungarians, you know what they can and can’t do like there has to be an emotional, communicative aspect to it. It’s everybody else. One thing that they always exemplified was actually those four principles that have guided me. After a just a standard, a standard of excellence. And I think that’s choir rehearsal: Did I do something that was intellectually the easy answer. stimulating? Did I develop any of their skills? Did we talk about communication and aesthetics? If I did all four of those How has the Hungarian influence shaped how you in equal portions, then I had a great day. teach? I think if you become obsessed with the methodology I was there for almost three years and I got married in and you become so involved in procedure, then sometimes it Hungary too. I ended up learning the language. I had two becomes really out of balance with those four things. If you’re or three really strong influences in my two and a half years planning a lesson, there has to be that intellectual, the aural, of study there. As far as I know, two of them never went to the physical, the skill component of what you’re doing, but Holy Names to teach, but I sort of brought their spirit with there has to be the heart part of it as well. me. Bántainé Sípos Éva was the head of music theory at the Liszt Academy. When I was there, they assigned me to If Kodály were living today, do you think the program have a private lesson with her in harmony. I went to her would look the same as it did 50 years ago? house and she would make tea. She invited me to her house I think the repertoire is definitely going to be different twice a week for two-hour sessions for an entire year. She than it was. I think it’s going to have to encompass more and was my Harmony teacher. I know I took her spirit with me different kinds of music. That’s the main thing. I don’t think it to Holy Names. can be so Eurocentric, but I don’t think it has to be devoid of that as well. I think if the program is the same as it was fifty How does the Hungarian application of Kodály’s years ago, then something is wrong. I think the fundamentals philosophy differ from the American application? still have to be in place, but it may be how they’re applied has I think it’s always been the way that I’m about to say: to change. There is less emphasis on musicianship and more emphasis on methodology. I think methodology is safer because you Are there any Hungarians who have made a particular learn techniques, you learn procedures and you do them. influence on you in your career? The Hungarians all had a strong fundamental Hungarians who had an influence on me were: Katanics musicianship side. Even people who taught grade school Mária (Early 80’s) had the ability to create magical and and became really good at it could out sight-read almost poignant moments with a choir. Hegyi Erzsébet, who taught anybody. I think that standard has never really established numerous musicianship seminars, was the role model of a itself here. The standards are changing everywhere, but brilliant, dedicated, patient, and well-prepared pedagogue. there’s a shift away from classical standards anyway. I Igó Lenke (Lenci) taught numerous summers and was always don’t think that the music of dead white men is necessarily a model of well-rounded excellence. Kocsárné Herboly Ildikó a good thing if it’s exclusively focused on that. But taught seminars, emphasizing the use of musical compositions basically, that’s what Kodály was trying to do. He was to teach musicianship and harmony. Vendrei Éva was trying to use the folk music of his country, not only to unify another example of well-rounded musical excellence. Forrai them culturally, but to move towards what he considered Katalin (Kati) was a master teacher of little children, a very the high art of Western art music. sweet and caring person, and one who had a close personal I don’t think that flies in the face of everything that’s relationship with Kodály. She embodied greatness as well as going on right now. I understand the shifting sands but humility. Thész Gabriella made an impact at one of the OAKE whether the sands are shifting or not, the one fundamental Conferences in San Francisco where she conducted a national thing that doesn’t change is musicianship. That’s the choir. bottom line. Three teachers who had a great impact on me in Hungary were: Erdei Péter, my conducting teacher for 2 years. Bántainé What part of Kodály’s philosophy of music Sípos Éva, head of the theory program at the Liszt Academy, education particularly resonates with you? and my private harmony teacher for a year in Budapest—her It’s what I called the four. I just wrote an article for teaching greatly influenced my years of solfege and harmony a conference that was canceled in Hungary where I was teaching, as did her kindness and generosity. Forrai Kati, supposed to speak at this past summer. The article was with whom I never studied, by her kindness and sage advice about Kodály’s four tenets: a well-trained mind, a well- helped me greatly when we taught together in Australia, the trained ear, a well-trained hand and a well-trained heart. Philippines, and at Holy Names. It’s those four things that are distilled down to the essence Even though the next three individuals are not Hungarian, of what he does, whenever you teach, whenever you make credit must go to these 3 North American methodology music. teachers who were the backbone of the Holy Names programs

Fall 2020 21 for several decades: Lois Choksy, Ivy Rawlins, Rita smarts to get through. Personal development never stops. Klinger. In addition, words need to mention Toni Locke, a As my dad would say, it stops 10 minutes after your funeral dear family friend with a brilliant mind and an indomitable is over. spirit, who started the Kodály Resource Center. And last but not the least of the non-Hungarians Thank you to Dr. Bolkovac for his generous time on this list is Sister Mary Alice Hein, who through conducting this interview and for his sage wisdom and determination, will power, political skills, savvy, honesty, advice. kindness, and humility left a great legacy by founding the Kodály Program at Holy Names. Megan Ankuda is a Doctoral Student at Texas Tech University and received her certificate in Kodály studies As we approach OAKE’s fiftieth year celebration from Holy Names University. She is a recipient of an of Kodaly in America, what else would you like the OAKE Leaf grant and is conducting a series of podcasts to readers to know? document prominent influences as we head to OAKE’s 50th Develop musicianship. Learn methodology, but anniversary. don’t become obsessed with it, devoid from those four things (the Kodály maxims), and keep trying to develop Kathryn Bach has MM in Music Education with Kodály yourself musically. I think what happens when life takes emphasis from Holy Names University. She is the primary over, the first thing that people stop doing is developing music teacher for the high frequency Kodály program in musicianship. Take 10 minutes a day, be at 1:00 a.m. in the Cambridge Public Schools and is a Member at Large on morning, take out something, do something, clap a rhythm, OAKE’s Board of Directors. do a skill, do something, but don’t just rely on your street

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22 Kodály Envoy CHORAL CONNECTIONS: JULIA T. SHAW

Evaluating Cultural Validity in Choral Repertoire: Three Exemplars Illustrating Guiding Principles

