The Importance of the Kodály Approach to Music Education

The Kodály approach to music education is a proven path to musical literacy. In Kodály, the voice is the primary instrument and concepts are taught sequentially. Many principles of Kodály can be easily applied to the teaching of piano and other instruments.

As a teacher of piano and composition, I constantly draw from my training in the Kodály approach.  I received my MME in Kodály from Holy Names University and subsequently taught school music for many years. Eventually, I received a grant from the Gerbode Foundation to create and implement a Kodály training program involving two separate groups of musicians. After completing their yearlong course, these paraprofessionals were able to provide music instruction in schools throughout the Bay Area.

The Kodály approach was originated by the Hungarian composer, Zoltan Kodály who believed that music should be taught in a sequential manner using traditional folk songs of the culture as primary teaching materials. These authentic songs are regarded as the child’s musical “mother tongue.” Melodic, rhythmic and other musical concepts are presented in an order corresponding to child development and prevalence in the musical culture. Some familiar Kodály teaching aids include movable do solfegge with hand sign reinforcement and rhythm syllables. Because of the emphasis on singing, children develop their musical ear and ultimately become musically literate. In other words, children who have studied Kodály for a number of years can pick up a piece of choral music and immediately sing it at sight. Although the concepts are learned through the voice, they can also be applied to the playing of any instrument. Kodály programs can be found in schools throughout the United States and the world.  Although we tend to associate Kodály music education with school-aged children, Kodály can be an integral part of college-level musicianship and theory classes. 

In the Kodály sequence, each concept is built upon the one learned before. The first stage of the process is for students to hear and sing a group of songs featuring a new concept. Then, the concept is presented through written notation.  Once children learn to read and write the concept, they are free to improvise and compose.  An example of this process is the teaching of two eighth notes together. Before this concept is taught, the children already know (sing, feel, clap, notate and read quarter notes and quarter rests.)  The two eighth notes are sung and chanted in various songs and rhymes, e.g. “Rain, rain, go a-way.”  Children tap the beat and clap the rhythm, while singing these songs.  Eventually, they learn to recognize the patterns by ear and by sight.  Later, they can improvise and compose with the accumulation of the rhythmic concepts they have mastered to this point.  Melodic patterns are taught in a similar fashion. 

Fortunately, I received excellent training in the Kodály approach while I was a graduate student.   In addition to implementing preschool and elementary school music curricula and orchestrating a training program, Kodály became the cornerstone of my music theory courses at Diablo Valley College. I found that college students had a deeper grasp of theory and musicianship through singing.

The emphasis on folk music in the Kodály approach led directly to my involvement in Calicanto: California history through song.  It is a joy to work with like-minded colleagues also trained in Kodály. 

I now teach exclusively in my private studio.  I try to incorporate many Kodály inspired concepts as possible when working with students.   The sequence of piano study is slightly different than the typical Kodály order.  However, singing is an integral part of my instruction.  For example, children clap rhythms and sing the beat while they play.  I urge students to compose and improvise in addition to studying specific pieces. 

Here are some teaching tips and strategies I have learned through my Kodály experience.  These pertain primarily to piano instruction but can apply to other instruments as well:

1.  Be prepared!   Develop a long and short-term lesson plan for each student.  In advance, consider the songs and pieces you might use to teach specific concepts. It is advantageous to let the student choose repertoire from a variety of options.

2.  Help students learn to sing in tune. If they have difficulty doing so, work on matching pitch using a descending minor third (so – mi in movable do solfegge,) the easiest interval to replicate.  You can do this in simple call and response chants. e.g. “How was your day at school.” It is important to pitch these chants in the vocal range of the student. 

3.  Make sure your students can keep a steady beat.  This is essential in all phases of music!  Stepping the beat while singing or chanting a rhyme can really help.  While you play a piece, have the student tap the beat, or play an even pulse on one of the piano keys.  From the very beginning, encourage the student to count out loud in her/his singing voice while playing! 

4.  If you have the time and opportunity, try to include solfegge training.

5. Remember to prepare the student before actually teaching a new concept.  This can happen through listening and singing.  Then after the concept is presented, don’t forget to reinforce it in subsequent pieces and activities.

6.  Be careful to present only one new concept at a time!  It is difficult for students to process more than one. Build on the foundation of that student’s knowledge.

7.  Engage the student’s ear by having him/her figure out melodies on the piano and harmonizing with simple chords.  Singing can reinforce this process. 

8.  Phrasing and shading dynamics can be better understood when a student sings the melodic line. 

 9.  Composing and improvising can strengthen the grasp of all concepts.  It is also lots of fun!