The kodaly method

The Kodaly
Method
R.J.B., R.A.M.D, C.F.R.E., C.J.H., and N.S.L.

Composer
pioneering ethnomusicologist
groundbreaking educationalist and
Critic
Philosopher

was born in Kecskemét, in Hungary,
on 16 December 1882
In 1900
In 1905
In 1906
1907

• Zoltán Kodály had composed throughout this time, producing two
String quartets (Op.2, 1909 and op.10, 1917 respectively)
• Sonata for cello and piano (Op.4, 1910) and Sonata for cello solo

•Zoltán Kodály was very interested in the problems of music
education, and he wrote a large amount of material on music
education methods as well as composing a large amount of
music for children.
•The Hungarian music education method that developed in
the 1940’s became the basis for what is called the "Kodály
Method". Kodaly himself did not write a comprehensive
method, but he did establish a set of principles to follow in
music education.

• Zoltán Kodály continued to compose for professional ensembles also,
with the Dances of Marosszék (1930, in versions for solo piano and for
full orchestra), the Dances of Galanta (1933, for orchestra), the Peacock
Variations (1939, commissioned by the Concertgebouw Orchestra
Orchestra Amsterdam to celebrate its 50th anniversary) and the Missa
Brevis (1944, for soloists, chorus, orchestra and organ) among his
among his better known works. The suite from his opera Háry
János (1926) also became well known, though few productions of the
productions of the opera itself take place. It was first performed in
Budapest and conductors such as Arturo Toscanini, Willem
Mengelberg and Wilhelm Furtwängler have included this piece in their
repertoires.

• Zoltán Kodály remained in Budapest through World War II, retiring
from teaching in 1942. In 1945 he became the president of the
Hungarian Arts Council, and in 1962 received the Order of the
Hungarian People's Republic. His other posts included a
presidency of the International Folk Music Council, and honorary
presidency of the International Society for Music Education. He
died in Budapest in 1967, one of the most respected and well
known figures in the Hungarian arts. In 1966, the year before
Kodály's death, the Kodály Quartet, a string quartet named in
Kodály's honour, formed. His notable students include Anne
Lauber and John Verrall.

Selected Works
Orchestral:
Summer Evening (1906, rev. 1929)
Háry János Suite (1926)
Dances of Marosszék (1930)
Dances of Galanta (1933)
Peacock Variations (1939)
Concerto for Orchestra (1939)
Symphony (1930's - 1961)
Chamber/Instrumental:
Intermezzo for String Trio (1905)
String Quartet No. 1, Op. 2 (1909)
Cello Sonata, Op. 4 (1910)
Duo for Violin and Cello, Op. 7 (1914)
Sonata for Solo Cello, Op. 8 (1915)[1]
String Quartet No. 2, Op. 10 (1917)
Serenade for 2 Violins and Viola, Op. 12
(1920)
Selected Works
Operas:
Háry János (1926)
The Transilvanian Spinning Room (1932)
Choral:
Missa Brevis, for soloists, chorus & organ
Laudes organi, for chorus & organ
Este (1904)
Psalmus Hungaricus, Op. 13 (1923)
Matrai kepek (1931)
Jézus és a kufárok(1934)
Te Deum (1939)

What is Kodaly Method?
According to the Grove Concise Dictionary of Music,
the ‘Kodály Method’ is:
'A way of training children in music, devised by
Zoltán Kodály, which is based on giving them a
thorough grounding in solfeggio (using a ‘movable
doh’ system), aimed at developing aural ability with
emphasis on sight-singing, dictation and the reading
and writing of music; a progressive repertory of songs
and exercises, based on Hungarian folk music, is used.'

'A way of training children in music, devised by Zoltán
Kodály, which is based on giving them a thorough
grounding in solfeggio (using a ‘movable doh’ system),
aimed at developing aural ability with emphasis on
sight-singing, dictation and the reading and writing of
music; a progressive repertory of songs and exercises,
based on Hungarian folk music, is used.'
What is Kodaly Method?

The KODALY PHILOSOPHY
A. Everyone has the right to music literacy and it is meant to be
enjoyed!
B. Singing can and should provide the foundation for all types of
music.
C. Music education should begin at the earliest possible age.
D. A child’s own culture provides his/her musical “mother
tongue.” Folk music is the “musical mother tongue” of the
child. Folk songs provide ideal materials for music education.

The KODALY PHILOSOPHY
E. Only music that clearly demonstrates artistic merit (folk or
composed) should be used in teaching.
F. Only the finest musicians should teach music. The lessons should
be child-centered with a discovery approach.
“The singing of folksongs must form a part of every music lesson; not
only to provide practice in them for their own sake, but to maintain
continuity and also to awaken, develop, and maintain the sense of
the relationship between music and the language. For there is no
denying that it is here, in folk song, that the most perfect
relationship between music and language can be found.”
~Zoltán Kodály.

Principles of Planning
1. Prepare (pre-conscious)
a. Musical experiences
b. Rote learning
c. Iconic representation
2. Present (identification or introduction - conscious)
a. Guided discovery
b. Use of symbolic representation (labeling)
3. Practice (addition of reading and writing)
a. Application to new situations (transfer)
b. Creativity
c. Reading and writing

Curwen hand signs
• Hand signs are used in order for the singer to “visualize” what
the note or tone is doing.
• These hand signs were not invented by Kodaly, but rather
incorporated by him because of the validity of their use.

1. Beginning or Opening (establish beat, in-tune singing)
a. Greeting (use pitches that are to be prepared or
practiced.)
b. Rhyme (establish attention to beat using speaking
voice.)
2. Primary Focus (major task)
a. A specific concept is introduced or practiced. This is
the focal point of the lesson and requires the most intense
concentration from the students.
b. Always use a known song to introduce a new concept.
KODALY Lesson Planning

3. Change of pace (movement activity or singing game)
a. This is an ideal place to prepare new musical
concepts.
b. An opportunity for fun

4. Secondary Focus
a. This portion of the lesson is flexible. It could involve a
new song, flashcards, a story, improvisation, listening, or any
number of other possibilities. b. Often this section functions
as a time for practice or preparation for future lessons.
c. More importantly to the classroom teacher, this is a
time to calm the class down after a rollicking singing game, and
re-focus their attention on a specific concept.

5. Closing
a. Similar to the greeting, this part of the lesson
again uses pitches that are being prepared or practiced.
b. It could also involve a quick review of any new
pitch or rhythmic patterns introduced in the lesson.

“A well-conducted lesson is not a
burden, but a recreation: the source of
joy and cheer.”
~Zoltán Kodály.

The kodaly method

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The kodaly method