The Kodály method, also referred to as the Kodály concept, is an approach to music education developed in Hungary during the mid-twentieth century by Zoltán Kodály. His philosophy of education served as inspiration for the method, which was then developed over a number of years by his associates. In 2016, the method was inscribed as an item of UNESCO Intangible Cultural Heritage.
History Kodály became interested in the music education of children in 1925 when he overheard some students singing songs that they had learned at school. Kodály was appalled by the standard of the children's singing, and was inspired to do something to improve the music education system in Hungary. He wrote a number of controversial articles, columns, and essays to raise awareness about the issue of music education. In his writings, Kodály criticized schools for using poor-quality music and for only teaching music in the secondary grades. Kodály insisted that the music education system needed better teachers, better curriculum, and more class time devoted to music. Beginning in 1935, along with his colleague Jenő Ádám, he embarked on a long-term project to reform music teaching in the lower and middle schools by actively creating a new curriculum and new teaching methods, as well as writing new musical compositions for children. His work resulted in the publication of several highly influential books that have had a profound impact on musical education both inside and outside his home country. Kodály’s efforts finally bore fruit in 1945 when the new Hungarian government began to implement his ideas in the public schools. Socialist control of the educational system facilitated the establishment of Kodály’s methods nationwide. The first music primary school, in which music was taught daily, opened in 1950. The school was so successful that over one hundred music primary schools opened within the next decade. After about fifteen years roughly half the schools in Hungary were music schools. Kodály’s success eventually spilled outside of Hungarian borders. Kodály’s method was first presented to the international community in 1958 at a conference of the International Society for Music Educators (I.S.M.E.) held in Vienna. Another I.S.M.E. conference in Budapest in 1964 allowed participants to see Kodály’s work first-hand, causing a surge of interest. Music educators from all over the world traveled to Hungary to visit Kodály’s music schools. The first symposium dedicated solely to the Kodály method was held in Oakland, California in 1973; it was at this event that the International Kodály Society was inaugurated. Today Kodály-based methods are used throughout the world.
Pedagogy Using these principles as a foundation, Kodály’s colleagues, friends, and most talented students developed the actual pedagogy now called the Kodály method. Many of the techniques used were adapted from existing methods. The creators of the Kodály method researched music educational techniques used throughout the world and incorporated those they felt were the best and most suited for use in Hungary.
Child-developmental approach The Kodály method uses a child-developmental approach to sequence, introducing skills according to the capabilities of the child. New concepts are introduced beginning with what is easiest for the child and progressing to the more difficult. Children are first introduced to musical concepts through experiences such as listening, singing, or movement. It is only after the child becomes familiar with a concept that he or she learns how to notate it, similar to methods like Suzuki. Concepts are constantly reviewed and reinforced through games, movement, songs, and exercises.
Rhythm syllables The Kodály method incorporates rhythm syllables similar to those created by nineteenth-century French theoretician Emile-Joseph Chêvé. In this system, note values are assigned specific syllables that express their durations. For example, quarter notes (crotchets) are expressed by the syllable ta while eighth note (quaver) pairs are expressed using the syllables ti-ti. Larger note values are expressed by extending ta to become ta-a or "ta-o" (half note (minim)), ta-a-a or "ta-o-o" (dotted half note/minim), and ta-a-a-a or "ta-o-o-o" (whole note (semibreve)). These syllables are then used when sight-reading or otherwise performing rhythms. Rhythm syllables vary internationally. Some variants include te-te rather than ti-ti for eighth notes (quavers) and the use of both ti-ri-ti-ri and ti-ka-ti-ka for sixteenth notes (semi-quavers).
Rhythm and movement The Kodály method also includes the use of rhythmic movement, a technique inspired by the work of Swiss music educator Emile Jaques-Dalcroze. Kodály was familiar with Dalcroze’s techniques and agreed that movement is an important tool for the internalization of rhythm. To reinforce new rhythmic concepts, the Kodály method uses a variety of rhythmic movements, such as walking, running, marching, and clapping. These may be performed while listening to music or singing. Some singing exercises call for the teacher to invent appropriate rhythmic movements to accompany the songs.
Rhythm sequence and notation Rhythmic concepts are introduced in a child-developmentally appropriate manner based upon the rhythmic patterns of their folk music (for example, 68 is more common in English than 24, so it should be introduced first). The first rhythmic values taught are quarter notes (crotchets) and eighth notes (quavers), which are familiar to children as the rhythms of their own walking and running. Rhythms are first experienced by listening, speaking in rhythm syllables, singing, and performing various kinds of rhythmic movement. Only after students internalize these rhythms is notation introduced. The Kodály method uses a simplified method of rhythmic notation, writing note heads only when necessary, such as for half notes (minims) and whole notes (semibreves).
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