Kodaly Philosophy of Music Education

A complete program of music education contributes to the emotional, intellectual, aesthetic and physical development of the child.  When music is part of their daily lives, most children do as well or better in core-curriculum subjects than children who do not have this experience.  A complete music education will provide a child with the necessary tools to help him achieve a fuller life.

The Kodaly concept is a philosophy of music education inspired by Hungarian composer and educator, Zoltan Kodaly (1882-1967).  Kodaly believed that everyone is born with a musical bility that should be allowed to grow and develop from early childhood, beginning in the home and continuing in a school music program.  The aim is to instill a love of music in each child.

Singing is the basis for music instruction in a Kodaly curriculum.  Children develop their language by hearing and imitating speech patterns, and they learn to match pitch and sing in tune by hearing and imitating musical patterns. 

Some of us are physical learners.  We learn by doing.  Some of us are visual learners.  If we see a road map we can find our way.  Others are aural learners.  Tell us how to get there and we'll reach our destination.  So it is in the Kodaly philosophy.  We prepare each musical element in these three ways.

Physical Preparation:  The students sing songs with some physical motion that will relate to the new concept such as clapping the rhythm of the words or showing the contour of the words with arm movements.

Aural Preparation:  The students may indicate the new element by giving a signal when they hear the sound.

Visual Preparation:  Pictures and icons are used to represent the musical notation.

Kodaly once said that a good musician must see what he hears and hear what he sees.  Once a musical element is taught, it is reviewed in many ways for an extended period of time.

Ways to Practice an Element

• Reading

1. on flashcards
2. in short songs or phrases
3. in longer known songs
4. in an unknown song
5. in an art song

• Writing

1. in short examples
2. in the air with finger
3. with writing sticks
4. with pencils
5. in short examples such as a phrase or motif
6. on staffboards with chips for notes or on white marker boards with dry erase markers

• Part-Work (two or more things occuring at the same time)

1. sing a song and clap rhythm
2. sing a song and pat beat
3. beat and rhythm in two groups
4. add an ostinato
5. canon (rhythm and melody)
6. sing a song and make solfa hand signs
7. call and response songs
8. partner songs
9. simple two part songs
10. known songs with a composed second part

• Memory

1. Memory games and exercises are a great way to reinforce known elements.  Games may include:  Sneaky Snake, Clap What You Don't See, Erasing Game, Echo Singing

• Inner Hearing

1. Inner hearing means being able to hear a song within yourself and either identify the song or sing back a melodic phrase.  Inner hearing activities may include:  Mystery Song, Song Match, Post Office, Dictation, Bingo Games, King Of The Mountain

• Form

1. Same = two apples
2. Different = apple and banana
3. Similar = red apple and green apple
4. Letters:  A B C  A'

• Improvisation

1. Games that use textual or movement improvisation, rhythmic and/or melodic question and answer

• Listening

1. Live performances or good recordings

Why Play Games?

Games are played to learn and reinforce social skills, musical skills and to have fun!  Games are times of relaxation during the music lesson and may be based on songs that include a descriptive movement, on rhymes that include movements, and on singing games with traditional lines or partners including folk and square dances.

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Google Classroom Cheat Sheet for Students by Shake Up Learning (1).pdf (1863112)