Choral teacher-conductors have Exemplar 1: “Uno, Dos, y Tres,” are clearly described, and an accurate increasingly turned attention toward arr. Carlos Abril, World Music Press, translation is provided. Readers also how choral music can support the goals VTS#45 learn of Abril’s personal knowledge of of culturally relevant (Ladson-Billings, and connection to Cuban culture: 1995), responsive (Gay, 2010), and When evaluating published choral My family fled Cuba in 1960, sustaining pedagogies (Paris & Alim, octavos, the arranger’s or editor’s right after Castro’s takeover, and 2017). Many music specialists gravitate expertise with the cultural and musical arrived in Miami before I was toward diversifying curricular content tradition represented is a primary born. I was raised in a decidedly as an entry point for enacting these consideration. The following guiding Cuban household in a transplanted approaches to teaching. It is important questions might be informative: Cuban community . . . Music was to recognize that including repertoire • Is information provided about the one of our only connections with representing diverse cultural traditions arranger’s or editor’s knowledge of the the motherland, since everything in the curriculum, while an important cultural group represented? else had to be left behind . . . I preliminary step, does not in and of • Have they edited or arranged recall first learning to sing “Uno, itself constitute culturally responsive, a piece that held personal meaning Dos, y Tres” in grade school . . . relevant, or sustaining pedagogy. for them because they are themselves This simple arrangement conjures Nevertheless, investing effort into a member of the cultural group up the sights, sounds, and feelings making responsible repertoire choices represented? This, of course, represents of my musical childhood. (Abril, with regard to ways that cultural groups the ideal scenario. 2002) are represented, misrepresented, or • If the author or editor is This description of Abril’s personal underrepresented in choral curricula is not themselves a member of the connection to Cuban culture, and to this a worthwhile endeavor. cultural group represented, does piece specifically, provide evidence of It is important to acknowledge the publication result from sincere, the piece’s “cultural validity,” meaning that any given selection is unlikely sustained collaboration with members the extent to which selections are to serve the needs of all teachers in of that culture? Have those experts typical and characteristic of a cultural all situations. This is especially true been appropriately recognized and group (Abril, 2006). Abril (2006) if the goal of instruction is to create compensated for their contribution? advises teachers to seek repertoire that learning experiences that are responsive In the absence of compelling is high in cultural validity and low in or relevant to the cultural identities evidence regarding the composer, cultural bias. “Uno, Dos, y Tres” is of specific singers. Accordingly, this arranger, or editor’s knowledge of one example of a choral arrangement column will describe three exemplars the tradition they are attempting to that meets those criteria, while also in detail, illustrating guiding principles represent, conductors should seek being vocally and developmentally for seeking cultural validity in alternate selections for their choirs. appropriate for elementary-aged choral repertoire. My intention is The inside cover of Carlos Abril’s singers. The details provided about the not to advocate use of these specific arrangement of “Uno, Dos, y Tres” piece’s social, cultural, and historical selections, but to raise questions contains contextual details that provide context as well as the arranger’s and highlight features conductors reassurance regarding the integrity of first-hand knowledge of the cultural can consider as they evaluate the this arrangement. The origins of the tradition are positive features that cultural validity of repertoire and its musical genre and associated dance teachers can seek when evaluating appropriateness for classroom use. additional publications.

Fall 2020 23 Exemplar 2: “The Joy I Feel,” an entire continent; the population of scoops, slides, or bends, or pitches arr. Tim Gregory, trans. Dan Spanish speakers) as though they are that do not correspond to the twelve- LeJuene, Hal Leonard #08754126 culturally homogenous, glossing over note chromatic scale). Additionally, important details of national, ethnic, for musicians accustomed to learning This publication of three choral cultural, or individual identity within Western classical music from notated arrangements from Tanzania and those broad populations. When choral scores, the very presence of standard Kenya also provides helpful contextual octavos essentialize culture in these notation may cue them to apply stylistic detail in the octavo’s inside cover. ways (see Erickson, 2005), conductors details appropriate for Western classical Upon investigating the arranger’s are urged to undertake further research music rather than those appropriate qualifications, one learns that Gregory to ascertain the specific national, ethnic, to the culture of origin (Goetze, is an ethnomusicologist and music and cultural contexts from which the 2000). If a piece would be learned via educator who has conducted extensive songs originate. If such information aural tradition in its culture of origin, research in Kenya and Tanzania. On his cannot be located, an alternative teaching and performing it aurally in website, he notes: selection would likely provide the basis the classroom would yield the most Since 1998, I have been for a more culturally valid learning valid learning experience. This can making annual visits to East experience. be accomplished by consulting with a Africa, focusing on the southern Of course, the amount of contextual culture bearer either by having them region of the Eastern Province information that can be provided within visit in person or via distance learning of Kenya . . . Since ’98, James the compact space of an octavo’s inside technology. It is important to recognize [Musyoka] has been my right cover is insufficient for developing the labor involved in professional hand in East Africa, arranging an in-depth understanding of a given collaboration of this nature and to performances, helping me record piece’s socio-cultural context. This recognize and compensate any such and giving me all necessary octavo is one of few examples I’ve artists on par with musical collaborators language support. James is also located that directs teachers toward who are experts in Western art music. the director of Kenya Connect, additional resources through which an NGO that we co-founded and they can continue their study of matters Exemplar 3: Singing in the which the sales of this choral pertaining to cultural context and African American Tradition, taught series helps to support. (Gregory, culturally valid performance practice. by Dr. Ysaÿe Barnwell with George 2020) Field recordings generated within the Brandon, Homespun CDLYSAAA These statements offer insight into cultures of origin are accessible on (Volume 1) and CDLYSAAB99 the nature of the arranger’s knowledge Gregory’s website, which facilitate (Volume 2) of and engagement with the cultural conductors’ ability to track editorial https://www.ymbarnwell.com/ groups represented, as well as whether decision making and carefully consider instructional-materials proceeds from sales of the music the cultural validity of those decisions. benefit those groups, details which may The videos also feature musicians Recorded instructional materials be helpful to conductors as they gauge native to each culture as vocal models, featuring expert vocal models open the appropriateness of these selections. allowing teacher-conductors and additional avenues for facilitating aural In addition, the octavo provides singers to discern important details learning experiences with choirs. Dr. detail about the socio-cultural contexts regarding the vocal timbre, style, and Ysaÿe Barnwell is an internationally from which the songs originate. performance practices with which the renowned expert on African American Importantly, the specific ethnic groups music is traditionally performed. singing traditions. In this two-volume and nations from which the songs The availability of such reference collection, she presents recorded originate are recognized in the octavo: recordings is a rare and useful feature, vocal models (instructional CDs with the Meru people in Tanzania and the especially if teachers are consulting a accompanying books) to support Kamba people of Wamunyu, Kenya. transcription of a piece that would be singers’ aural learning of songs This level of specificity contrasts with taught via aural tradition in its culture from African American culture. octavos in which pieces are vaguely of origin. When pieces drawn from The collections include spirituals, designated as “African folksongs,” for aural traditions are transcribed into gospels, hymns, and songs from the example. Such general designations standard notation, important details Civil Rights Movement. Barnwell’s are problematic in that they portray are often not captured in the notated collaborator, George Brandon, offers large groups (e.g., the population of score (e.g., stylistic elements such as insight into the historical and cultural

