Katinka Daniel was a former student of the Franz Liszt Music Academy in Hungary. After studying elementary education, in 1960 Daniel moved from Hungary to the United States in Santa Barbara, California. During this time Zolton Kodaly was conducting lectures about philosophy to music education. In 1961, Daniel introduced using solfege as a sight reading tool for more mature musicians. From 1962-1965 Katinka Daniel began teaching elementary school teachers and created the first and second grade music curriculum in 1964. After completing her curriculum in 1973 she presented it to the first International Kodaly Conference. She later wrote a book "Kodaly in Kindergarten" which contained 107 songs with different rhythms and meters.
Analysis and Synthesis:
Katinka Daniel was very instrumental in the early developments of music education in the United States. She also was instrumental in teaching elementary, high school and college level education. I believe that this information is very informative. Before reading this article I thought that Zolton Kodaly was the only one that started music
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This article’s purpose is to also discuss the philosophy of the Mayday Group and
After discussing the workings and ethos of Mayday Group, the article examines writing style and rhetorical interchanges used by ACT authors whose purpose was to establish credibility by disagreeing with other scholars, and how they exchange conflicts and resolutions between loyalty to the community and originality in their
Levine, Philip. ”What Work Is.” Making Literature Matter: An Anthology for Readers and Writers. Ed. John Schilb and John Clifford. Boston: Bedford/St. Martin’s, 2012. Print.
Tan, Amy. “Two Kinds.” Exploring Literature: Writing and Arguing About Fiction, Poetry, Drama and The Essay.4th e. Ed. Frank Madden. New York: Pearson Longman, 2009. 253-261. Print.
Welty, Eudora. “Why I Live at the P.O.” Discovering a Voice: A Rhetoric for Writers. The University of West Alabama. Southlake, TX: Fountainhead, 2009. 359-67. Print.
Before high school, I was in a middle school in a country where English wasn’t a first language. Instead of analyzing text or writing persuasive essays, I was learning how to communicate. Being one of the few students at my school who reads books out loud at home or who watch movies and talk after the characters, I was able to grasp the idea of using evidence, rhetorical devices and diction. When I came to the United States and learned how to include those in my writing was a wonderful experience. Understanding Shakespeare, analyzing poems by Emily Dickinson and being able to visualize Harper Lee’s “To Kill a Mockingbird” opened up the world of writing and its impact for me. Using “I” in writing was all I learned in middle school with a class full of kids with the same background while wanting to above and beyond. Writing personal journals, leaning tenses and memorizing definitions didn’t quench my thirst of learning how to write a well written work like the one’s I read in my native language. Williams argues that culture should be included in writing and teachers should tolerate that while I have a different point of view on the subject. Including my culture and background in my identity didn’t make me stand out from my class, my use of rhetorical devices and use of words did. One of the reasons that I was able to build my writing skills in high school and not struggle in my English class was not by the use of my identity but by
David Foster Wallace, author of the essay “Authority and American Usage*,” praises and advocates for “good” writers who have a strong rhetorical ability, which he defines as “the persuasive use of language to influence the thoughts and actions of an audience” (Wallace 628). To have a strong rhetorical ability, an author needs to be aware of whom their audience is, in order to present their information in a way that will be influential on their audience. Wallace recognizes that an author who applies a strong rhetorical ability will be able to connect with the audience so that they respond “not just to [their] utterance but also to [them]” (Wallace 641). An author needs to take into consideration not just content, syntax and grammatical structure (their “utterance”) but also how their character will be perceived by their audience. A positive tone will make the author seem more pleasant and relatable, whereas a negative tone connotes arrogance and pretentiousness. That is why it is crucial for an author to recognize that an audience will respond to “them” and not just their “utterance,” as an author’s appearance to their readers can also shape how impactful their writing is.
From the very beginning, Clara’s father, Friedrich Wieck, a well respected German music teacher, intended for her to become a famous musician (Harding, 9). At a young age, he recognized that Clara had the gift of music. According to Bertita Harding, who wrote a biography of Clara Schumann, Wieck took cues from Mozart, in hopes to turning his daughter into a well known child prodigy. He began to rigorously train and cultivate Clara’s natural talent at the age of five and turned it into something extraordinary (Harding, 12)....
Anzaldua, Gloria. “How to Tame a Wild Tongue.” From Inquiry to Academic Writing, Ed. Stuart Greene, 2nd ed. Boston: Bedford/St. Martins, 2012. 373-382. Print.
McNeil, Hayden. The Anteater's Guide to Writing & Rhetoric. Irvine: Composition Program, Department of English, UC Irvine, 2014. Print.
John Schumann is one of the very few songwriters who has changed the way a nation thinks. John first
Downs, Doug. "The Concept of Discourse Community." Writing about Writing: A College Reader. By Elizabeth A. Wardle. Boston: Bedford/St. Martins, 2011. 466-78. Print.
Johns, Ann M. “Discourse Communities and Communities of Practice: Membership, Conflict, and Diversity.”Writing about Writing. Boston: Bedford/St. Martin's, 2011. Print.
The brilliant composer Clara Schumann was born as Clara Josephine Wieck on 13 September 1819. Even before her birth, her destiny was to become a famous musician. Her father, Friedrich Wieck, was a piano teacher and music dealer, while her mother, Marianne Wieck, was a soprano and a concert pianist and her family was very musically gifted. Her father, Friedrich, wanted to prove to the world that his teaching methods could produce a famous pianist, so he decided, before Clara’s birth, that she would become that pianist. Clara’s father’s wish came true, as his daughter ended up becoming a child prodigy and one of the most famous female composers of her time.
Lebuta, Joseph A. & Smith, Deborah A. Music Education: Historical Contexts and Perspectives. (1997) Upper Saddle River, NJ. Prentice Hall.
In my 205 I was asked to consider how and why my writing changes from one community to another. This essay represents the results of that exploration.
Music education plays an enormous role in student’s overall well being, outweighing the costs of it. In 1994, Congress passed the Improving America’s Schools Act, concluding that “...the arts are forms of understanding and ways of knowing that are fundamentally important to education” (Ford, AdamMcMahon, Maureen). Congress recognized the importance of music education. Now the effort must be made to make a difference. If people really do want the best for the future, music education is key. Ramon Cortines, former chancellor of the New York City public schools stated, “We engage in the arts, we ought to teach the arts, because this is part of what it means to be human” (“Arts Education”). When people eventually realize this, the benefits will be vast.