Singing
”If one were to attempt to express the essence of this education in one word, it could only be – singing.” (Kodály’s Preface to Music Education in Hungary, Corvina Press 1966 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Zenei nevelés Magyarországon – Előszó 1966)
”[...]a more profound knowledge of music is based exclusively on singing. [...] through this (the youth) will arrive to the threshold of a higher musical world.” (Interview Given to the Periodical ’The Young’ 1941 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Nyilatkozat a „Fiatalok” című lapban 1941)
”Deeper musical culture has always only developed where singing has been its foundation. [...] The human voice, accessible to everyone, free, and still the most beautiful instrument, can be the only soil of a general musical culture extending to the masses.” (Singing Youth – Introductory Article in the First Issue of the Periodical 1941) (Éneklő Ifjúság – Bevezető cikk a folyóirat első számában 1941) (Translation by the author of the publication)
”Through this instrument you can reach the exhilarating proximity of the greatest musical geniuses[...]” (Children’s Choirs 1929) (Gyermekkarok 1929) (Translation by the author of the publication)
”[...]singing [...] is the most natural form of musical activity” (At the Paris Congress of Jeunesses Musicales – Lecture 1966) (A Jeunesses Musicales párizsi kongresszusán – Előadás 1966) (Translation by the author of the publication)
”[...]the best start to music education is singing, [...] a child should learn to read music through singing before being given an instrument[...]” (Kodály’s Preface to Musical Reading and Writing by Erzsébet Szőnyi 1954) (A zenei írás-olvasás módszertana – Előszó Szőnyi Erzsébet könyvéhez 1954) (Translation by the author of the publication)
”We must strive for music-making based on singing, emerging from the soul, instead of mechanical instrumental playing, making music from the fingers. Instrumental study should not be begun until a child can sing beautifully from notation. Only in this way can it be hoped that one will also sing on the instrument. [...] singing without an instrument has to be continued to the highest level in two and in multiple parts.” (55 Two-Part Exercises – Preface 1954) (Ötvenöt kétszólamú énekgyakorlat – Előszó 1954) (Translation by the author of the publication)
”It’s a lucky child who builds the first associations to musical notation through his or her own voice. Once the child has already learnt to sing with a notion of instrumental positions, it is difficult to make singing the primary notion. And if the child does not sing at all, it will be hardly possible, or not possible at all, to truly fulfill free, intimate singing on a instrument.” (Kodály’s Preface to Musical Reading and Writing by Erzsébet Szőnyi 1954) (A zenei írás-olvasás módszertana – Előszó Szőnyi Erzsébet könyvéhez 1954) (Translation by the author of the publication)
”Those who are taught first to sing, and only after that to play an instrument, will sooner grasp the melos of all music.” (Speech at the Opening Ceremony of the Academic Year 1946/47 at the Academy of Music 1946) (Beszéd a Zeneművészeti Főiskola 1946-47. évi tanévnyitó ünnepségén 1946) (Translation by the author of the publication)
”The word heard most frequently from Toscanini during his orchestra rehearsals was ’Cantare!’, in thousands of shades of expression.” (Kodály’s Preface to Music Education in Hungary 1966) (Zenei nevelés Magyarországon – Előszó 1966) (Translation by the author of the publication)
”I heard the finest singing in the world by the worst voice – Toscanini’s: [...] ‘Cantare! Cantare!’” (Who is a Good Musician? – Address Delivered at the Closing Ceremony of the Academic Year in 1953 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Ki a jó zenész? – Beszéd a Zeneművészeti Főiskola 1953. évi tanévzáró ünnepélyén)
”[...]I used always to say the best singing I have ever heard was the singing of some phrases at the rehearsals of Toscanini with his ’rauque’ voice, the best singing I have ever heard in my life.” (Kodály’s original English) (Radio Interview by Don Gillis with Zoltán Kodály and Walter Toscanini for NBC, New York 1965) (Toscanini emlékezete – Rádióbeszélgetés New Yorkban 1965)
”The Question is: What to Sing?” (Music in Kindergarten 1941) (Zene az óvodában 1941) (Translation by the author of the publication)
”[...]only artistic value is appropriate for the child. All else is detrimental. [...]