24 Kodály Envoy supported research in South classroom. The OAKE Africa, which involved sustained Note: A prior version of this engagement in the field. Since column appeared in the Ohio Choral Collection publishing “Vela, Vela” in 2004, Directors Association Newsletter Stone and collaborator Patty and the content is reprinted with Cuyler have published a series permission. Shaw, J.T. (2018). Who Was of DVDs featuring music from Evaluating cultural validity in choral Kodály? Bulgaria, Georgia, and South repertoire: Three exemplars illustrating Africa (also available through guiding principles. OCDA News: $7 www.thechoralimperative.com), Bulletin of the Ohio Choral Directors each of which has been thoroughly Association, 38(1): 4-5, 14-16. researched in collaboration with natives of each culture. Some DVDs feature singers from the United References The Owl States as vocal models, which may Sings be helpful in encouraging singers that Abril, C. R. (2006). Music that culturally valid renditions of music represents culture: Selecting music $13 from cultures beyond the realm of with integrity. Music Educators their prior experience are attainable, Journal, 93(1), 38-45. provided they invest the requisite Erickson, F. (2005). Culture in society time and effort into research and and in educational practices. In J. preparation. A. Banks & C. A. M. Banks (Eds.), Sourwood It is important to emphasize Multicultural education: Issues and Mountain that consulting published materials perspectives (5th ed., pp. 31-60). is not the only, or necessarily Hoboken, NJ: Wiley. $13 the best, way to locate culturally Gay, G. (2010). Culturally responsive valid repertoire. If the goal is to teaching: Theory, research, and locate repertoire that is typical and practice (2nd ed.). Teachers College representative of specific cultural Press. Sounds of groups, it is often more productive Goetze, M. (2000). The challenges Rounds to begin the process by consulting of performing choral music of with people about repertoire relevant the world. In B. F. Reimer (Ed.), $13 to their cultural backgrounds and Performing with understanding: The identities than with materials such challenge of the national standards as scores or publisher’s catalogues. for music education (pp. 155-169). While diversifying curricular Reston, VA: MENC. One, Two, content does not in and of itself Gregory, T. (2020, September 1). Three! accomplish the goals of broader Nada Brahma Productions. http:// approaches to teaching such as timgregory.org/sheetmusic.html $20 culturally responsive, relevant, or Ladson-Billings, G. J. (1995). sustaining pedagogy, it can offer Toward a theory of culturally one point of departure for choral relevant pedagogy. American teachers interested in engaging more Educational Research Journal, Lesson substantively with these approaches 32(3), 465–491. https://doi. Planning to teaching. Through responsible org/10.3102/00028312032003465 repertoire-related decision making, Paris, D., & Alim, H. S. (2017). $20 teacher-conductors can make Culturally sustaining pedagogies: important strides toward honoring Teaching and learning for justice in cultural diversity in the choral a changing world. Teachers College Press.

Fall 2020 25 BOOK REVIEW: MARY NEELEY STEVENS

Solfege and Sonority: Teaching Music Reading in the Choral Classroom by David J. Xiques

Solfege and Sonority, written studied ear training and musicianship to teach more advanced choral music by David Xiques, presents Kodály- extensively with Erzsébet Hegyi of concepts. The book list at the end of the inspired lesson plans for the choral the Liszt Academy in Budapest and book gives the publishing information classroom with the intent of for all of the choral music used maximizing sight-reading and in the body of the book. Included limiting learning by rote. The with the printed book is website book is a wonderful tool for access to demonstration lessons choral directors with possible and materials for application in application for teachers of the classroom. conducting. The chapters are “We teach our singers by sequentially organized for sequencing melodic and rhythmic teaching melodic and rhythmic elements, creating lesson plans, elements. The sequence of and excerpting short examples elements is based on choral from the repertoire that we repertoire appropriate for older- work on in rehearsals. … We beginner choral students. can and should teach musical David J. Xiques is professor interpretation and expression of music in the School of Music as well as music literacy in the and Dance at San Francisco State choral rehearsal. … as we move University where he teaches away from a sole rote teaching ear training and musicianship approach.” classes and directs the University Each of the detailed lesson Chorus and Chamber Singers. His plans presented in the book teaching experience includes K – provides board work, warm-up 12 choral, junior and high school activities, folk song connections, band, general music classes, and and reading exercises Kodály specialist at the Kodály strategically sequenced to prepare Summer Certificate Program at the students for sight-singing New York University. He is a frequent conducting with Vance George of the excerpts directly from the choral score. choral clinician and presenter at San Francisco Symphony chorus. Throughout the book, the conductor professional music conferences. He The book opens by introducing is reminded to assess student success earned his Master of Music in Music the components of Kodály-inspired and determine whether to move on or Education with Kodály Emphasis teaching and recommended sight- remediate learning. degree from Holy Names University reading tools. Each of the following While there is flexibility presented in Oakland, California and Bachelor chapters presents choral octavos in the melodic and rhythmic sequence, of Science in Music Education selected to teach specific melodic and the recommendation of Mr. Xiques is degree from Millersville University rhythmic elements. In the final two to begin with stepwise motion of the in Millersville, Pennsylvania. He chapters, lesson plans are provided trichord “do-re-mi.” The next melodic element may seem to be a more

26 Kodály Envoy controversial. He presents the option of (demonstration lessons with children, Reviewer: Mary Neeley Stevens is a presenting “so” (tetratone do-re-mi-so) peer teaching with college students retired music educator of 38 years, or moving to another trichord mi-fa- and exercises for download and print) director/instructor in the Southeast so (pentachord do-re-mi-fa-so). The written by David Xiques encourages Kodály Certification Program and premise for the choice to deviate from conductors of beginning choral singers the Kodály Institute of Houston, and the more traditional sequence (tritones: to move from rote teaching toward supervisor of student teachers at mi-so-la or la,-do-re) is based on the teaching music literacy. The conductor the University of Houston. She has logical sequence found in beginning is consistently reminded to return presented professional development on choral repertoire and the frequency of to the lyrics and engage the musical Kodály-inspired teaching and arts- melodic turns supporting the Kodály interpretation and expression embedded integrated lessons planning at local, concept that music is taught in the same in the music. state, and national levels. manner as we learn a language. Solfege and Sonority: Teaching Music Solfege and Sonority with Reading in the Choral Classroom, accompanying online materials Oxford University Press 2014

OAKE SCHOLARSHIPS & GRANTS

The Jenö Ádám, Denise Bacon, and Katinka Daniel Scholarships Provides partial funding to members with Level 1 Certification toward further study at OAKE-endorsed Kodály certification programs in the United States and Hungary

OAKE Leaf Fund Grant Provides funding to support educational and charitable activities which can be granted to the organization itself, Divisions or Chapters of the organization, endorsed educational programs, or to members for special projects or research.

