Council for Research in Music Education

Kodaly's Concept of Music Education

Author(s): Klara Kokas
Source: Bulletin of the Council for Research in Music Education, No. 22 (Fall, 1970), pp. 49-56
Published by: University of Illinois Press on behalf of the Council for Research in Music
Education
Stable URL: http://www.jstor.org/stable/40317114
Accessed: 08-02-2016 08:57 UTC

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact support@jstor.org.

University of Illinois Press and Council for Research in Music Education are collaborating with JSTOR to digitize,
preserve and extend access to Bulletin of the Council for Research in Music Education.

http://www.jstor.org

This content downloaded from 132.77.150.148 on Mon, 08 Feb 2016 08:57:39 UTC
All use subject to JSTOR Terms and Conditions
Paper 19

KODALY'S CONCEPT OF MUSIC EDUCATION

klara kokas

Studiesmadein Hungarian musiceducation overthepast

20 yearshaveshownthatchildrenexperiencing dailysinging
lessonsin schooldisplaybetterresultsin theirotherschool
subjectsthanchildren havingonlytheusualnumber of class
hoursof musictraining.The purposeof this paper is to
explorethepsychological bases forthistransfer*effectfrom
musicallearningto generalacademicperformance.
Thematerialofmusicdoesnotcarryrationalinformation,
by clearstructure
butit is distinguished and comprehensible
form.Perception, and reconstruction
recognition offormand
structure are in
essential music In
education. the courseof
musicaltraining thestructureevidentintheabstract material
of musicassumesfor the child the formof patternsand
models.In addition,musicexpressesemotions and is at the
sametimea sourceofmotivation. Whileengagedin activities
connected withmusic,the childsensesand producesthese
emotions and buildsfromthememotional modelsaccording
tothepattern ofmusic.
* Dr. Kokas uses the termtransferto include (a) the direct transfer
of mentalhabits frommusic to other subjects, (b) the effectof music
upon the child's mentaland physicalreadinessfor learning,and (c) the
effectof early musical experiencesupon later musicalgrowth.

This content downloaded from 132.77.150.148 on Mon, 08 Feb 2016 08:57:39 UTC
All use subject to JSTOR Terms and Conditions
50 Kodaly'sConceptof Music Education

Melodyis theprimary indivisible structuralpattern within

whichwe analyseoutthemusicalphrase.The phrasecan be
dividedintomotifs;we teachthemotifas thestructural unit
ofmelody, themicrostructureofmusic.Kodaly,Bartok,and
theirassociatesbuilttheirworkson thestructural pillarsof
folksongs,and theseconstitute the materialforour Hun-
garianmusiceducation.In theworkswhichthesecomposers
createdformusicinstruction theyutilizedHungarianfolk
or
songs compositions written in thespiritof thefolksongs
- thatis, usingthemelodicand rhythmic structure of folk
songs.
As theysing,write,and read music,the childrencollect
the microstructure of Hungarianfolksongsforthemselves.
In this way the musicalmothertongue,its structure and
idioms, assumes the form of a model for the children. It
followsthat,on theone hand,themusicalmother tongueis
so deeplyabsorbedthatthechildren can applyit evenin free
improvisation, and on the otherhand,a transfereffectis
apparentin the similaractivity of learninga language(the
mothertongueor foreignlanguages). The wordsof the
mother tongue,andlateritsidioms, images,and
characteristic
sentencestructures, give feeling security the child
a of to
becausethe worldand peoplearoundhimreflectsimilarity
in thoughtand word. The musicalmothertongueis closely
linkedto thespokenmother tonguein itsrhythm and accent,
its logic,structure,and imagery.If we teach the musical
mother tongueearlyand well,we lay downgoodfoundations
forthepersonality.
The earliersystem ofmusicinstruction taughtthesounds
followedbya certainsystem
(syllables)first, of pitches(the
scale), and onlylaterthemelodiesconstructed of them.In
ourmethodof relativesolmization, melodyis the basis,and
we divideit intophrasesand words,thewordsintosyllables,
thesyllablesintosounds.Relativesolmization itselfproduces
important transfer
effects.Through it we teachintervals and
musicalrelationships withinthe unitof a shortmusicalsen-
tence.Constant, identicalrelations aretreatedas constituents
ofa largerunitand are examinedin ever-changing contexts.
Thismakesfortherealization thatconstant relationships are
possiblewithinchangingconditions, a principlewhichhas
widetransfer possibilities.