An endless range of suitable masterpieces is available to schools.” (Children’s Choirs 1929) (Gyermekkarok 1929) (Translation by the author of the publication)
”[...]only the best is good enough for the child.” (Music in Kindergarten 1941 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Zene az óvodában 1941)
”No one is more receptive and intuitive than a child in understanding the purest art. Within every great artist a childlike quality remains vibrant, sensed by youth as a kindred spirit.” (Children’s Choirs 1929) (Gyermekkarok 1929) (Translation by the author of the publication)
”We must try to educate youth to good music as early as possible. Besides good teachers we want for this purpose good literature, available for children and for beginners in ear-training. I spent much time writing choruses for children and compiling school song books. I think I shall never regret the time thus lost for greater works. I believe I thereby did as useful work for the community as I would have by writing more symphonic works.” (Kodály’s original English) (Popularizing Serious Music – Speech Presented at the Meeting of the League of Composers in New York City 1946 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (A komolyzene népszerűsítése – Előadás New Yorkban 1946)
Folk Song
”[...]folk song is the musical mother tongue of us all. Music instruction must begin with the folk song with which we have been brought up from birth[...]” (Kodály’s original English) (The Role of Authentic Folk Song in Music Education – Lecture held at ISME Conference, Interlochen, Michigan 1966 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (A hiteles népdal szerepe a zenei nevelésben – Előadás, Interlochen, ISME Konferencia 1966)
”Each nation has a rich variety of folk songs, very suitable for teaching purposes. Selected gradually, they furnish the best material to introduce musical elements and make children conscious of them.” (Kodály’s original English) (The Role of Authentic Folk Song in Music Education – Lecture held at ISME Conference, Interlochen, Michigan 1966 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (A hiteles népdal szerepe a zenei nevelésben – Előadás, Interlochen, ISME Konferencia 1966)
”[...]a good folk song is a masterpiece and often proof of amazing creative genius in itself [...] the folk song, besides being a masterpiece of art, is the remembrance of the childhood of the peoples.” (Kodály’s Original English) (The Role of Authentic Folk Song in Music Education – Lecture held at ISME Conference, Interlochen, Michigan 1966 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (A hiteles népdal szerepe a zenei nevelésben – Előadás, Interlochen, ISME Konferencia 1966)
”[...]in the song tradition, the emotions of centuries are immortalized in a form polished to perfection.” (Music in Kindergarten 1941 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Zene az óvodában 1941)
”[...]for Hungarian children pentatonic music is like mother’s milk” (Pentatonic Music, Postscript to Volume I 1945 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Ötfokú zene – Utószó az I. füzethez 1945)
”It is easier to sing in tune without semitones. Musical perception and the skill of finding pitch develop better through steps combined with leaps rather than through a diatonic scale sequence.” (Pentatonic Music – Postscript to Volume II 1947 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Ötfokú zene – Utószó a II. füzethez 1947)
”[...]if the children first acquire the security of the five pillar notes, they can easily add the semitones, from above or below.” (50 Nursery Songs – Preface 1962) (Kis emberek dalai – Előszó 1962) (Translation by the author of the publication)
”Nobody wants to stop at pentatony. But, indeed, the beginnings must be made there; on the one hand, in this way the child’s biogenetical development is natural and, on the other, this is what a rational pedagogical sequence requires.