Applications are due by February 1, 2021

Find more information: oake.org

Fall 2020 27 NEWS FROM OAKE-ENDORSED CERTIFICATION PROGRAMS

American Kodály Institute at Seminar! In accordance to OAKE guidelines, offerings in Special Topics. Beth Anne Young Loyola University Maryland KASC’s OAKE-Endorsed Music Education and Ginger Albertson team-taught “Interactive Baltimore, MD Institute’s Summer Levels did not happen this Music Learning,” a course which looked at Lauren McDougle year, so we adapted and moved our platform differentiated learning techniques for every [email protected] online to offer summer seminars with our kind of teaching application - in person, hybrid, community July 13-17, 2020. We had fun or online - helping teachers to be prepared Arizona State University and engaging topics prepared such as: “Just for the upcoming year. Robbin Marcus taught Tempe, AZ Keep Swimming!” “The Sounds of Silence: her popular “Alexander Technique for Music Sandra Stauffer Solutions for Instrumental Engagement Teachers” course, in which students made [email protected] Online,” “Music Theory with a Twist,” and extensive use of the breakout rooms for private “Listen Louder Than You Sing.” We concluded lessons and group learning. Our levels students BYU InterMuse Academy for Kodály Certification the week on Friday, July 17 with Katinka Day, were well-represented in both courses, but Provo, UT our annual gathering of KASC members and we also had participants from as far away as Rebecca McLaughlin friends honoring our chapter’s founder, Katinka China! [email protected] Dániel. We want to thank the incredible team at Mason intermuse.byu.edu Our fall workshop was held Saturday, Academy for taking care of us with technol- September 12. “Virtual Toolbox for the ogy assistants, for assisting with all manner of California State University Kodály Institute Instrumental, Choral, & General Music online learning, and for quickly adapting what Bakersfield, CA Teacher” was a big hit with our three presenters our courses would look like during the thick Rene Ferrell and local educators Lindsie Hardy, Sean of registration season. Elizabeth Curtis and [email protected] Longstreet, and Sean Carney. We learned how Candy Neukam, we couldn’t do it without you! Carolina Kodály Institute at Lenoir-Rhyne to use new online tools, new games to play We look forward to seeing students in person, University virtually and physically, and went through the on campus, next summer for our full levels Hickory, NC process to begin creating virtual ensembles. program. Karen Shuford Our next workshop will be on Saturday, We invite anyone who would like more [email protected] November 7, 2020 and will feature more tools information about the GMU course to contact Robbin Marcus robbin@robbinmarcusmusic. Colorado Kodály Institute atChicago for our music teacher community. Stay tuned! com or Beth Anne Young music-workshop@ Colorado State University We will conclude our professional development comcast.net for questions about the curriculum. Ft. Collins, CO workshops for the year on Saturday, February For questions about the George Mason facility, Bonnie Jacobi 6, 2021 with “Music and Movement in the please contact [email protected]. [email protected] http://music. Kodály Classroom” with clinician Donna A. Students, graduates, colleagues and any- colostate.edu/music-education/ Menhart. To join us for our workshops this year, visit us at our website: https://www.kasc. one interested are invited to join the ongo- DePaul Kodály Institute oake.org/workshops ing discussion and read the postings on our Chicago, IL Facebook page, Kodály at George Mason Jacqueline Kelly-McHale The global pandemic of the novel virus University. https://www.facebook.com/groups/ [email protected] COVID-19 put a sudden halt to all of our KodalyGMU/ You’ll find all kinds of good school districts in Southern California, questions, ideas, and Kodály related resources Drake University, Department of Music including gatherings such as our annual KASC there throughout the year, plus the occasional Des Moines, IA Junior Choral Festival, which has been a joke or two. Thomas Sletto California tradition for over three decades. [email protected] This festival brings local students together Kodály Certification Program - Lakeland University (Formerly Silver Lake) Holy Names University for a unique experience performing quality Sheboygan, WI Oakland, CA repertoire. This year’s festival was scheduled for May 16-17, 2020, but will be rescheduled Rachel Ware Carlton Maree Hennessy [email protected] [email protected] for the future when we may safely gather and www.hnu/kodaly sing together again. For more information, Kodály Certification Program at email [email protected]. Westminster Choir College of Rider University Indiana University Summer Kodály Institute Please see our website www.kasc.oake.org Princeton, NJ Bloomington, IN or email us at [email protected] for more Amy Carter Brent Gault information. [email protected] [email protected] Kodály at George Mason University www.rider.edu/kodaly James Madison University Fairfax, VA The Kodály Institute at Capitol Harrisonburg, VA Beth Anne Young Columbus, OH Bryce Hayes [email protected] Karla Cherwinski [email protected] http://potomacacademy.gmu.edu/Summer [email protected] Due to the COVID-19 Pandemic, we were www.capital.edu/Kodaly-Emphasis Kodály Association of Southern California unable to run our in-person Kodály levels North Hollywood, CA program this summer at George Mason The Kodály Institute at Capital offered all Level I classes in an online format this Kathy Hickey University. Students enrolled in GMU’s summer. We welcomed over a dozen students [email protected] Hybrid Master’s Program, however, were able to continue adding course hours to their from around Ohio, Pennsylvania, and West KASC glided into the digital age this past Virginia to our program, as well as faculty summer with our 2020 Online Summer degree through our highly successful online

28 Kodály Envoy teaching remotely from the Columbus and We hope to continue to offer courses in both teacher should contact these instructors for Dayton, Ohio area as well as from halfway online and in person formats next year as situ- recommendations. In total more than 150 around the world - Hungary! Thank you ations allow. Please visit our website to sign teachers earned professional development to our amazing faculty, Lilla Gábor, Sandy up for information on any of these options at hours and deepened their understanding of Mathias and Julie Swank for taking on this www.kodalymusicinstitute.org. specific components of the Kodály philosophy new endeavor head on. While the program through these create on-line offerings. Kodály Summer Institute New York University was quite different not being together and there Tentative dates for Live training Levels 1, 2 New York, NY were technology issues along the way, we did & 3 and Choral Track 1, 2 & 3 are July 5-21, learn, grown and stretch our understanding of Jerry Kerlin 2021. the Kodály approach to music education. Most [email protected] importantly however, we came together, built Kodály Summer Institute at the Portland State University a strong community, created new friendships University of Central Missouri Kodály Certification Course and there was JOY! We do not know what Warrensburg, MO Portland, OR summer 2021 will hold for us, but if you are Juli Weber Debbie Glaze interested in the program, the dates will be July [email protected] [email protected] 12-30, 2021. More info will be available in the www.ucmo.edu/kodaly spring as we re-evaluate the state of COVID San Antonio ISD, Kodály Training and Capital University’s guidelines for classes. Midwestern State University San Antonio, TX Contact program director, Karla Cherwinski at Kodály Teacher Institute Paul Rauschhuber [email protected] for more information. Wichita Falls, TX [email protected] Kodály Institute at St. Thomas Susan Harvey Southeast Texas Kodály Certification Program St. Paul, MN [email protected] Klein, TX Leigh Ann Garner Mary Neeley Stevens [email protected] MSUM Kodály Summer Music Institute [email protected] Moorhead, MN Texas State University Kodály Institute of Houston Christopher Underwood Houston, TX [email protected] San Marcos, TX Mary Neeley Stevens Patricia Moreno [email protected] Nebraska Kodály Certification Courses [email protected] Kodály Institute of Southwest Louisiana Omaha, NE The Hartt Kodály Certification Program and Southeast Texas at Lamar University Shelly Cooper West Hartford, CT Beaumont, TX [email protected] John Feierabend Byran Proksch Plano Kodály Teacher Training Program [email protected] [email protected] Plano, TX Kodály Institute of the Ozarks at Missouri Kodály Levels Program of Seattle Kathy Kuddes State University Seattle, WA [email protected] Springfield, MO Christopher Roberts www.smu.edu/muedworkshops Vicky Scott [email protected] While no formal levels training was offered in [email protected] the summer of 2020 due to concerns related to Our KOZ fall conference will take a different Kodály Music Institute (Boston) the COVID pandemic, a number of innovative Sommerville, MA format this year. We are encouraging all online courses were offered. A free 4-hour KOZ members to attend the MKMEA Virtual Carol Forward “An Introduction to Kodály” attracted more Conference, Joy in Community, on October [email protected] than 80 participants. “The Well-Trained Ear: www.kodalymusicinstitute.com 24. That same day, we will be hosting a Extractable Patterns from All Genres” explored KOZ Virtual Session, Kodaly in the Time of Thank you to OAKE for allowing KMI to be the use of themes from folk, art and popular Covid, as an add on to the MKMEA Virtual the credit provider for the national conference music in a Kodály-inspired curriculum while Conference. Our spring workshop will each year. For more information on how to “Building a Personal Song Collection” guided feature Benjamin Rivers from Wichita, KS as obtain credit for attending, please visit www. students working on their song collections our clinician. Taylor Shaeffer, of Nixa John kodalymusicinstitute.org and click on the in the use of MuseScore, intermediate Thomas School of Discovery, will be our OAKE Conference link. One credit every year pedagogical analysis and deep on-line research Honor Choir clinician. really adds up! into the origins, usage, history and meaning of We are looking forward to a great year! The Kodály Music Institute was disappointed folk songs. this year to have to cancel our onsite program- For choral directors, Jason Dove and Melissa University of Montevallo Kodály Institute ming for Summer, 2020. However, it gave us Roth Young collaborated to present “Kodály Birmingham, AL the opportunity to meet many new people as for Choirs: Score Study & Rehearsal Planning” Becky Halliday we developed several new courses and took which applied Kodály instructional techniques [email protected] them online. This included Taste of Kodály, to the Texas HS All-State Literature and African American Repertoire, Musician of the a set of tried & true middle school choral University of Oklahoma Kodály Institute Month, Ukulele Tips and Tunes, and more! We selections. “Becoming a Kodály-Inspired Norman, OK had over 150 students enroll from as nearby as Musicianship Teacher,” led by Georgia Newlin Casey Gerber Boston and far away as India! This new format and Gay deMontel, provided guidance and [email protected] has helped us to connect with a wider variety training for individuals interested in becoming www.ou.edu/content/finearts/music/Kodály.html of educators and allow us to still fulfill our mis- Musicianship teachers in levels programs. This sion of providing quality professional develop- exciting new offering was a huge success! ment courses for music educators since 1998. Program directors looking for a musicianship