This content downloaded from 132.77.150.148 on Mon, 08 Feb 2016 08:57:39 UTC
All use subject to JSTOR Terms and Conditions
Klara Kokas 51

Singingis, of course,the principalmeans of teaching. A

givenworkofmusicwill be livingrealityforthe childbecause
he has experiencedthe structureof the workwithits melodic
and rhythmicelementsthroughhis own singing. He has
absorbedit and storedit in his engrams.The microstructures,
so absorbed, constitutethe buildingblocks of the musical
mothertongueof the child and at the same timeprovidethe
basis forhis creativeand improvisational ability. He derives
his firstmusical experiences from songs associated with
playful movementand collective singing. These pleasant
experienceslater bringwiththemthe wish to get to knowa
largernumberof classical works. (Classical is used here not
to denotestyle,but value.) The oeuvreitselffurnishesforthe
childthecategoriesof values thatlaterwill be the compassof
his orientation.The basis forhis aestheticjudgmentis then
the knowledgeof musical style and formacquired through
singing,and reinforcedby the practiceof musicwritingand
reading.
Trainingin attention-developing rhythmicexercisespro-
duces observableresultsin mathematics ; and a good ear for
musichelps spelling. One subject affectsanother. But over
and abovethis,musiceducationseemsto promotethe develop-
mentofpsychologicalfunctions of a higherorderwhoseeffect
goes far beyondthe special contentand material of music.
Musical educationprovidesmodels of experienceon which
later the externalexperienceswill leave theirimprint.The
basic formsof Hungarianmusiceducation- such as singing
games with changing performers,choruses, and chamber
orchestraswhere the individualis an importantpart of the
whole - are models of experiencessuitable for transferto
manyotheractivities.
In searchingforthe basis of the transfereffectproduced
by our musiceducation,we can referto Allport'sstatement
that if a varietyof means are used, the transfereffectis
intensified.1Allportpointsout that the term"transfer"sug-
gestsa varietyof situationsratherthana fewsimilarmethods.
Experimentshave shown that a given material, in itself,
produces only slight and limited transfer.A variety of
methodsused in musical learning- association based on
familiarelements,grouping,rhythmicpatterns,interpreta-
tion,well-distributedrepetition- are effective in promoting
transfer.If musicis taughtin varied ways,thenthistraining

This content downloaded from 132.77.150.148 on Mon, 08 Feb 2016 08:57:39 UTC
All use subject to JSTOR Terms and Conditions
52 Kodaly's Concept of Music Education

of musicalabilitiesreachesa formof generalization and

practicegoingbeyond the musical material.
Barkoczyand Putnoky interpret thetransfer effectas a
generalizedadaptation to a given situation.This adaptation
takesplacesnotonlyonthemotororintellectual level,". . .
butit meansa certainactivereadiness, an emotional set,the
typeof tensioncharacteristic of curiosity and interest, of
dealingwithnewtasksandbeingconfronted withproblematic
situations."2
Musicaltraining in combination withmovement, rhythm,
and activesingingservesto createan optimalbalance of
corticaland subcortical activity.Physiological researchhas
shownthat corticaland subcorticalactivitiesmustbe in
balanceformaintaining the organism in a stateof relative
stability.Today'schildren, especially those in cities,receive
an overdoseof corticalburdening becausetheyhave little
freetimeand freegroundformovement, and an increased
schoolload. The schoolrequirescorticalactivity duringnine-
tenthsof thetimespentthere.Takingin and absorbing -
comprehending, and
systematizing, keeping memory in -
auditory andvisualinformation are almostexclusively cortical
notaffecting
activities in anywaythesubcortex.The factis,
however,thatsmall childrenare too youngto subordinate
theirsubcortical activityto corticalcontrolregularly overa
long periodof time. A steadyone-sidedstimulusreduces
corticalactivity, and whilethisreduction is generallynot
noxiousto the stableadult,forthe growingchildthe one-
sidedearlyoverburdening ofthecortexmaycauseirreparable
damage. The increasingpercentagesof childhoodhyper-
tensionand neurosiswarnaboutthe need for muchmore
activerecreation.
Intellectualactivityis influenced by the limbicsystem
charging impressions fromtheoutsidewithemotions, and also
by the centrecephalon supplying energyforintellectual ac-
tivity.It is our hypothesis that the combinedactivityof
singingand movement chargesthelimbicsystemof the sub-
cortexwithemotional content and at thesametimethrough
its variedstimuli(auditory, visualand motor)activatesthe
formation reticularis
centrecephalon. Combinedsingingand
movement enablesthechildtoreacttohissubcortical impulses
in a sociallydesirablemanner.The ampleemotional content

