This paper compares and contrasts Zoltan Kodaly' s music methodology with John Feierabend's Conversational Solfege. Both systems for teaching music are founded upon similar philosophies and goals and emphasize singing in the classroom. Solfege, rhythmic syllables, and movement are incorporated in both methodologies. The order in which these solfege syllables and rhythmic meters are introduced to students differs between the two methods. The reasons behind this difference are discussed in detail. Folk music, the primary musical material utilized by both methodologies, is also examined.
All concepts in either the Kodaly method or Conversational Solfege progress through specific stages to ensure sequential instruction and the students* understanding. The Kodaly method utilizes three main steps: preparation, presentation, and practice. Conversational Solfege uses a twelve step process similar to the three stages found in the Kodaly method. Throughout instruction, different musical concepts may be presented at various stages in both of these philosophies.
The final portion of this paper provides a year long flow chart and lesson plans for two months that address students in grade one. These plans synthesize the ideas discussed in the paper. They also select ideas from both the Kodaly method and Conversational Solfege that the author feels would be most useful in her classroom.
","abstract_html":"<p>This paper compares and contrasts Zoltan Kodaly' s music methodology with John Feierabend's Conversational Solfege. Both systems for teaching music are founded upon similar philosophies and goals and emphasize singing in the classroom. Solfege, rhythmic syllables, and movement are incorporated in both methodologies. The order in which these solfege syllables and rhythmic meters are introduced to students differs between the two methods. The reasons behind this difference are discussed in detail. Folk music, the primary musical material utilized by both methodologies, is also examined.</p> <p>All concepts in either the Kodaly method or Conversational Solfege progress through specific stages to ensure sequential instruction and the students* understanding. The Kodaly method utilizes three main steps: preparation, presentation, and practice. Conversational Solfege uses a twelve step process similar to the three stages found in the Kodaly method. Throughout instruction, different musical concepts may be presented at various stages in both of these philosophies.</p> <p>The final portion of this paper provides a year long flow chart and lesson plans for two months that address students in grade one. These plans synthesize the ideas discussed in the paper. They also select ideas from both the Kodaly method and Conversational Solfege that the author feels would be most useful in her classroom.</p>","abstract_has_math":false,"creators":["Peek, Aimee Noelle"],"institution":null,"degree_name":"Music Education - Choral Concentration","degree_level":"Thesis","degree_discipline":"Schwob School of Music","degree_department":null,"school":null,"contributors":["Deborah Jacobs"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2007,"date_issued":"2007-12-01T08:00:00Z","date_published":"2007-12-01T08:00:00Z","updated_at":"2026-07-24T01:44:48Z","subjects":["Zoltan Kodaly Methodology","John Feierabend's Conservational Solfege","Music","Music Education"],"languages":["English"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://csuepress.columbusstate.edu/theses_dissertations/27","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Deborah Jacobs"]},{"key":"dc:creator","label":"Author","values":["Peek, Aimee Noelle"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2015-10-01T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Schwob School of Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Music Education - Choral Concentration"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Zoltan Kodaly Methodology","John Feierabend's Conservational Solfege","Music","Music Education"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["English"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://csuepress.columbusstate.edu/theses_dissertations/27"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This paper compares and contrasts Zoltan Kodaly' s music methodology with John Feierabend's Conversational Solfege. Both systems for teaching music are founded upon similar philosophies and goals and emphasize singing in the classroom. Solfege, rhythmic syllables, and movement are incorporated in both methodologies. The order in which these solfege syllables and rhythmic meters are introduced to students differs between the two methods. The reasons behind this difference are discussed in detail. Folk music, the primary musical material utilized by both methodologies, is also examined.
All concepts in either the Kodaly method or Conversational Solfege progress through specific stages to ensure sequential instruction and the students* understanding. The Kodaly method utilizes three main steps: preparation, presentation, and practice. Conversational Solfege uses a twelve step process similar to the three stages found in the Kodaly method. Throughout instruction, different musical concepts may be presented at various stages in both of these philosophies.
The final portion of this paper provides a year long flow chart and lesson plans for two months that address students in grade one. These plans synthesize the ideas discussed in the paper. They also select ideas from both the Kodaly method and Conversational Solfege that the author feels would be most useful in her classroom.
"]},{"key":"dc:title","label":"Title","values":["A Comparison of the Kodaly Methodology and Feierabend's Conversational Solfege"]}]}],"canonical_facts":{"dc:contributor":["Deborah Jacobs"],"dc:creator":["Peek, Aimee Noelle"],"dc:date.available":["2015-10-01T07:00:00Z"],"dc:description.abstract":["This paper compares and contrasts Zoltan Kodaly' s music methodology with John Feierabend's Conversational Solfege. Both systems for teaching music are founded upon similar philosophies and goals and emphasize singing in the classroom. Solfege, rhythmic syllables, and movement are incorporated in both methodologies. The order in which these solfege syllables and rhythmic meters are introduced to students differs between the two methods. The reasons behind this difference are discussed in detail. Folk music, the primary musical material utilized by both methodologies, is also examined.
All concepts in either the Kodaly method or Conversational Solfege progress through specific stages to ensure sequential instruction and the students* understanding. The Kodaly method utilizes three main steps: preparation, presentation, and practice. Conversational Solfege uses a twelve step process similar to the three stages found in the Kodaly method. Throughout instruction, different musical concepts may be presented at various stages in both of these philosophies.
The final portion of this paper provides a year long flow chart and lesson plans for two months that address students in grade one. These plans synthesize the ideas discussed in the paper. They also select ideas from both the Kodaly method and Conversational Solfege that the author feels would be most useful in her classroom.
"],"dc:identifier":["https://csuepress.columbusstate.edu/theses_dissertations/27"],"dc:language":["English"],"dc:subject":["Zoltan Kodaly Methodology","John Feierabend's Conservational Solfege","Music","Music Education"],"dc:title":["A Comparison of the Kodaly Methodology and Feierabend's Conversational Solfege"],"thesis:degree_discipline":["Schwob School of Music"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Music Education - Choral Concentration"]},"updated_at":"2026-07-24T01:44:48Z"}