In the last blog post I examined the importance and value of the famous Suzuki Method. Today I am continuing my exploration of various music educational systems by highlighting the Kodály Method. Unlike the Suzuki, this Method focuses on studying singing, pitch and musical notation rather than learning an instrument however, these elements are crucial to musical development.
Zoltan Kodály (1882-1967) was an important Hungarian composer and music educator. He worked closely with fellow Hungarian Béla Bartók (one of the most influential composers of the twentieth century) collecting, assimilating and transcribing folk music.
Kodály started developing his own method of musical learning after he became disenchanted with the general level of music education in schools. This system is quite different in approach to the Suzuki Method because it focuses on singing. By interesting children in singing from the outset, Kodály encourages them to develop a sense of pitch and notation before instrumental playing is even introduced.
Kodály’s Method is really very simple. He reasoned that singing was the most natural vehicle to communicate music and indeed it can produce many favourable feelings and emotions in humans potentially having a profound effect on intellectual development.
With this in mind, Kodály introduced three key learning stages which are the unconscious experience, the making conscious and reinforcement. Another explanation for this particular sequence of music study is the preparation, presentation and practice. Pupils start off by imitating songs and rhymes which are sung in class (or groups) developing more and more sophisticated vocabulary to describe their experiences then finally they learn to recognise the particular written figure that symbolizes each experience. This system draws on many musical elements such as rhythmic movement, rhythm syllables, rhythmic sequence and notation, melodic sequence and hand signs. Students taught in this way quickly become confident performers and are imbued with secure sense of pitch and pulse.
The musical material for this method is derived mainly from folk music and Kodály’s own compositions. He collected, composed and arranged a large number of pieces for pedagogical use and alongside Bartók (and other musicians), and published six volumes of Hungarian Folk Music which included over a thousand songs for children, many of which feature in his method. The Kodály Method has been proved to significantly improve all areas of musical study as well as academic performance especially in subjects like reading and maths.
Extract from So You Want To Play The Piano? published by Alfred Music
For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.
You can find out more about my other piano publications and compositions here.