The Kodály method, developed by Hungarian composer Zoltan Kodály, emphasizes the importance of teaching music from a young age through logical, sequential, and enjoyable methods, using folk songs as a foundation. It is designed primarily for children but is also applicable for adult learners, focusing on creativity and collaboration in group settings. This approach contrasts with traditional music education by fostering a communal learning environment and integrating concepts like movable 'do' solfa and rhythmic syllables for intuitive understanding.

1. An Introduction to the
Kodály Method

2. Zoltan Kodály: the Man Behind the Method
● Kodaly (1882-1967) was a Hungarian composer and music
educator
● His extensive travels exposed him to folk music of different
backgrounds
● Disillusioned with music education in Hungary, he set out to
overhaul the whole system
● He created a new curriculum and new teaching methods for
young students
● It was on the principles of these methods that his colleagues,
students, and friends created the Kodály Method
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3. Principles of the Kodály Method
1. Music should be taught from a young age. Kodály
believed that music was among, if not the most important
subject to teach in schools.
2. Music should be taught in a logical and sequential
manner.
3. There should be a pleasure in learning music; learning
should not be torturous.
4. The voice is the most accessible, universal instrument.
5. The musical material is taught in the context of the
mother-tongue folk song.
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4. Kodály for Children vs. Adults
● Kodály’s original method was created with children’s
development in mind
● It was meant to complement their naturally-developing
aural skills
● However, the method is also useful in adult music
education
● The concepts of rhythm, relative pitch, and
improvisation taught in Kodály are valuable to
musicians of all levels.
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5. Comparing the Kodály Method and the Orff Approach
● The two schools of thought behind the methods have a
similar philosophy, but different approaches
● Both Kodály and Orff believed that music education
should be hands-on, interactive, and rooted in students’
culture
● Kodály is vocally-oriented, grounded in theory, and
geared towards ear training
● The Orff approach places greater emphasis on
improvisation, body instrumentation, and simple
percussive instruments.
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6. Comparing Kodály to Traditional Music Education
● The Kodály method involves group activities, while
traditional music lessons offer a one-on-one
teacher-student relationship
● Traditional music education is often rooted in classical
music, while the Kodály method is based on folk music
● Generally, traditional lessons are more structured and
have systems of evaluation and levels
● The group learning of the Kodály method allows for
more creativity and collaboration than typical music
lessons
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7. What is Taught in Kodály?
● Movable “Do” Solfa
Solfa (or solfège) is a system for relative pitch ear training;
it assigns an easy-to-remember syllable to each pitch
● Hand Signs for Movable “Do” Solfa
Each pitch (and its associated syllable) is accompanied by
a different hand sign, reinforcing this memory device
● Rhythm
Kodály assigns different syllables to different note lengths
that make it easy and intuitive to count them out loud.
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8. What is Taught in Kodály?
● Creativity
The easy-to-follow associations that Kodály develops
empower musicians to be creative and confident in their
musical practice.
● Collaboration
The Kodály method is meant to be communal and
group-oriented, giving ample opportunities for the
exchange of ideas between students.
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9. Summary
● This interactive way of learning music is for children and adults
alike, and can benefit musicians of any level
● It relies on associations between musical concepts and body
movements/words to make the learning process intuitive and
hands-on
● Many organizations including The Organization of American
Kodály Educators, The British Kodály Academy, and The
International Kodály Society can be consulted to find a class
near you
● Integrate some principles from the Kodály method into your
practice; for example, try the solfa method of learning relative
pitch!
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