Sources

 

Ádám, Jenö and Kodály Zoltán. (1948 - reprint 1991) Énekes Könyv (Hymnal for class 1-8). Nemzeti tankönyvkiadó (National Textbook Publishers Hungary).

 

Ádám, Jenö. (1971) Growing in Music with Movable Do. New York: Pannonius Central Service.

 

Árkossy Ghezzo, Marta. (2005) Solfège, Ear Training, Rhythm, Dictation, and Music Theory – a Comprehensive Course. Alabama: The University of Alabama Press.

 

Berkowitz, Sol and Gabriel Fontrier and Leo Kraft. (1997) A New Approach to Sight Singing. New York: Norton & Co.

 

Choksy, Lois. (2000) The Kodály Method I – Comprehensive Music Education. New Jersey: Prentice Hall.

 

Clendinning, Jane Piper and Elizabeth West Marvin. (2004) The Musician’s Guide to Theory and Analysis. New York: Norton & Co.

_____ (2004) The Musician's Guide to Aural Skills, volume 1 and 2. New York: Norton & Co.

 

Curwen, John. 1848. Singing for Schools and Congregations – A Grammar of Vocal Music. London: T.Ward and Co.

_____ (1875) The Teacher’s Manual of the Tonic Sol-Fa Method. London: J. Curwen & Sons.

_____ (1891) Tonic Sol-Fa. London: Novello, Ewer and Co.

_____ (1892) The Standard Course of Lessons and Exercises in the Tonic Sol-fa Method of Teaching Music. London: J. Curwen & Sons.

 

Cutler, Jane. (2005) The Singing Instrumentalist – A Tutor for beginners using relative solfa. UK: Da Capo.

 

Evans, John and W.G. McNaught. (1903) The School Music Teacher – A Guide to Teaching Singing in Schools by Tonic Sol-Fa Notation and Staff Notation. London

 

Edlund, Lars. (1967) Modus Vetus, Sight Singing and Ear-Training in Major / Minor Tonality. Copenhagen: Wilhelm Hansen Musik-Forlag.

 

Feierabend, John. (2002) Conversational Solfege – Level 1, 2 and 3. Chicago: GIA Publications.

 

Geoghegan, Lucinda and Christopher Bell. (2008-2011) Go for Bronze, Silver, Gold; a Comprehensive Musicianship Training Programme for Young Musicians. Glasgow: National Youth Choir of Scotland.

 

Glover, Sarah. (1835) Scheme for Rendering Psalmody Congregational – Together with the Sol-Fa Tune Book 1839. Ireland: Boethius Press reprint 1982.

 

Gordon, Edwin. (2012 edition) Learning Sequences in Music. Chicago: GIA Publications.

 

Hegyi, Erzsébet. (1975) Solfege According to the Kodály Concept, volume 1. Kecskemét: Kodály Institute.

_____ (1979) Solfege According to the Kodály Concept, volume 2. Budapest: Editio Musica Budapest.

 

Holmes, Alena. (2009) Effect of Fixed-Do and Moveable-Do Solfege Instruction on the Development of Sight-Singing Skills in 7- and 8-year-old Children. University of Florida.

 

Horváth, Istvánné and Anna Smid. (2007-2009) Csicsergö. ROMI-SULI Könyvkiadó

 

Houlahan, Micheál and Philip Tacka.  (1991) Sound Thinking, volume 1 and 2. USA: Boosey & Hawkes.

_____ (2008) Kodály Today: A Cognitive Approach to Elementary Music Education. New York: Oxford University Press.

 

Ilomäki, Lotta. (2011) In search of Musicianship – A practicioner-Research Project on Pianists’ Aural-Skills Education. Helsinki: Sibelius Academy.

 

Kardos, Pál. (2005) Intonation and Vocal Training in Choir – Three Studies. Kecskemét: Kodály Institute.

 

Karpinski, Gary. (2000) Aural Skills Acquisition, the Development of Listening, Reading, and Performing Skills in College-Level Musicians. New York: Oxford University Press.

_____ (2006) Manual For Ear Training And Sight Singing. New York: Norton & Co.

_____ (2006) Anthology for Sight Singing. New York: Norton & Co.

 

Kodály, Zoltán. (1972) Choral Method – Revised Edition. London: Boosey & Hawkes.

 

Konings, Suzanne. (2014) To understand staff notation aurally. Research Catalogue, http://www.researchcatalogue.net/view/63971/85539

 

Laitz, Steven. (2003) The Complete Musician. New York: Oxford University Press.

 

Lieshout, Silvère van. (2012) Jong Leren, Harmonia.

 

Mackamul, Roland. (2001) Lehrbuch der Gehörbildung 1, Elementäre Gehörbildung. Bärenreiter Verlag.

_____ (1996) Lehrbuch der Gehörbildung 2, Hochschule-Gehörbildung. Bärenreiter Verlag.

 

Marvin, William. (2008) A Comparison of Four Sight-Singing and Aural-skills Textbooks: Two New Approaches and Two Classic Texts in New Editions. Journal of Music Theory Pedagogy, vol. 22

 

McPherson, Gary (editor). (2007) The Child as Musician: A Handbook of Musical Development. New York: Oxford University Press.

 

Ottman, Robert and Nancy Rogers. (2010) Music for Sight Singing. Prentice Hall.

 

Prosser, Steve. (2000) Essential Ear Training for Today’s Musician. Berklee Press

Publications.

 

Reisenweaver, Anna. (2012) Guido of Arezzo and His Influence on Music Learning. Musical Offerings: Vol. 3: No. 1, Article 4. Cedarville University.

 

Szabó, Helga. (1993) Elsö énekeskönyvem (First Songbook). Nemzeti tankönyvkiadó (National Textbook Publishers Hungary).

_____ (1992-1993) Ének-Zene 2 - 8. Nemzeti tankönyvkiadó.

 

Sapszon, Ferenc. (2004) Az Intonáció Iskolája. Budapest: Kodály Zoltán Kórusiskolai.

 

Skottowe Earl, Gillian. (1987) With Music in Mind. UK: British Kodály Society

 

Szönyi, Erzsébet. (1974). Musical Reading and Writing, volume 1. Budapest: Editio Musica Budapest.

_____ (1978) Musical Reading and Writing, volume 2. London: Boosey & Hawkes.

_____ (1979) Musical Reading and Writing, final volume. Budapest: Editio Musica Budapest.

 

Tegzes, György. (1991) Heptatonic Reading Exercises, volume 1 and 2. Budapest: Nemzeti Tankönyvkiadó.

 

Vajda, Cecilia. (1974) The Kodály Way to Music, Book 1. England: Halstan & Co.

_____ (1992) The Kodály Way to Music, Book 2. London: The British Kodály Academy.

____ (1987) Musicianship Training According to the Kodály Principles, Elementary to Advanced Level. 8 CD’s re-mastered from the original cassettes in 2012.

 

Waterhouse, Celia. (2011) My Solfa Piano Book. Burwell, Sound Roots to Music Series.

 

West Marvin, Elizabeth. (2007) Absolute Pitch Perception and the Pedagogy of Relative Pitch. Journal of Music Theory Pedagogy, vol. 21.