Bennett questions why the Sol-Mi interval became the foundational approach to tonal literacy. She states that the practice of singing Sol-Mi and Sol-Mi-La followed two trends during the 60 's and 70 's. First, was the increased demand for academic accountability and achievement in education. Secondly, the adaptation of methodologies from other countries including Suzuki, Dalcroze, Orff, and Kodaly. American music education experienced a shift from singing for pleasure to singing for purpose. Bennett gives three points of pedagogical purpose to Sol-Mi. First, Sol-Mi is considered the universal interval. Secondly, Sol-Mi should be the foundational interval that leads to learning and reading tonal patterns. Lastly, mastery of Sol-Mi leads to a