[...] pentatony is also an introduction to world literature: it is the key to many foreign musical literatures, from the ancient Gregorian chants, through China to Debussy.” (A Hundred-Year Plan 1947 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Százéves terv 1947)
”[...]no nation can be limited to its own songs [...] we go over to other nations’ folk songs, to complete the musical vocabulary and so, after that we can go easily to classical music which is very closely connected to folk songs.” (Kodály’s original English) (Conversation with Judith Nesleny, KMAX Radio Station, California 1966 – Bulletin of the International Kodály Society 1982/2) (A zeneoktatás társadalmi jelentőségéről – Nyilatkozat, Los Angeles 1966)
”Recently I found a collection of Ainu songs. Ainu is a people in the North of Japan, and some of their short, very short songs have striking similarity to Hungarian, and so I shall take them and give them to Hungarian children.” (Kodály’s original English) (The Role of Authentic Folk Song in Music Education – Lecture held at ISME Conference, Interlochen, Michigan 1966 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (A hiteles népdal szerepe a zenei nevelésben – Előadás, Interlochen, ISME Konferencia 1966)
”Should we sing foreign folk songs? Yes, definitely, [...] as far as possible [...] in the original language.” (Bicinia Hungarica – Postscript to Volume I 1937 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Bicinia Hungarica – Utószó az I. füzethez 1937)
”Singing in a particular language and getting to know the character of a foreign people through their music is an indispensable tool in the true learning of a language.” (Children’s Choirs 1929) (Gyermekkarok 1929) (Translation by the author of the publication)
”[...]every nation has only a limited program of rhythm and melodic figures [...] General music must have every possibility of rhythm and melody, only found in the music of different peoples.” (Kodály’s original English) (Music Education, Humane Education – Interview by Margaret Fitzsimmons Shilkin, at San José State University, California 1966 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Zenei nevelés, embernevelés – Nyilatkozat 1966)
Art Music, Music Literature
”Hungarian youth [...] should also learn everything from the music of the world that is valuable.” (One Hundred and One Hungarian Folk Songs, Preface 1929 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Százegy magyar népdal – Előszó 1929)
”We must open a gate to the great foreign masters, whatever nationality they are. They will only enrich us.” (The Pathway of Hungarian Choral Singing 1935) (A magyar karének útja 1935) (Translation by the author of the publication)
”In general musical knowledge, youth should be lead to the point of having in their hands a key to the works of the great masters as well.” (Bartók and the Hungarian Youth 1946) (Bartók és a magyar ifjúság 1946) (Translation by the author of the publication)
”To make the masterpieces of world literature public property” (A Hundred-Year Plan 1947 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Százéves terv 1947)
”We fortunately have a collection of pieces which serve almost the same goal (as Bach’s Two- and Three-Part Inventions) [...] and can give a solid musical foundation even without playing an instrument: [...] the 56 Solfeggi of Bertalotti. It is the product of the same great musical era, and perhaps opens up a wider horizon, because it also illuminates an earlier period. Those who work attentively on these exercises at a young age will gain a similar standard of values and power of judgement, and their taste will be anchored in good music for their entire life.” (Fifteen Two-Part Exercises – Preface 1941 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Tizenöt kétszólamú énekgyakorlat – Előszó 1941)
”However contradictory it may seem, it is true that the more we are linked with European culture the greater our own culture will grow.” (What is Hungarian in Music? 1939 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Mi a magyar a zenében? 1939)
”[...]the knowledge of a musical mother tongue deepens if foreign styles broaden our musical horizon.” (Fifteen Two-Part Exercises – Preface 1941 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Tizenöt kétszólamú énekgyakorlat – Előszó 1941)
”We have been a part of Europe for a thousand years. If we do not want this to be questioned, we must embrace all the values of Western European musical traditions.” (Thirteen Young Composers 1925) (Tizenhárom fiatal zeneszerző 1925) (Translation by the author of the publication)
”The world unfolds more and more, and art confined to one people increasingly loses its meaning. We are closer to world music becoming a reality, than we are to world literature becoming so, as envisioned by Goethe.
