Zoltán Kodály

Zoltán Kodály (1882 – 1967) was a Hungarian composer, ethnomusicologist (the study
of social and cultural aspects of music and dance in local and global contexts) and
philosopher. His passion for the rediscovery of the Hungarian spirit resulted in
extensive folk-song research. He was shocked by the poor music education system and
the country’s dwindling appreciation and knowledge of their extensive repertoire and
history of folk music.

Kodály came eventually to embody the artistic aspirations of his own country and is
arguably the greatest music educationalist of the twentieth century; the astonishingly
high standard of choral singing and musical achievement in Hungary was attained
thanks to his innovations and teaching methods. These are the inspiration behind an
approach to music education, which has gained world recognition.

The pedagogy we use today was not developed exclusively by Kodály, but rather his
students and colleagues. They used his philosophies of music education to form the
more standardised method, which is now used across Europe, North America, Australia
and many other parts of the world.

What is the Kodály method?

 The Kodály Method teaches music through singing and exploration of folk songs.

 The Kodály Method uses a child-developmental approach to sequence,

introducing skills in accordance with the capabilities of the child.

 Children are first introduced to musical concepts through experiences such as

listening, singing, or movement. They later learn to notate, manipulate and be
more creative with these elements.

 Dr Schellenberg – Experience to symbolisation. The child learns musical

elements subconsciously first, being creative with them, before later learning a
notation/symbolisation.

 Concepts are constantly reviewed and reinforced through games, movement,

songs, and exercises.

 Repetition is the key to learning. Through singing games and movement

activities, children are able to subconsciously learn musical concepts, which are
instilled through varied repetition. This maintains the interest of the child and
makes the singing and learning process more fun!
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 Rhythm and movement are taught, inspired by the Swiss educator Emile-Jacques
Dalcrose. Children develop from the earliest stage an internal beat/sense of
pulse. This is done in the context of listening, movement, rhymes and singing
games.

 Through songs and use of percussion instruments they learn basic rhythms in a
child-developmentally appropriate manner. They are introduced to speaking
rhythm syllables and stick notation.

 Movable-do solfege. Children learn the names of the notes and interval
relationships within major and minor keys (and later modes). This helps with the
child’s understanding of tonal function, pitching and sight-singing.

 Melodic sequence and the pentatonic scale. The diatonic (major/minor) scale
proves difficult for children because of the use of semi-tones. The pentatonic
scale, which forms the basis of many folk songs, is free of semi-tones and allows
for children to hear and sing intervals more clearly. Scale degrees, or notes, are
introduced in accordance with child-developmental patterns. They learn so la mi
first, which forms the basis of many children’s chant songs. The major third so-mi
is the easiest interval for children to sing in tune and so we start with this as the
basis for teaching the notes of the scale. Sing cuckoo where are you? Oo vowel is
also easy to sing in tune.

 Hand signs are performed during singing exercises to provide a visual aid. This
helps spatially to understand where notes are in relation to one another,
highlighting the semitones.

 Materials used include ‘authentic folk music’ (for singing) and good quality
composed music (for listening).

 The method also develops children for choral singing, beginning with rounds and
sight-singing exercises.

 IT IS IMPORTANT THE TEACHER MUST BE ABLE TO SING AND DEMONSTRATE

IN TUNE! All songs are taught unaccompanied initially, developing inner hearing
and aural imagery. We later add percussion with songs.

 Aural skills developed to a high level – inculcated in them, preparing them for
serious musical study.
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The Educational value of Music

Music contributes to the development of:

• Language and communication skills – reading, listening and speech

(pronunciation, intonation and diction – research on reading and rhythms).
• Mathematic and Scientific skills (application of number, through recognising
pattern, sequence, order and rhythmic relationships)
• Overall academic achievement – increases the IQ of the individual as well as
supporting cross-curricular activities
• Imagination – aural and visual imagery
• Creativity – problem-solving abilities

Music fosters personal growth

Music contributes to the development of:

• Positive self-concept – achievement, recognition, confidence and self-esteem

• Self-expression and spiritual development – communication of feelings
• Self-discipline – responsibility, patience and perseverance
• Social Skills and moral development – mutual respect, cooperative behaviour,
communication and friendships
• Aesthetic taste – appreciation of beauty, understanding and respect for music
• Psychomotor skills - motor skills and bodily coordination
• Neural flexibility – engaging both hemispheres of the brain.

Music benefits the individual and the community

• Provides skills essential for living in today’s

• Provides enjoyable life-long recreational opportunities
• Possesses therapeutic value – music therapy
• Provides career opportunities
• Fosters community involvement by participating as a performer or listener
• Enhances the quality of life for both the community and the individual
• Promotes a historical appreciation of our own and other cultural heritages –
cultural development
• Communicates feelings facilitating international understanding – cross-cultural
dialogue through music – everyone can experience and partake in it – egalitarian
model of education.

Music is the universal language or mankind, building bridges of understanding between

individuals, groups and nations.
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A good music teacher…

• Encourages each child to enjoy and be happy with music

• Provides a variety of musical experiences at the young child’s level of feeling and
understanding
• Understands that children can experience/learn about music through play and
games
• Believes that a class environment with social interaction stimulates musical
learning
• Is aware of individual differences and accepts and respects these differences
• Believes that every child is musical: ‘talent’ is relatively unimportant at this stage
– every child can contribute
• Encourages children to explore sound and to create their own music with voice,
body and carefully chosen instruments
• Provides opportunities for children to experience and learn about the elements
of music in a meaningful context, thereby building a firm foundation for future
musical learning
• Understands that music is a useful tool in many subject areas
• Is committed to teaching music as a separate element in the curriculum for its
effect on the whole personality and aesthetic development of each child
• Knows that we cannot ‘teach’ young children to enjoy music, but is we share our
joy of music, they could ‘catch’ it from us

Importance of group learning

• Children learn best from one another - Students come to a more complete
understanding by comparing with others. In this sense, teachers are able to use
children as role models.
• Children are able to learn together not learning and practising alone! Piano can
be a very solitary instrument.
• Typically, group classes are more motivating and instil a healthy sense of
competition among the children, each wanting to learn and progress as much the
other.
• Children are able to develop important moral, behavioural and social skills,
singing and performing together.
• Children are able to learn through games and playing in groups.
• The essence of music is to communicate and express – children are able to do
this in group settings, improving confidence and overcoming stage-fright/nerves.
• Able to teach music in a more fun, interactive and stimulating way with a group.
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RHYTHM SOLFA
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HAND SIGNS

The Curwen hand signs are performed during singing exercises to provide a visual aid.
This helps spatially to understand where notes are in relation to one another,
highlighting the semitones.
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CANONS

Laughing singing

Sweetly sings the donkey

Are you sleeping

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Kookaburra

2. Kookaburra sits in the old gum tree,

Eating all the gum drops he can see,
Stop Kookaburra, stop Kookaburra,
Leave some there for me!

3. Kookaburra sits in the old gum tree,

Counting all the monkeys he can see,
Stop Kookaburra, stop Kookaburra,
That’s not a monkey that’s me! (ta-dimi taka-di ta)

Let’s put the rooster in the stew

The birch tree

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Gone to bed is the setting sun

Dona nobis pacem

Row, row, row your boat

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Lullaby

London’s burning

Guten Morgen

Guten Morgen/Guten Abend (German) – clap hands

Good morning/good evening (English) – cross arms and tap elbows
Bonjour/bon soir (French) – clap hands
Buenos dias/buenos sera (Spanish) – tap thighs