Fall 2020 29 University of Tennessee at Chattanooga canceled. However, we made lemonade apply Kodály principles and strategies Chattanooga, TN out of the lemons that were provided us to secondary level bands, orchestras, and Lee Harris and we created a virtual “Taste of Kodály” choirs. workshop. Our regular faculty banded [email protected] Join us next June for two weeks of music, together and offered 15 separate workshops joy, and new friends in 2021! West Chester University of Pennsylvania lasting from one to four hours. The West Chester, PA workshop was a hit! We had 120 students Visit www.wichita.edu/kodaly or contact Marci Major from 22 states and three nations sign up Steve Oare at [email protected] to [email protected] for nearly 400 workshops taught by our learn more. Wichita State University Summer nationally recognized faculty. While we had Kodály Program a great experience, we are looking forward Wichita, KS to once again meeting live, June 8-20, 2021.      Steve Oare Our program offers all three general music [email protected] www.wichita.edu/ levels taught by Jo Kirk, Lisa Simmelink, Kodály and Susan Tevis AND a track of courses for The Wichita State University Summer secondary choral and instrumental teachers Kodály Program lived the Covid dream this for level 1 and 2. Taught by Matt Hanne and summer. In other words, our workshop was Steve Oare, our new track helps teachers

30 Kodály Envoy NEWS FROM OAKE DIVISIONS AND CHAPTERS

Eastern Division education organizations to advocate for the KNJ is excited to announce our upcoming Karen Paulson Lowney, president high-quality programs our students deserve. 2020-2021 Workshops! We are hosting an [email protected] On June 16th, we hosted a virtual social hour online Chapter “Show and Tell” meeting www.edoake.org for our members to connect and to discuss best Friday, October 9 at 7:00 ET. Please join us BAKE practices for adapting Kodály-inspired teaching while we discuss tips, activities, and ideas to the new educational structures in which that have worked for our virtual and in-person Boston Area Kodály Educators we find ourselves. These partnerships and teaching as we navigate this very different Patricia Kammerer, president conversations are working toward the goal of school year together. In February, we have [email protected] maintaining the spirit of joyful, active music- the pleasure of hosting Erasmia Voukelatos www.bostonareakodaly.org making for all while working within public as she presents “Bridges to the East.” She We will sing, play, move, create, and health guidelines. will be sharing songs, games and dances from experience joy during BAKE’s 3rd annual Greece and India. In April, we are excited collaboration with RIMEA (Rhode Island The Kodály Music Institute is offering a to learn from Glennis Patterson’s workshop Music Educators Association) via Zoom on full schedule of online courses this summer “Music Is for Everyone: Special Learners in Saturday, September 12th with Rachel Gibson, from July 1st-24th. Thank you to KMI the Music Classroom.” Please visit our chapter who will present children’s song repertoire Co-Directors Carol Forward and Susie website for more information: http://www. she learned while living in Guatemala and Petrov for their leadership in setting up kodalynewjersey.org . Consider following us Nicaragua. these wonderful professional development opportunities. Check out all of the amazing on KNJ’s Facebook and Instagram pages! Our fall 2020 workshop series will be 100% coursework that is happening at https:// online, with synchronous Saturday sessions KONY www.kodalymusicinstitute.org/professional- on Google Meet, 1-hour Tuesday follow- development. Kodály Organization of New York up sessions hosted by board members, and Sarah Meadows, president materials and recordings of selected workshops Looking forward to the fall, our workshop [email protected] made available asynchronously on Google series will be supported in part by the www.konynyc.org Classroom for flexible access. Somerville Arts Council, a local agency supported by the Massachusetts Cultural Please visit our chapter website for On Saturday, October 3rd, Marcus Santos, a Council. The BAKE board is keeping information: www.konynyc.org or follow dynamic Boston-area percussionist and teacher, a close eye on the ever-changing safety KONY on Facebook. and a native of Bahia, Brazil will present an recommendations to plan our workshop “interactive workshop highlighting a common KOW delivery accordingly; check out www. rhythmic pattern used in Brazil, Ghana, Cuba, Kodály of Westchester bostonareakodaly.org for the most current and the United States.” Remote teaching and Karen Paulson Lowney, president information. learning strategies will be explored. [email protected] Our website also shows the results of our On Saturday, October 24th, VOKE President MUSIK recent elections for Treasurer and President- Ashley Cuthbertson will present Reaching Elect. Thank you to Tricia Kammerer, Kristin Maryland United Specialists in Kodály All Learners: Differentiated Instruction in Stier, and Isun Malekghassemi for serving on Lauren McDougle, president the General Music Classroom. Participants the elections committee. June 30th marked the [email protected] will explore “various real-world, tried and end of my term as BAKE President after five http://musikchapter.weebly.com true methods of differentiation to support all years on the board. I am grateful to have had learners in the music classroom.” VOKE the opportunity to serve and contribute to our Virginia Organization of Kodály Educators We welcome Brandi Waller-Pace and Lorelei organization, and I greatly appreciate all the Ashley Cuthbertson, president Batislaong on Saturday, December 5th for advice, encouragement, and support I have [email protected] Developing Critical Views for the Music received from my fellow officers and members. www.virginiaKodály.org Classroom. Participants will “go beyond I now leave the presidency in the very capable Greetings from Virginia! While we are not repertoire choices and dig deeper into what hands of Tricia Kammerer, and I look forward able to gather in person as a group this fall, we decolonizing and antiracist philosophies look to supporting our mission of music for all as are excited about our fall virtual events and like when applied to the music room, as well BAKE’s Past President. connecting with our members virtually. On as ways to take action in their own teaching KEEP Thursday, October 1st, we hosted a state-wide environments.” Check out https://www. Kodály Educators of Eastern Pennsylvania Virtual Music Bingo night complete with prizes bostonareakodaly.org/current-workshops for for teachers! On Saturday, October 17th, we information. Nichole Witman, president [email protected] were pleased to host Maria Ellis for a virtual BAKE’s Committee on Justice and Equity will http://keepoake.weebly.com/ workshop entitled “Teach for the Culture,” meet in September to discuss its action steps where she shared how to engage all students for the coming year. Information on BAKE’s KESNE using cultural elements to teach music with a Statement of Solidarity and its Policies on Kodály Educators of Southern New England focus on choir and vocal music. To increase Justice and Equity can be found here. https:// Greg Wilfrid, president access to our workshops for all music teachers, www.bostonareakodaly.org/what-is-bake. [email protected] we were proud to be able to offer Maria Ellis’ [email protected] workshop for free! For more information about BAKE will continue its advocacy efforts in www.kesne.org our 2020-2021 events and workshops, please Massachusetts through collaboration with Arts see our website: www.virginiakodaly.org. for All, an ad hoc group of arts educators from KNJ throughout the commonwealth. Kodály ==New Jersey (Summer report omitted in error) Elissa Bowen, president During this challenging time, BAKE has [email protected] partnered with other local music and arts http://www.Kodálynewjersey.org/