This content downloaded from 132.77.150.148 on Mon, 08 Feb 2016 08:57:39 UTC
All use subject to JSTOR Terms and Conditions
Klara Kokas 58

ofsinging, andespecially ofcollectivesinging- an experience

of catharsisand multiplestimulitogether- providesthe
physiologicalfoundations forthe kindof transfer described
byBarkoczyand Putnoky : thecreationofan activereadiness
fordealingwithnew tasks.Stagnercalls "expectancy" the
state of readinessfor responsethat is producedby the
stimulus.Emotionalcontentand activerecreationrefresh
cerebralactivityand give rise to a readjustedset, a new
"expectancy" forthereception ofnewstimuli.
Kodaly'sprogramme theroleofmusiceducation
specifies
foreveryage group,butemphasizes theimportance oflaying
the foundations at the mostreceptiveage. Fromobserving
his pupilsand associatesoverseveraldecades,he concludes
thatall normalpeoplewhocan hearand speak are capable
ofdeveloping an earformusiciftheybegintoreceivemusical
trainingin kindergarten ortheprimary grades.Thereceptive
periodis theexperimentally determined phasein ontogenetic
development whenthe organismis particularly sensitive to
certaintypesofstimuli.
In answerto the questionwhenmusiceducationshould
begin,Kodalysaidat a Parisconference : "Ninemonths before
the childis born,"indicating his beliefthata motherwho
"liveson goodmusic,"byherwayand rhythm of living,and
happierattitudewillinfluence her unbornchildfavourably.
Later,he saidthatmusiceducation shouldbegin"ninemonths
beforethe mother'sbirth."Kodaly was seriousaboutthe
importance ofmusicalcultureof thefamily.
The infantgets his firstmusicalimpulsesthroughthe
motheror hersubstitute. The smile,mimicry, gestures,and
voiceofthepersonwhois mostoftenwiththechildprovide
himwithexperiences of warm,happyfeelings.The baby's
initialrelationshiptotheouterworldis established bycontact
withthemotherfigure. The activecontactwiththe adultis
characterizedby the first-year, prespeechstage. Positive
emotional responseto the adult showsthe emergence of a
newsocialneed,theneedforcontact.Thespeechthataccom-
paniesthe actionsof adultsis of greatimportance forthe
child,forhe listensto it andbeginsto understand itsgeneral
emotional tone.Pleasantsoundstimuli, the ringingrhymes
andrhythms ofsongsandpoems,together withtheattending
smileand movement, are important factorsin creatinga

This content downloaded from 132.77.150.148 on Mon, 08 Feb 2016 08:57:39 UTC
All use subject to JSTOR Terms and Conditions
5Jt Kodaly's Concept of Music Education

sense of physiologicalwell-beingin the child. The first

impressionsof sound and rhythm(lullabies, cradle songs)
reinforcethe intimacyof interpersonalcontact. Joy and
animationare at firstaddressed to the adult, but later the
play itselfbegins to be a directsource of joy. This early
periodof musiceducationproduceslastingimpressions ; order
and evennessare very importanthere. In rhythmwe use
regularityof pulse,in melodythe everreturning pattern.
The music educationof childrenbetween ages one and
threeis still based on passive absorption.Accordingto tests
conductedby KatalinForraiVikar,the smallchildreproduces
onlya fragmentof the melodiesheard,but the characteristic
motifsand favouriterhythmpatternsunexpectedlycrop up
later. This meansthat the child should get a wealth of good
musicaland rhythmic stimuli.These can be rhythmic sayings,
nurseryrhymes, perhapsoffolkorigin,combinedwithrocking
or some othertypeof rhythmic motion.Childrenshouldgrow
up in an atmosphereof music,in the kind of environment
where they hear folk songs, nurseryrhymes,and singing
games. For this age group,not even the best machinemusic
can substitute forthe personalsingingvoice of the motheror
nurse. The small child needs personal contact to absorb
musicalexperience.
The firstmusicalimpressionsalso play an importantpart
in speech development.The special linguisticreceptivityof
the small child is well known.Throughthe age of threethe
child is developingan orientationto the phoneticshape of
the word. Most childrenbeginto be fondof soundsbetween
the ages of fourand six. The properpronounciation of words
developsin the interactionbetweenthe phonemicperception
of sounds and the motorskill of speech. There is a good
physiologicalreason for the practice of combiningsinging,
nurseryrhymes,and rhythmic sayingswithactivemotorcon-
ditioning.
The Kodaly programmetakes its cue forthe selectionof
the learningmaterial fromthe childrenthemselves.Many
children'ssongsand nurseryrhymesare practicallyphonetic
exercises.At the same time,harmonyof formand content
make these rhymesand songs genuine masterpieces. The
kindergarten-age child (threeto six) can trainhis developing
sound organ, aestheticsense, and musical ability on many
"artisticworks"of thiskind.

