Kodály Method

The Kodály Method, named after Zoltán Kodály, the most important by Béla Bartók and Franz Liszt Hungarian composer and musicologist, is a conception of music education.

General principles: method or concept?

Kodály's ideas on music education have been known as the Kodály method. But to be exact it is a music educational conception, as Kodály himself has formulated only educational principles and not systematically structured course or lessons for teachers, but the implementation of its principles is subsequently realized by his students and followers in consultation with Kodály, after Kodály 1925 music education zuwendete. Formative experience in the life of Kodály 's the simple folk of the rural population. The dispute with the Hungarian folk music runs like a red thread through Kodály's life's work. Kodály was active until 1925 skilled musician and musicologist, anthropologist and pianist. After his studies at the Music Academy in Budapest, where he graduated in 1905 with a diploma in composition, Kodály wrote his dissertation on " the verse structure of the Hungarian folk song " ( 1906). 1911, in the book " Music theory and harmony " of Matras Zoltai, Kodály says that training is the ultimate goal of music theory, goal of teaching should that be sight- singing and to the ability to tune write by ear.

Turn to education

The 1925 refers to both the turning point in Kodály's work as well as in the Hungarian music education. An experience prompted him to rethink. On a hike, he met a group of singing girls, who were on a school trip. Your singing, influenced him so much that he only saw a future with musical illiterate. Kodály recognized: It is more important who is singing teacher in a village than he who opera director. Since then, introduced the general Kodály music education on a level with the technical training; and there was a link between the teaching and composing activities.

The philosophy of education

Zoltán Kodály's ideas on the reform of music education back to the problems as well as social and cultural circumstances in Hungary. The Kodály concept has connections to other theories of the time and is based on the Hungarian culture. Nevertheless, it may be applied to other musical culture needs. The universal genius Kodály, who was in a person ethnomusicologist, cultural politician, composer, pedagogue, music and speech scientists, sought in his writings and speeches to particular cultural and political changes. With his saying " music belongs to everyone " called Kodály, making music for the purposes of general education available to everyone: "We are convinced that mankind happier when they make music learning, and who contributes its part in this development, has not lived in vain. " Because: " The renewal must come from below. What good are the best curricula, the wisest policy, if no one is there, they realized with heart and conviction. Soul shaping on administrative way is not possible. However, it is much easier to administer shaped by beauty and knowledge souls. Yes, but this would require a change of public opinion. "

Educational legacy

In his article published in 1929, " Children's Choirs " emphasizes Kodály: "Music is a common good ," and sat down as a democratization of Hungarian musical life. The music is supposed to attain its general meaning similar can assume among the Greeks in ancient central role in Hungary again. Kodály's goal was to each person, not just the educated, to make the music accessible. The human voice and her vocal is the instrument of all, and because the voice is all most easily accessible as a tool can, done this way masses of music and be effected in this way a large area of cultural policy change. The trigger for the reform of the Hungarian Kodály music education calls for the musical residue three factors: Firstly, the neglect of the school as an institution, on the other, ignoring the early musical education in kindergarten and the disinterested attitude of the professional musician. He called for a reform of the school system, the state should ensure that the music lessons being systematically expanded. Similar to Leo Kestenberg it requested in its school reform, Kodály is of the opinion that the future of education in the school decides, because the school has the task of bringing the children to the first musical experiences. The daily chanting is also conducive to the intellectual development of children; choral singing promotes the thinking of the community and educate the members to disciplined people. Only through the revision of the musical learning content is the reform of music teaching, however, not feasible. The better education and the appreciation of the music teacher status should be realized. Therefore, he called for a way to improve the school singing lessons. Just as every person can write and read, the mastery of the notes is the basis of any understanding of music.

The importance of voice culture as a political tool

In the center of the design, the active singing and playing the student is. It follows the next important principle, namely the emphasis on challenging choral singing. The choral singing is using the Solfeggios pave the way for ear training as art music. Because " only through ear training, the path leads to the understanding of music " and " only through awareness of musical hearing the recording of the musical language of the work is possible and the only way is the to be separated from the music content comprehensible ". Only through the formation of a good hearing is each student to a capable musician. The singing should be encouraged at the latest at school, because the children are aged 6 to 16 years most receptive for their most important musical experiences. Because of this, Kodály uses particularly for the early onset of ear training at kindergarten age. In his essay "Music in the Kindergarten" (1941-1957) Kodály emphasized that " a form of musical hearing is necessary and indeed systematically ". " When the soul is almost up to the seventh year broke her, what may have only an early stage can be sown, no longer grow ." The task of the kindergarten is essential to the foundation of the Community Education through music. The classes in choral singing is done by progressive exercises from the "Choir School". This is a course of musical education from the very beginning in kindergarten to concert level. The pieces characterizes a slight singability with color harmonies, so that from the beginning singing in a sophisticated polyphony is possible. Basis of the method is the Hungarian folk music, to be sung at a high musical level. Because the folk music was the musical mother tongue and form therefore the starting point for music lessons. You should be mastered before learning about other musical works. The goal of music education after the Kodály pedagogy is to develop an accurate idea of ​​sound. Sight- singing and ability to write Heard be trained, and the sense of rhythm and the ability to transpose be practiced. As a prerequisite, all children must master only to read music before they learn an instrument. The reading notes they learn in the Solfeggio lessons in the group. The group classes is a central component of Kodály concept in terms of instrumental training. In the second year of the singing training the children can get also instrumental private lessons, supplemented by the Solfeggio lessons.

Methodological teaching principles

The relative solmization took Kodály subsequently in his reform idea. Originally the method from England, where in the 19th century, inter alia, John Curwen had introduced this method in music lessons. The relative solmization takes in the Kodály concept a central role. They should be used from the both handset and professional musicians used in the musical education of the people. The Solfeggio used for ear training and the formation of the musical mind. In the Solmisations method there for seven syllables that represent the degrees of the scale, each a different hand signs. The syllables are called do-re -mi -fa -so- la -ti -do. They can be modified as needed, so that alterations in fa to fi as to Si and Ti to Ta, and depending on whether the sound is to be increased or decreased. The training of rhythmic idea is also carried out with syllables ta -ti -ti: long-short- short, supported by elements of movement of the rhythm of Emile Jaques- Dalcroze. The hand is widely-used tool for the representation of syllables, for clapping, for monitoring during walking, and provides opportunity to represent the Solmisations hand signals or gestures during maneuvering. In addition, keep your hands use as a replacement of the line system and can be used as a means of illustration for shifting shapes and modulations. The hand can also provide assistance in drafting harmony. Start with the hands in kindergarten, the clay material is gradually systematically expanded: In kindergarten songs with reputation - third are only sung solmisiert, then follow progressive pieces that a pentatonic scale, major-minor triad, major-minor pentachord, hexachord, seven-step scale to augmented and diminished intervals, include.

Prevalence and impact of the Kodály method

Kodály's demands for reform were spread by his disciples and show up for school reform in 1948, since then there is a uniformly structured school system in Hungary. The Music Lesson is based in the general education schools and also in the music schools on the " Kodály Method". What was new was that special music primary schools were set up, their curriculum every day provides music lessons. The main reason for the spread of the Kodály method was 1964, the Conference of the ISME (International Society of Music Education in Hungary), which was founded in 1953 by Leo Kestenberg. The Kodály method was spread around the world. The method was adapted uncritically, especially in the USA, in Europe continue the adaptation is distributed with concerns. Since the founding of the International Kodály Society ( IKS ) in 1975 in Kodály's birth city of Kecskemét, Kodály's ideas are further developed in the Kodály companies.