Fall 2020 31 Midwestern Division CILKE NPKC Jamie Parker, president Central Illinois Kodály Educators Northern Plains Kodály Chapter [email protected] Christine Smith, president Christopher Underwood, president AWAKE www.cike.yolasite.com [email protected] Association of Wisconsin Area [email protected] [email protected] www.npkc.weebly.com Kodály Educators With COVID-19 still an issue, it is shaping Sherry Gerhartz, president up to be a “virtually” exciting year! CILKE PSKOR [email protected] had its first webinar hosted by CILKE Chapter Plains States Kodály Organization www.wisconsinkodaly.org President, Christine Smith, titled “Music You Accomplishments since last report: Holly Eberhardt, president Can Do From Your Seat.” We had a great [email protected] Allsion Schnier presented a fabulous virtual response, and though there were those who workshop on Social Emotional Learning in the www.pskor.org signed up and were unable to attend this free Kodály Mississippi (KM) had a great summer General Music Classroom in August. Work- webinar, the response has been great. The shop participants learned how to reinforce the workshop with Lindsey Shroder on Planning video is on the CILKE facebook page for with a Purpose. We are looking forward to (SEL) competencies within their existing active anyone who missed the workshop! music-making lesson plans. The workshop our next event, a Folk Song Festival this fall. notes are still available by checking out website For the rest of the year, any workshops that we In July we bade farewell to our founding at https://www.wisconsinkodaly.org/ offer on this new online platform will be posted president, Scott Sexton, and wished him on both the CILKE and OAKE facebook pages. the best as he completes graduate studies in In September we will welcome Amy Abbott If you have any ideas for future workshops, Alabama. Andy Paney began his tenure as who will present a virtual workshop on Gender please don’t hesitate to contact Christine Smith president a little early, taking over for Scott Neutrality. We look forward to this work- at [email protected] or 217-413-7811. It SLAKE shop which is open to all who are interested. is exciting to be able to reach out to people Registration for the event can be found on our from all over the country! St. Louis Area Kodály Educators website https://www.wisconsinkodaly.org/ Sarah Krus, president IKE CAKE [email protected] Indiana Kodály Educators www.stlkodaly.weebly.com Chicago Area Kodály Educators Leeann Starkey, president TRIKE Larena Code, president [email protected] [email protected] Melissa Garcia Tri-City Kodály Educators www.cake.oake.org [email protected] Katelyn Wynkoop, president This summer, CAKE was thrilled to be [email protected] KAKE working again with the fabulous Amy Lewis on www.trike-kodaly.weebly.com a miniseries continuing the work on the topic Kentucky Area Kodály Educators of race in the music classroom. We co-hosted Laura Howard, president Southern Division the miniseries on July 30 and August 6th with [email protected] Andy Paney, president several midwest Kodály chapters. [email protected] KCM www.sdoake.weebly.com With this great pre-season kick-off, CAKE is Kodály Chapter of Minnesota KEF looking forward to our clinician lineup this Casey Barker, president school year. Beginning September 12, we will [email protected] Kodály Educators of Florida host Minami Cohen in an online workshop www.kodalychaptermn.org Megan Sheridan, president entitled “Kokoro no Uta-Songs from the Heart: KEI [email protected] Exploring SEL to Address Equity and Justice http://floridakodalyeducators.weebly.com/ Through Japanese Songs.” Kodály Educators of Iowa Lydia Schettler, president KEGA On November 14, we will host Ashley [email protected] Kodály Educators of Georgia Cuthbertson presenting an online workshop http://Kodályeducatorsiowa.weebly.com Caroline Goldstein, president entitled “Student-Centered Learning in the [email protected] Kodály-Inspired Classroom,” supporting our KMEK www.kodalygeorgia.org students in leading their own learning through Kodály Music Educators of Kansas concept-based learning, virtual and blended Kathy Jones, president KET learning techniques, centers, and more. [email protected] Kodály Educators of Texas www.kmek.org On February 6, the CAKE board will present a Lauren Bain, president workshop to continue the conversation on race KOZ [email protected] and equity with a focus on collaboration and Kodály of the Ozarks www.kodalytexas.com practical application for the music classroom. Vicky Scott, president Welcome to the fall everyone! What a spring and summer we had, but as music educators CAKE plans to end the season on April 24 [email protected] http://kodalyoftheozarks.blogspot.com/ we can provide some of the most healing and with singing, as Mirna Cabrera leads us in a helping tools for our world as we navigate the MIKE workshop entitled “High School and Middle unknown future. School Choral Pedagogy and Reading.” Michigan Kodály Educators Jessica Gonder, president Our board met at the end of July and really We also want to welcome Anjali Asokan Karia [email protected] considered how our chapter is reaching the as our new member-at-large and thank the www.mikodaly.org teachers in Texas. We updated our bylaws wonderful Jamie Parker for her 11 years of (to be approved still by the membership) and service on the CAKE board and has stepped up NOCKA added several more positions to our board in to the role of MKMEA president. North Coast Kodály Association order to create a place for more voices to be Heather Cooper, president heard. We are evaluating issues like our social [email protected] media presence, our newsletter, and how to be www.nocka.weebly.com more transparent with our membership. There

