Quotes by Kodály:
“Those who cannot see
what they hear and
cannot hear what they see,
are not musicians”
“Brilliant pianists could not
write down a single melody…
after hearing it 15 to 20 times! They are not musicians but
“No other subject can serve the
child’s welfare - physical and
spiritual - as well as music”
“We must look forward to the
time when all people in all
lands are brought together
through singing, and when
there is a universal harmony”
Zoltán Kodály: Up Close and Personal
~ A Student’s Account
April 11, 2015 | National Association for Music Education
(Eastern Division Conference)
My first class
His life - milestones
Kodály as the educator
- Is his work a method?
Kodály as the composer
- Listening to excerpts of Kodály’s symphonic works
- Psalmus Hungaricus brings international fame
History and Development of solfège:
- Creation of solfège syllables -listening to the Hymn where it started
- Tonic Sol-Fa - hand signals
- The Two Systems: Fixed Do vs. Movable Do
Other Great Contributors of the 19th and 20th Centuries
Kodály Music Education in action:
- Audience Participation
Hand-signals, Sight-singing (multiple parts), dictation of rhythm and melody, assigning proper
solfège syllables and more
- A movie clip by Steven Spielberg
February 13, 2015 | Community MusicWorks
Comments from Presentation:
1. What new or compelling ideas did you gain from today’s discussion?
The importance of singing!
Teaching music in a natural progression, bringing people together through singing
That Kodaly’s philosophy was about the value of music for children and society, not just methodology.
That teaching solfege can start not with 7-note scale, but pentatonic.
The idea of using pairs more between students is interesting to me, although I am not sure how to adapt it for very beginning students who have difficulty hearing the basic intervals to begin with.
Fascinating workshop! I found out so many things I didn’t know- about Kodaly, singing history, and teaching. Jorge is a fascinating man! Thank you for your stories, information, and ideas!
Compelling ideas for use in pedagogy.
Information on Kodaly mainly and others (such as Arezzo, Boethius).
2. How might these ideas impact your own practice going forward?
I would love to find more folk songs to integrate into my teaching practice. I also realize my
solfege is a little rusty! Even though I sing with my students often, I can see the value of
using solfege more often.
I will work on pentatonic singing with my violin students.-Knowing how the system was created
using a piece that uses the different pitches inprominent locations gives me some ideas for
how to familiarize students with the pitches andsyllables.
Using more solfege and body motions when teaching music would be something I would
like try more.
I am very interested in discovering more about Kodaly and this solfege method.
I learned fixed do in college, and while singing has always been comfortable for me, I find it challenging to swtich to moveable do very quickly.
We will see! Definitely will use things I learned today.
3. Any other comments or suggestions?
This was helpful and inspiring. Thank you!
I enjoyed your presentation – the variety of history, anecdote, and examples of solfege.
It’s difficult for me to get a sense of how to apply these exercise for beginners based on doing
it with experienced musicians who have already studied ear training. I would love to try
something unfamiliar or go through step by step how to introduce them.
Maybe more information on how to teach this method.
It was amazing! Really, really enjoyed the seminar.