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Takadimi


Takadimi is a system devised by Richard Hoffman, William Pelto, and John W. White in 1996 in order to teach rhythm skills. Takadimi, while utilizing rhythmic symbols borrowed from classical South Indian carnatic music, differentiates itself from this method by focusing the syllables on meter and on western tonal rhythm. Takadimi is based on the use of specific syllables at certain places within a beat. Takadimi is used in classrooms from elementary level up through the collegiate level, and it meets National Content Standard 5 by teaching both reading and notating music.

Takadimi is similar to the Kodály Method, developed in 1935 in Hungary. Both systems can be traced back to the 19th century French Time-Names system. Hoffman, Pelto, and White developed the system with certain goals in mind. As stated by the developers themselves:

Hoffman, Pelto, and White believe that they took the best from many existing systems and tweaked them together to form this system that best meets the goals they set for themselves. Of the systems they used as either inspiration or examples of unwanted attributes, three are mentioned in the journal where they first proposed their system in 1996: The Kodály Method, the McHose/Tibbs system, and Edwin Gordon's system.

The Takadimi system teaches students to read rhythm in a way similar to the way a language would be taught, rooted in Pestalozzian theory formalized by Robert M. Gagné and applied in Edwin Gordon's skill learning sequences. Students learn first to recognize and repeat rhythms before they learn to associate those rhythms with standard musical notation and begin reading and writing music. The system has a basis of two related sets of syllables, one for simple meter and one for compound meter. In both meters, syllables are assigned to certain positions within the beat as opposed to the syllables being assigned to certain notational values.This allows for rhythms that sound the same to be pronounced the same, even when the notation differs. Such notational differences that commonly result in rhythms that sound the same often occur between 2/4 and 2/2 time signatures. Also, each subdivision has unique syllables, so a note in a certain place within the beat always has the same syllable.


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