The Kodaly Method by: Deborah Leeson |
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If the answer to the question above is yes, then the Kodaly Method is for you. Zoltan Kodaly developed a way of educating young children through the singing of the native mother tongue folk songs. Doesn't sound too different with just that being said, but the differences lie within the internal workings. The Kodaly Method uses a sequence for teaching music, that is child developmental. More on that later. Right now... allow me to introduce you to Zoltan Kodaly.
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Kodály, Zoltán![]() (born on December 16, 1882, in Kecskemét, Hungary and died, March 6, 1967, in Budapest), was a prominent composer and authority on Hungarian folk music. He was also important as an educator, not only of composers but also of teachers and, through his students, contributed heavily to the spread of musical education in Hungary. He was a chorister in his youth at Nagyszombat (now Trnava), Czech., where he wrote his first compositions. In 1902, he studied composition in Budapest. He toured his country in his first quest for folk-song sources in the year before his graduation from Budapest University with a thesis (1906) on the structure of Hungarian folk song. After studying for a short time in Paris with the composer-organist Charles Widor, he became teacher of theory and composition at the Budapest Academy of Music (1907-41).
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What is the Kodaly Method?
First off, let me say that in order to give a complete overview of the Kodaly Method would take more than just this article to accomplish. I hope to give you enough information on the advantages of using the Kodaly Method for teaching music, so that you will continue your learning through the resource books that I listed at the bottom of this article.
The Kodaly Method breaks
down the learning of music into a series of concepts (or components); Then applies a sequential learning process to each
one. This sequential learning process follows the natural developmental pattern used in learning a language, which is, aural, written,
and then read.
The First Concept:
Steady beat is the first concept taught in level one. Notice that I say "level" and not grade. Kodaly is a concept that is non-graded. This makes the teaching of the most fundamental concepts applicable even to "beginners" of music education in highschool and beyond. The sequence of the concepts stay the same, but the material used to teach these concepts are age appropriate and left up to the discretion of the teacher.
A great deal of emphasis is placed on using the penta-tonic scale in the beginning. One of the great advantages of using the pentatonic scale is that the notes represent all of the intervals that are needed in singing in an extended range as the voice develops but will not put unnecessary strain on the inexperienced singer. Another wonderful advantage of singing pentatonic songs are because instruments are easily incorporated for improvisational purposes. Any tone played in a pentatonic scale will blend (or sound "right") with the singer's pentatonic song.
A great site with a huge selection of pentatonic songs is located at:
Here is an example of the melodic sequences for teaching sightreading. NOTE: The first interval taught using the Kodaly Method, is the falling minor third. (derivative from many children's songs, such as 'tattle-tail', and 'rain, rain, go away') This example demonstrates the use of pictures and hand signals which help the student better understand the overall concept of sight reading. |
![]() Solfege or "Curwen" handsigns are used as a way to visualize the pitches being sung:
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The Kodaly Method was not invented by Kodaly, but is a system of music education which was evolved in the Hungarian schools under his inspiration and guidance.
The Musical Objectives of Kodaly musical training may be listed as to develop the ability of all children to:
I have used the Kodaly Concept/Method/Philosophy
ever since I was a student teacher. My cooperating teacher was a
Kodaly Master so I had a wonderful start. Over the last twenty years, I have taught using
Kodaly and Orff with a mixture of Dalcroze. In general, my students exhibit a tremendous
increase in musicality when I use Kodaly's
sequenced applications.
I hope you will take the time to investigate
its possibilities with your own students. You may
find students understanding and mastering musical concepts more quickly and singing more beautifully
than you ever imagined.
Quote: If there is something to be gained and very little to loose, then by
all means, TRY! - W. Clements Stone
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