{"id":2020,"date":"2016-04-14T16:59:01","date_gmt":"2016-04-14T20:59:01","guid":{"rendered":"https:\/\/www.musikalessons.com\/blog\/?p=2020"},"modified":"2023-01-25T16:08:49","modified_gmt":"2023-01-25T21:08:49","slug":"the-kodaly-approach","status":"publish","type":"post","link":"https:\/\/www.musikalessons.com\/blog\/2016\/04\/the-kodaly-approach\/","title":{"rendered":"The Kod\u00e1ly Approach \u2013 More than Hand Signs"},"content":{"rendered":"
\"Zolt\u00e1n<\/a>
Zolt\u00e1n Kod\u00e1ly<\/figcaption><\/figure>\n

When thinking back on early music experiences, we often reminisce about the elementary school days. Those memories could be filled with costumed performances, recorders, games and dances, and a myriad of other things. What our memories don\u2019t often reveal is the training and pedagogical approaches by which our elementary and early childhood music teachers taught us.\u00a0 There are many pedagogues elementary music teachers draw inspiration from for music teaching and learning. One of which is Zoltan Kod\u00e1ly.<\/p>\n

There are many preconceived notions about \u201cThe Kod\u00e1ly Method\u201d and how it is used in music classrooms by music teachers. Often confused as \u201cthe one with the hand signs\u201d (that weren\u2019t even developed by Kod\u00e1ly, more on that later), there is so much more to this approach<\/em>. The inspiration Kod\u00e1ly teachers find in Zoltan\u2019s teachings is a starting point for facilitating students\u2019 music learning in each and every individual, situated, learning environment<\/p>\n

<\/h2>\n

<\/h2>\n

1. First and foremost, the Kod\u00e1ly approach is sequential<\/strong><\/h2>\n

One of my great Kod\u00e1ly mentors says, \u201csequence is life, life is sequence.\u201d This is particularly true when it comes to education, and is to essential music education. The spiral curriculum, based on a cognitive theory by Jerome Bruner, is another way to think about a sequential approach. Essentially, each concept builds upon one another, with early learning serving as the foundation for more complex concepts. Think of it in terms of a staircase: without the bottom step, you would not have a place to put the second, and so on and so forth. Music education functions very much the same way.<\/p>\n

Let\u2019s look at an example. In a Kod\u00e1ly inspired sequence, one of the very first concepts introduced in Kindergarten is \u201csteady beat.\u201d It is the<\/em> fundamental musical concept by which all other music learning is built upon. Once a student has mastered steady beat, they can go on to read, perform and create rhythm patterns, melodic patterns, purposeful and creative movement, and play an instrument alone and with others. Without the foundation of a steady beat, it would be very difficult to do any of these things, or any other musical activity.<\/p>\n

2. Kod\u00e1ly inspired teachers use repertoire from the folk song tradition.<\/strong><\/h2>\n

The Kod\u00e1ly approach was developed by Zoltan Kod\u00e1ly, in Hungary, post war era, when the country was trying to rebuild its identity. Without going into too much historical context (that\u2019s a<\/p>\n

\"Bela
Bela Bartok using a gramophone to record folk songs sung by Czech peasants.<\/figcaption><\/figure>\n

completely different article), Kod\u00e1ly and his friend B\u00e9la Bart\u00f3k were ethnomusicologists as well as composers and educators. Ethnomusicology is the cultural context of music. The cultural context Kod\u00e1ly and Bart\u00f3k were interested in, was their own \u201cmother tongue\u201d, Hungarian. As they collected songs from near and far, they were able to analyze and categorize them by rhythmic and melodic elements (among others). This became the basis for Kod\u00e1ly\u2019s pedagogical sequence.<\/p>\n

A Kod\u00e1ly sequence in America functions much the same way. The folk song repertoire dictates the pedagogical spiral curriculum, beginning with the simple and building toward the complex. To give it life, think of this. What do you hear children sing or call on playgrounds all over? \u201cNa, na, na, boo, boo.\u201d Found in many children\u2019s songs, that three-note motive makes up the fundamental call from which many Kod\u00e1ly inspired teachers build. In elementary school music class, many young musicians read and perform rhythm patterns containing \u201cta\u201d and “ti-ti.\u201d This is another example of a fundamental element, in this case rhythmic, by which many Kod\u00e1ly inspired teachers begin their spiral curriculum<\/p>\n

3. Kod\u00e1ly inspired teachers use tools, like rhythm and solfege syllables and hand signs as an aid for teaching music literacy<\/strong><\/h2>\n

When you first hear a Kod\u00e1ly inspired teacher sing, \u201cdo, re, mi,\u201d I\u2019m sure many of you are transported back to your childhood days of watching The Sound of Music<\/em> with your family. As it turns out, those syllables are three of seven that designate pitches, collectively called solfege. Many musicians use solfege as a tool for reading melodic content, although the Latin syllables are more readily used by singers to read a melody prior to singing text. Since a child\u2019s first instrument is their voice, singing is often the fundamental component to an elementary music classroom. This is certainly the case in Kod\u00e1ly inspired classrooms.<\/p>\n

\"solfege<\/a>Like any good educator, Kod\u00e1ly inspired music teachers use a great deal of tools that aid in music teaching and learning. In addition to solfege syllables, rhythm syllables (like \u201cta\u201d and \u201cti-ti\u201d) are an important tool to promote music literacy. There are two main types of rhythm syllables that are used in the music classroom. The first is a system based on note value. An example of this system would be the syllables developed by Chev\u00e9. In this system, the quarter note is \u201cta\u201d, the eighth note \u201cti,\u201d etc., no matter where the note is placed in a rhythm pattern. The second system of rhythm counting is a beat-based system. \u00a0Examples of this system include the \u201cTa-ka-de-mi\u201d system, where the beat is always \u201cta\u201d regardless of what its note value is, and the Gordon system, where the beat is always \u201cdu.\u201d The most readily used example of a beat-based counting method is traditional counting (i.e. \u201cone and two and\u2026\u201d). Although many musicians transfer to the traditional method of counting, they often begin their music education in elementary school with one of the other systems above, which highlights either note value or beat function.<\/p>\n

