Philosophy

The First Note

The Kodály Concept

Is a philosophy of education and a concept of teaching.
Is a comprehensive program to train basic musical skills and teach the reading and writing of music.
Is an integration of many of the best ideas, techniques, and approaches to music education.
Is an experience-based approach to teaching.

Essential and Key Elements of the Concept

Singing

We should first learn to love music as human sound and as an experience that enriches life.
The voice is the most natural instrument and one which every person possesses.
Kodály called singing “the essence” of this concept.
Singing is a powerful means of musical expression.
What we produce by ourselves is better learned; and there is a stronger feeling of success and accomplishment.
Learning through singing should precede instrumental training.
It is in the child’s best interest to understand the basics of reading music before beginning the difficult task of learning the technique of an instrument.
What do we sing?
- Folk songs and games of the American Culture
- Traditional children’s songs and games
- Folk songs of other cultures
- Music of the masters from all ages
- Pedagogical exercises written by master composers
Singing best develops the inner, musical ear.

“If we ourselves sing often, this provides a deep experience of happiness in music. Through our own musical activities, we learn to know the pulsation, rhythm, and shape of melody. The enjoyment given encourages the study of instruments and the listening to other pieces of music as well.” (Kodály, 1964)

Teach In Harmony

The Orff Concept

Orff Schulwerk is one model for music and movement education in schools that offers a potential for active and creative music making by all children, not just the musically talented. This approach to learning, developed by Carl Orff and Gunild Keetman, builds musicianship through singing, playing instruments, speech, and movement. Active music making is the core of this philosophy, supporting both the conceptual and affective development of children. Active learners develop more thorough and better long-term understanding of the material and ideas involved. Children who regularly improvise and create their own dances and musical settings are uniquely prepared to solve problems in many other contexts.

"Tell me, I forget, show me, I remember, involve me, I understand."

"Since the beginning of time, children have not liked to study. They would much rather play, and if you have their interests at heart, you will let them learn while they play; they will find that what they have mastered is child's play."

Carl Orff

The Future Sounds Good

Kodály and Orff both use:

Folk Music

Folk music is the music of the people. There can be no better material for singing than the songs and games used by children for centuries.
Folk Music has all the basic characteristics needed to teach the foundations of music and to develop a love of music – a love that will last a life time.
Folk music is the classical music of the people, and, as such, is a perfect bridge leading to and working hand-in-hand with-art music.

“The compositions of every country, if original, are based on the songs of its own people. That is why their folk songs must be constantly sung, observed, and studied.” (Kodály, 1964)

Solfège

Solfège is the best tool for developing the inner ear.
It is an invaluable aid in building all musical skills:
- Sight singing
- Dictation
- Ear training
- Part hearing
- Hearing and singing harmony
- Perceiving form
- Developing memory
The moveable do system, highly developed in English choral training, was advocated by Kodály as a tool for teaching musical literacy.
Use of the pentatone (do, re, mi, sol, la) was recommended by Kodály for early training of children because of its predominance in their folk music. Pentatonic is the basis for much of early Orff compositions.

Text adapted from the AOSA and OAKE websites.

Excellent video explaining the Orff Schulwerk philosophy.