32 Kodály Envoy were some really good conversations and we LAKE Instagram: are implementing some important changes Louisiana Association of Kodály Educators https://www.instagram.com/ in the future. We will announce these in our alabamakodaly/?hl=en Jarrod Richey, president newsletter and through social media to our Western Division members. [email protected] www.lakeducators.com Judith Chan, president This year we have decided on virtual [email protected] MTAKE workshops only. Many more educators can be www.edoake.org reached across the nation and world through Middle Tennessee Association of AKTS these new possibilities! Each workshop will be Kodály Educators Arizona Kodály Teachers Society held on a Saturday morning from 9:00-10:30 Amy Swanson, president Melissa Sassaman, president and registration links will be posted from our [email protected] [email protected] website and social media. Our line up includes www.facebook.com/groups/352480474795095 www.arizonakodaly.org Carol Brown on October 3, 2020 who will OKE present “Songs, Singing Games, and Rhymes Oklahoma Kodály Educators KASC from Latin America and Mexico”; Ashley Kevin Pearson, president Kodály Association of Southern California Cuthbertson on January 23, 2021 presenting [email protected] Shelly Suminski Mahpar, president “Student Centered Learning in the Music okkodaly.org [email protected] Classroom through a Lens of Differentiation”; Oklahoma Kodály Educators hosted its www.kasc.oake.org and Susana Shaw from Malaysia on April 17 first-ever virtual workshop on September 26. KMECC presenting “Folk Music from SouthEast Asia Presenter Loneka Battiste engaged attendees in and Best Practices In Choral Conducting”. discussions on culturally responsive teaching. Kodály Music Educators Central California Moritza Borja, president We are really excited about our line up and This workshop was presented with the goal to hope you can join us. Please check our website equip teachers to begin or further their journey [email protected] and social media platforms for upcoming in this area. We used discussion, activities, www.kmecc.org information! and games to address culturally responsive LUCKE pedagogy, intersectionality, and myths, KEWT Las Vegas Urban Chapter of Kodály misconceptions, & misdirections in music Educators Kodály Educators of West Texas education. Thom Borden, president Mandy Algate, president As the COVID-19 pandemic evolves, so do [email protected] [email protected] kodalyedwt.org our plans for the rest of this year. Stay tuned NCAKE We are off to a wonderful start to this unique as we work to find new and innovative ways to Northern California Association of Kodály school year! KEWT members have worked support our colleagues going forward. Educators collaboratively to uplift, encourage, and learn Minami Cohen, president from one another as we all navigate new and SECKE [email protected] different challenges. We are very much looking Southeast Chapter of Kodály Educators www.ncake.org forward to hosting a virtual workshop with Dr. Marcus Smith, co-president NCAKE has designed its offerings for the Rachel Gibson this October as she presents marcus,[email protected] 20-21 school year in response to the current “¡Canta Conmigo! Children’s Music from James McClary, co-president climate of our country. We are still committed Central America.” Please refer to our chapter [email protected] to a series of excellent workshops, all online, website of continuously updated information http://secke.weebly.com to accommodate our need for social distancing regarding chapter news and events. SHAKE and our hopes of reaching educators beyond KM Sweet Home Alabama Kodály Educators northern California. In September, Ashley Kodály Mississippi Deanna Bell, president Cuthbertson presented “Authentic Assessment Scott Sexton, president [email protected] in the Music Room” where attendees [email protected] SHAKE is off to a great year! This year we considered the idea that “using assessment of Kodály Mississippi (KM) had a great summer created a new webpage and welcomed new and for learning enables educators to make workshop with Lindsey Shroder on Planning Executive Officers. https://sites.google.com/ responsive instructional decisions for their with a Purpose. We are looking forward to view/alabamakodaly/home students.” In October, Logan McKinney of UFOLKS presented a two-part series: our next event, a Folk Song Festival this fall. Our officers are Deanna Bell, President; Lea In July we bade farewell to our founding “Female Composers” and “Composers from Hoppe, President-Elect; Joy Smith, Secretary/ Marginalized Populations.” president, Scott Sexton, and wished him Treasurer; Brittany Hopfensperger, Member at the best as he completes graduate studies in Large; and Sadie Wall, Member at Large. In addition to these fall workshops, NCAKE Alabama. Andy Paney began his tenure as has begun a weekly book club to discuss president a little early, taking over for Scott. The University of Montevallo hosted a ‘back to themes and issues related to the book “This school’ online Professional Development called KMESC Book Is Anti-Racist” by Tiffany Jewel as well “Together in Music,” July 6-10 2020. The clini- as other books in the future. We’ve also begun Kodály Music Educators of South Carolina cians were from UMKI levels program. Jennifer Davis, president casual Friday zoom “hang outs” once per [email protected] We are planning an online workshop with month in hopes of building community, sharing AMEA and AOSA on October 17 with Jeremy ideas and connecting with each other even as KONC Howard and an in-person workshop with Lea we continue to be physically separated. Lastly, Kodály Educators of North Carolina Hoppe in April 2021. we are developing a resource link on our Jessica Lequire, president website where members can share lessons and [email protected] We hope you will follow us on Social Media: materials with one another, particularly those https://sites.google.com/site/koncworkshop/ Twitter: https://twitter.com/AlabamaKodaly which can be used for distance learning. home Facebook Group: https://www.facebook.com/ In June, the NCAKE board called an groups/666750400124067/ emergency meeting to discuss our personal response to the continued loss of black lives

Fall 2020 33 at the hands of racism and police brutality. Zoom workshop, attendees gained insight professional and personal lives changed. With Together we drafted a “Statement of Solidarity on learning management systems and digital resolute determination to do our best to support with Black Lives Matter” and posted this on platforms, such as SeeSaw, Flipgrid, and our members, SWOKE has adjusted to offer our homepage, NCAKE.org. Thinglink. Tanya modeled text improvisation virtual events. On May 9th SWOKE hosted a with the song “Great Big Dog” and taught new virtual roundtable for members to share their NWKE songs such as “Ye Toop Doram” through a successes, challenges, and best resources in this Northwest Kodály Educators blended learning model. Thank you, Tanya, for new world of distance learning. On May 30th Heidi McIlroy, president sharing your knowledge and expertise with us! SWOKE had a virtual social hour to catch up [email protected] and share a laugh or two. www.nwkodaly.wordpress.com SNAKE’s Chapter Share will take place via Zoom on November 7, 2020. In addition to Looking forward: SWOKE will host another ROCKE our workshops, we are hosting a menu of member roundtable in August as more is Regional Organization of Colorado options for which northern Nevada educators known about what our music education set up Kodály Educators can earn professional development hours will look like for the next academic year. On Jackline Stokke, president for license renewal and salary advancement. Saturday, October 3rd Dustin Hunley and Julia [email protected] Options include virtual tech talks, a virtual McGaritty will lead an online workshop on www.coloradokodaly.org podcast club, and virtual folk dance sessions. the topic of Social-Emotional Learning. Other ROCKE had a great summer teaming up the COVID-19 has presented us with several events and ways to support members are in the the Rocky Mountain Orff chapter to host a challenges, and as a new chapter, we are works The SWOKE Board wishes you well- summer mini series online. We had so many working together to overcome these challenges. ness and safety, and the knowledge that your teachers in attendance from across the country If you wish to stay connected with SNAKE, work is critical no matter the means of delivery. as well as internationally! We were also very please follow us @sierranevadakodaly on “Music is nourishment, and a comforting elixir. grateful for the many generous donations Facebook, Twitter, and Instagram. Music multiplies the beauty of life and all its both chapters received!! We are excited to be values.” ~Zoltan Kodaly teaming up with the Orff chapter again for this SWOKE school year, offering credit for our sessions. Southern Washington and Oregon Kodály UFOLKS Educators SNAKE Utah Fellowship of Local Kodály Specialists Genevieve Stevens-Johnson, president Sierra Nevada Association of Kodály Logan McKinney, president [email protected] Educators [email protected] Ashley Monnin, president Greetings from SWOKE! Well, who could [email protected] have predicted any of this!? After hosting the https://sierranevadakodaly.weebly.com/ OAKE National Conference, everything in our Hello from northern Nevada! I hope everyone is able to find a glimmer of peace and joy in this season of unprecedented change and uncertainty. Like most educators around the country, the members of SNAKE have had to adjust quickly to the circumstances of teaching in a global pandemic. Our members find themselves in a variety of teaching situations, from full in-person instruction to full distance learning to a hybrid model and everything in between. We were so excited to host Tanya LeJeune for our first virtual workshop on August 22, 2020. Tanya shared her expertise and knowledge on “Active Music Making and Creating within Distance Learning.” During this three-hour