This content downloaded from 132.77.150.148 on Mon, 08 Feb 2016 08:57:39 UTC
All use subject to JSTOR Terms and Conditions
Klara Kokas 55

Passive absorptionis stillverystrongat the beginningof

the kindergarten age, but graduallythe joy of collectiveplay
replaces it. Movement and song, therefore,belong together
in thisage.
Rhythmic movementshared withcompanions,experiences
with the words and music of the songs connected with
dramaticgames, the choice of partnerby the child in the
centreof the circle in roundgames, and the touch of each
others'hands are all emotionalfactorsfor the kindergarten
child. In the rhythmicmovementof round games, proprio-
ceptiveawareness of one's own body is combinedwith the
exteroceptive sense of the externalworld.
The singing games are learning games. The children
observeand imitatethe movements,voice, and tone of the
adult and the otherchildren,and thistakes active effort.At
the same timeeach child adjusts his own movement, rhythm,
and elocutionto that of the othersand this also takes active
work.He has to followthe groupin step,posture,movement,
rhythm and intonation.He does thishappilybecause he finds
pleasurein collectivesingingand movement. In the meantime
he is full of emotionalexpectancy:when will he be chosen
as white lily, velvet violet,ugly ducklingor fairyprincess,
whenwill the "gate" be shutin his face, who will choosehim
forpartner,and so on.
The kindergarten-age child learns primarilyby imitation.
The songsand dances whichhe mastersby imitationare suit-
able for becoming digested as personal experience. This
collectionof experiencesat a highlyreceptiveage is the basis
forfurtherknowledgelater.
For grade school children,the movementpatternsin the
singingand dancinggames promotethe motordevelopment.
These age groupsplay a largenumberof gameswhichinvolve
rocking,squatting,turningin and out, spinningand reeling,
runningin and out,and climbingthrough,and in thisway help
to developcoordinatedmovementand a sense of balance.
Singing games promoteperceptual and motorlearnings
and at thesame timedevelopintellectin themannerdescribed
earlier. If throughsuchgameswe give our childrenthe living
patternsof play and dance, collected fromthe childrenof
the villages, we providethem with models they easily fill
withtheirown personalmeaning.

This content downloaded from 132.77.150.148 on Mon, 08 Feb 2016 08:57:39 UTC
All use subject to JSTOR Terms and Conditions
56 Kodaly's Concept of Music Education

"The child remembers the tune of the singinggame

together with the joyfulexperience of movement and later
the tunealone recallsthe totalityof the experience."3 The
relationshipbetweenstimulus and responseis strengthened
bytheemotional relationshipto themelodywhichthechild
establishesas he playssinginggames.This joyfulrelation-
ship is attendedby autonomous (vegetative)and external
expressive relationswhichalso becomeassociatedwiththe
engramsof the singinggame.In this way the engramsof
auditory and rhythmic perceptions becomeattachedto move-
ment,play,dancing, andlaughter. Thelinking ofthematerial
ofmusictosuchemotional reactionsprovidestheproperbasis
forthedevelopment of musicalconcepts.
If the musicalpatternsare absorbedthroughauditory,
motor, and visualtraining togetherwiththeabove-mentioned
emotional reactions,thentheassociatedsolmization sequence
or patternof notesalone is able to recall the emotional
reactionsattachedto the songsand games. This furnishes
themotivation fortheactivities ofwritingandreadingmusic.
Throughfrequent associationthe patternof solmizationsyl-
lablestakesovertheearliermemories ofthetuneand so the
melodyitselfbecomesintegratedwith solmization.Con-
sequently,solmization in ourmethodis nota system of sym-
bols imposedfromthe outsideto reinforce the memory of
tonalintervals,butan association based on themelody.
The unknown melodyshutintoblacknotesawakensthe
child'sinterestforthenew.Withhisabilityto writeandread
music,he is able to solvetheproblemindependently: he is,
again and again, able to turn the dead symbolsinto living
music.

Petzva'lu22/D
Budapest,Hungary

References
1 Allport,Patternand Growthin Personality,New York, 1937, p. 268.
2 Barkoczyand Putnoky,Tanula es Motivado, Szeged, 1967.
3 Ujfalussy,The Musical Image of Reality,Budapest,1962, p. 22.

This content downloaded from 132.77.150.148 on Mon, 08 Feb 2016 08:57:39 UTC
All use subject to JSTOR Terms and Conditions