The Kodaly Method

Music education methods have varied in so many ways, it seems a daunting task to figure out which is the correct philosophy or style of teaching. The big names in elementary music today are Kodaly, Orff, and in a slightly lesser light depending on your geographic location, Gordon and Dalcroze. These methods are still fairly young in the realm of music education and have pulled ideas and theories from the philosophies of Aristotle, Pestalozzi, Mason, Woodbridge, Ives, and many others. But what if the newer aforementioned methods do not fit my style of teaching? What if these methods are lacking in certain areas or do not coincide with my philosophical beliefs? Many teachers are steadfast in their ways of teaching the Kodaly method or the Orff

Kodaly believed we should first learn to love music as human sound and as an experience that enriches life. His approach is said to be an integrated approach taking the best ideas, techniques, and approaches to music education from other philosophies and methodologies. It was similar in certain ways to the Orff approach, the child begins with immersion in music, and elements are taught in a sequential manner that follows the development of the child. Also, the music is taught with an experience-based approach and not a cognitive-based approach. However, they differ in many ways as well. Kodaly is a singing first approach to music education. According to the Kodaly method, learning through singing should precede instrumental training. Although I did not certify in Kodaly levels, I possess a basic understanding of the approach and what could be taught at the highest level of his method. Many teachers I know are certified in the Kodaly method and are amazing teachers (although I see bits and pieces of other approaches in these teachings). Again, however, it does not fit my personal teaching

And similar to the Orff method, the children are taught to develop an inner awareness of beat and rhythm through movement. The Gordon method is, from my understanding, not just for elementary and general music, but for all levels and contexts of music education. I fully subscribe to the idea of audiation before reading, but again, the approach as a whole does not fit.

Emile Jaques-Dalcroze created an approach to music with three main components in mind, Eurhythmics, Solfège, and Improvisation. Eurhythmics, teaches rhythm, structure, and expression through movement, much like the Orff method. Solfège, develops the sense of pitch and tonality which is important in both the Kodaly and Gordon methods. And Improvisation, or spontaneous musical creating, an element also important in the Orff method. I have participated in a few Dalcroze workshops and read information at a very shallow level, so my understanding is rudimentary at best, but certain aspects are also not quite for