Perhaps the most stereotypically \u201cKod\u00e1ly tool\u201d is the use of hand signs when singing solfege syllables. Despite common misconception, Zoltan Kod\u00e1ly did not develop the hand signs used to accompany solfege; Joseph Curwen did. Kod\u00e1ly simply adopted this tool, like those listed above, to his pedagogical approach in order to aid in developing children\u2019s music literacy. With the addition of the hand signs, students have an aural (singing and listening), visual (reading notation), and kinesthetic (using hand signs) component to music literacy. \u00a0These three modes of representation (aural, visual, and kinesthetic) are part of Jerome Bruner\u2019s cognitive theory from which the spiral curriculum comes. Bruner highlights enactive (action), iconic (visual), and symbolic (language) representation as important attributes to children\u2019s learning. The rhythm and solfege syllables, along with the hand signs and clapping rhythms, complete the triad needed to facilitate children\u2019s music literacy<\/p>\n

4. The Kod\u00e1ly approach emphasizes purposeful play and exploration through activities like singing games and play parties<\/strong><\/h2>\n

Play is how children work. Regardless of what we are trying to teach children, particularly young children, it is essential for children to have the opportunity to play and explore before focused, high concentration learning takes place. This is one of the main tenants of the Kod\u00e1ly approach, and most elementary music pedagogical approaches. If you walk into a music classroom, there are times where it may seem chaotic or unfocused to the naked eye. So much learning takes place in ways that don\u2019t feel like learning to students, which is the basis of their appeal.<\/p>\n

Take for example, a game many children play inside and outside of the music classroom, \u201cRing Around the Rosie.\u201d There are so many<\/em> reasons to play this game, and not always for inherently \"Kod\u00e1ly<\/a>musical reasons. First and foremost, making a circle can be tricky. When it\u2019s time to move in a circle? That is really<\/em> tricky. Not only are students learning about self-space and shared-space, they have to think about what direction to move in, which is the opposite <\/em>of those directly across the circle. Add to that the singing (of those three fundamental pitches we highlighted earlier), walking to a steady beat with the correct spacing so they don\u2019t run into anyone, and hearing the final motive and home note when it\u2019s time to \u201call fall down.\u201d That\u2019s a lot of stuff in a little nursery rhyme!<\/p>\n

The moral of the story: even if students are \u201cunsuccessful\u201d during an exploratory period, playing and working with others is how they come to know the ways of the world, including the musical world. Kod\u00e1ly inspired teachers use a variety of games, folk dances, and play parties (another traditional genre of singing games and dances) to introduce, explore, and reinforce musical concepts with their students. This way of teaching and learning allows for students to not only be invested in their learning, but to find joy in music making experiences<\/p>\n

5. A Kod\u00e1ly inspired pedagogical sequence lays the groundwork for incorporating improvisation, composition, creative movement, and many other musical possibilities<\/strong><\/h2>\n

So far I have provided a very small amount of context and given examples of the plethora of tools that Kod\u00e1ly inspired teachers use in the music classroom. I find it important at this juncture to emphasize that while the Kod\u00e1ly approach was originally developed to aid in strengthening a nation\u2019s cultural identity through music literacy, it does not<\/em> end there. Although its inception was several decades ago, in a completely different country halfway around the world, a Kod\u00e1ly inspired philosophy and pillars of music education are most certainly applicable to modern day music education.<\/p>\n

\"elementary<\/a>By building a strong foundation of musical literacy through aural, visual, and kinesthetic representation, young musicians are well equipped to not only exhibit music learning, but create music independently of a teacher.\u00a0 Skills learned through a Kod\u00e1ly inspired sequence lend themselves to improvisation and composition, with either a \u201cby ear\u201d model, or with actual pen to paper. Understanding of musical form and interpretation can be extended to choreographed creative movement and instrumental accompaniment. These are only two examples of what a strong foundation can lay for lifelong music participation and creativity.<\/p>\n

Now, to be sure, these five points outlined above are not exclusively unique to the Kod\u00e1ly approach or Kod\u00e1ly inspired music educators.\u00a0 I would argue that all good pedagogy includes a sequential curriculum, whether in the music classroom or otherwise. Many music teachers derive curricular concepts and lesson material from a folk song repertoire, either exclusively or with the addition of other types of music. Solfege and rhythm syllables and hand signs are readily used in music classrooms everywhere in the world, not strictly elementary nor Kod\u00e1ly inspired classrooms. And finally, curriculum, music or otherwise, often does and should include both an exploratory phase and opportunities for students to exhibit their understanding of curricular concepts through higher order thinking skills.<\/p>\n

My hope in outlining these tenants of the Kod\u00e1ly approach is to provide context and clarification to the philosophy in general terms. The Kod\u00e1ly approach is more than just \u201cdo-re-mi\u201d or hand signs, it is a source of inspiration for music educators to model their curriculum and teaching to facilitate music literacy and creativity. This is in no way a comprehensive list, nor a complete explanation of how the approach evolved or is implemented, but will hopefully prove as a starting point for those who wish to know more. Every good sequence has to start with some sort of foundation.<\/p>\n","protected":false},"excerpt":{"rendered":"

When thinking back on early music experiences, we often reminisce about the elementary school days. 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