34 Kodály Envoy NEW MEMBERS SECOND QUARTER 2020

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

Reece Ashley Raven Gordon Jazmin Noyola Kristen Sylvester Fall River MA Oxford MS Gillette WY Norwalk CT

Katherine Baird Sara Greenberg Hart Oakland CA West Hills CA Mishael Odhiambo Juan Carlos Tavarez Mombasa Coast Copiague NY

Griffin Becker Sarahlinna Guerrero Christopher Ortiz Seattle WA Lubbock TX Friendswood TX Hayley Tevelow College Park MD

Christine Boyette Ross Hanson Gabriel Parrish Toni Travis Plano TX Evansville IN Uhrichsville OH Lynchburg VA

Abby Brody Claire Incorvati Glynna Penney Flora Trevino Boca Raton FL Tega Cay SC Plainivew TX Hamburg PA

Kiana Burciaga Krista Jimney Heather Pittman Lee Lee Truong-Sawicki San Antonio TX Katy TX Belleville IL Anaheim CA

Margaret Callaghan Mason Jocoy Lexie Pittman Allison Tutor Boxborough MA Forney TX Mechanicsville VA Pontotoc MS

Jennifer Campbell Jennifer Kauffman Jacov Quijada Dominick Van Orman Albany NY Annapolis MD Moorpark CA Carson City NV

Amber Cardinal Kathryn Kirchgessner Sierra Ray Juan Villegas-Ortiz Bristol CT Boca Raton FL New York NY Baytown TX

Keira Carmichael Emma Klimowicz Haley Richard Jameson Ward Bennington VT Lancaster PA Oley PA Swansea MA

Dongju Cha Alexis Leija Melody Sebald Jade Watts Tempe AZ Conroe TX Louisville CO Chattanooga TN

Brittney Clegg Dorothy Marton Allison Sell Emily Weiser Kent WA San Antonio TX Plainview TX Germantown MD

Cassandra Cowdrey Sean McCluskey Theresa Sharp Mandy Williams Summerville SC New York NY Susqehanna PA Mount Pleasant SC

Rachael Curtis Erin McGonigal David Simeone Thomas Yakey Plano TX Sapulpa OK Gettysburg PA Cranston RI

Tina Dolbeare Amanda Meliosky Jack Simpson Shelby Zeka Dayton NV Raleigh NC Iowa City IA Houston TX

Carrollton School Georgene Fountain Carla Miller-Kupchenko Inga Smith Miami FL Germantown MD Pasadena CA West Hartford CT

Joseph Fry Allison Myers Caro Anne Smock Joplin MO Conway SC Bloomington IN

Brian Galica Meg Myette Rex Sturdevant Lubbock TX New York NY Prospect CT

Casey Gardner Amanda Nitz Amy Swonger Las Vegas NV Virginia Beach VA Fruita CO

35 2020–2021 OAKE BOARD OF DIRECTORS PUBLICATION INFORMATION

Executive Officers Industry President Judy Pine Advertising [email protected] Donna Menhart Outside Back Cover [email protected] Instrumental 3/4 Page 7 × 7½" $405 4-color only Shelly Suminiski Mahpar Inside Front/Back Cover President Elect [email protected] Kevin Pearson Full Page 7 × 10" $405 4-color only [email protected] Secondary Choral Half Page 7 × 5" $220 4-color only Matthew Hanne Inside Page Vice President [email protected] Full Page 7 × 10" $335 Katie Robertson 2/3 Page 5 × 10" $235 [email protected] Eastern Division Half Page 7 × 5" $180 President 1/3 Page 5 × 5" $125 Secretary Karen Paulson Lowney 1/3 Page 2½ × 10" $125 Carol Forward [email protected] 1/6 Page 2½ × 5" $75 [email protected] Regional Representatives Discounts available for multiple ads! Treasurer Philip Montgomery, Eastern-1 Christopher Stroh [email protected] Rate card and contract online at [email protected] www.oake.org/kodaly-envoy Emily Reep, Eastern-2 [email protected] Ad Deadlines: Fall: September 1; Winter: Deputy Treasurer December 1; Spring: March 1; Summer: June 1. Bryan Wilkins Midwestern Division [email protected] President Contact: Colleen Graves; 3415 S. Sepulveda Ex Officio Members Jamie Parker Blvd., Suite 1126, Los Angeles, CA Executive Director [email protected] 90034 [email protected]; phone: Fax: Lauren Hirsh 310.441.3577; Phone: 310.441.3555 . Regional Representatives [email protected] Jeremy Howard, Midwestern-1 National Conference Business Director [email protected] Guidelines for Contributors Nancy Johnson Christina Svec, Midwestern-2 The Kodály Envoy seeks articles [email protected] [email protected] about Kodály-based music education at all teaching levels, as well as articles on Past President Southern Division related music and music education topics. Ann Leffard [email protected] President Kodály Envoy articles are double-blind Andy Paney peer reviewed by practicing professionals Editor, Kodály Envoy [email protected] who have expertise in the Kodály concept Reneé Higgins and writing and editing, and significant Regional Representatives [email protected] teaching, practicing, and research experi- Rebecca Juarez, Southern-1 [email protected] ence. Manuscripts and other documents Administrative Coordinator accepted for publication are edited to Colleen Graves Becky Halliday, Southern-2 conform with Kodály Envoy style policies, [email protected] [email protected] which can be found at www.oake.org/ envoy or be obtained from the editor. Parlamentarian Western Division Nick Mercier Submission of a manuscript implies [email protected] President that the article is not currently under Judith Chan Members at Large review by another publication and has not [email protected] appeared elsewhere in part or ­entirety. Rachel Gibson Regional Representatives Contact: Send all manuscripts, [email protected] Susan Tevis, Western-1 articles, reports, news, letters, items for Kathryn Bach [email protected] review, other contributions, questions, [email protected] Erika Uribe, Western-2 comments, suggestions, and requests for [email protected] permission to reprint to the editor: National Advisers Reneé Higgins, 12323 Almendra Dr., Higher Education San Antonio, TX 78247; 210-710-1572; Christina Svec [email protected]. [email protected]

36 Kodály Envoy

OAKE National Office 3415 S. Sepulveda Blvd., Suite 1126 Los Angeles, CA 90034