Modality-Based practice in a Kodály-Inspired Elementary Music Classroom
The problem of this paper is to analyze how and to what extent certain learning modalities are employed with musical concepts and elements during the practice phase of a Kodály-inspired instructional sequence. The paper is focused on the entire practice phase, including all practicing after the presentation of a new element. the researcher studied this topic both through related literature as well as discussions with three educators about modalities-based instruction in the practice phase of their Kodály-inspired instructional sequence. through these methods, the researcher found that no matter what the concept, if the teacher intentionally plans a practice phase that contains multimodal activities as well as purposeful scattering of the modalities through the practice phase, students will be more likely to be successful and take ownership of the material.
The findings of this research demonstrate that an educator's purposeful use of a multimodal practice phase is vital to a student's complete understanding of a musical element. Music educators should plan activities using multiple modalities (including aural, oral, kinesthetic, and visual) throughout the practice phase. This can be labeled a multimodal emphasis and is essential to providing a varied method of practicing musical concepts. Furthermore, the research emphasized that aural, oral, and kinesthetic experiences should appear prior to visual experiences within the practice phase. Once the students have been exposed to the visual notation of the element, it is then essential that the teacher continue to intentionally plan activities that utilize all four modalities throughout the remainder of the practice phase.