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

Who is KODALY?

Zoltán Kodály

Composerpioneering ethnomusicologistgroundbreaking educationalist and

CriticPhilosopher

was born in Kecskemét, in Hungary, on 16 December 1882In 1900In 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 (Op. 8, 1915), and his Duo for violin and cello (Op.7, 1914). • including classical, late-romantic, impressionistic and modernist tradition and at the other hand profound knowledge and respect for the folk music on Hungary, Slovakia, Bulgaria, Albania and other Eastern-European countries.

•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 Amsterdam to celebrate its 50th anniversary) and the Missa Brevis (1944, for soloists, chorus, orchestra and organ) among his better known works. The suite from his opera Háry János (1926) also became well known, though few 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 WorksOrchestral: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 & organLaudes organi, for chorus & organEste (1904)Psalmus Hungaricus, Op. 13 (1923)Matrai kepek (1931)Jézus és a kufárok(1934)Te Deum (1939)

•DIED ON 01 January 1970

What is KODALY METHOD?

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?

'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?

'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?

'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?

'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?

'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

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.

The Kodaly PEDAGOGY

Principles of Planning1. 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

The Kodaly SCALE

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.

Kodaly Method:Activity

Kodaly Method:Lesson Plan

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

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.

KODALY Lesson Planning

KODALY Lesson Planning

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.