The question is how we rather demonstrate our presence in world music: by losing or by strengthening our individuality? [...] Enriched, endeepened and fortified by our own culture, we will have more to say to the world[...]” (Pentatonic Music – Postscript to Volume IV 1947) (Ötfokú zene – Utószó a IV. füzethez 1947) (Translation by the author of the publication)
”The age of musical world literature is approaching, and is in part already here. (’Nationalliteratur will jetzt nicht viel sagen, die Epoche der Weltliteratur ist an der Zeit, und jeder muss jetzt dazu wirken, diese Epoche zu beschleunigen’ [’National literature does not have much to say nowadays, it is the era of world literature, and everyone must act now to advance this epoch’] – said Goethe to Eckermann on 31st January, 1827.) According to Schumann, the world’s music is like a great fugue in which the various nations alternately sound. Bartók continues this world fugue by adding a new theme, and its counterpoints and accompanying voices are already heard in every direction.” (On Béla Bartók – Presidential Opening Address at the Commemorative Session of the Bartók Memorial Committee 1956 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Bartók Béláról – Elnöki megnyitó a Bartók Emlékbizottság díszülésén 1956)
”There are strictly speaking only two kinds of music: good and bad. We have to welcome with open arms good foreign music in appropriate doses, since this includes the masterpieces of world literature without which we cannot live.” (The Role of Folk Song in Russian and Hungarian Music – Lecture 1946 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (A népdal szerepe az orosz és magyar zeneművészetben – Előadás 1946)
”[...]we use recordings only in an emergency. It's much more important to give live music to the children. You see, some of our colleagues play instruments and sing for them and teach them to sing solos and choruses.” (Kodály’s original English) (Music in Public Education – Radio interview by Richard Johnston, CBC, Toronto 1966 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Iskolai énekoktatással az egyetemes zenekultúráért – Nyilatkozat 1966)
”The final purpose of all this must be to introduce pupils to an understanding and love of great classical music — of the past, present, and future. [...] Children must be successively introduced to the masterworks that are accessible to them.” (Kodály’s original English) (Folk Song in Pedagogy – Lecture No. 3 at the Royal Conservatory of Toronto 1966 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Torontói előadások III. – A népdal a pedagógiában 1966)
Active Music-Making
”[...]the music lesson should be much more practical singing, refreshing musical experience, than boring theory.” (Bicinia Hungarica - A Few Remarks to the Second Edition of Volume I 1941 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Bicinia Hungarica – Néhány megjegyzés az I. füzet második kiadásához 1941)
”[...]we want to instill the basic elements of musical understanding at a young age, in primary school, and partly already in kindergarten, in particular through active music-making, not by explanations, but through the experience of body and soul.” (Two Musical Conferences in Budapest 1964) (Két zenei konferencia Budapesten 1964) (Translation by the author of the publication)
”Only active music-making can make one appreciate music; mere listening is not sufficient.” (333 Reading Exercises – Postscript to the New Edition 1962 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (A „333 olvasógyakorlat”-hoz – Utószó az új kiadáshoz 1962)
”Without active music-making one cannot delve into the essence of music.” (At the Conference of Conservatory Directors in Copenhagen – Lecture 1963) (A konzervatóriumi igazgatók koppenhágai tanácskozásán – Előadás 1963) (Translation by the author of the publication)
Yo-Yo Ma on Music and Arts Education (video)
"[...]a true understanding of music can only be attained by personal activity [...] singing is a personal activity without which no true musical understanding is possible.” (Kodály’s original English) (Conversation with Judith Nesleny, KMAX Radio Station, California 1966 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (A zeneoktatás társadalmi jelentőségéről – Nyilatkozat, Los Angeles 1966)
”[...]a good musician is formed by the richness of musical experiences, and the memory of them. Personal singing and listening to music, active and passive well-organized experiences develop the ear to such an extent that one easily perceives the music heard so clearly, as if one were looking at the score; and if necessary and time allows, one could also write it down.” (Kodály’s Preface to Musical Reading and Writing by Erzsébet Szőnyi 1954) (A zenei írás-olvasás módszertana – Előszó Szőnyi Erzsébet könyvéhez 1954) (Translation by the author of the publication)
”It’s necessary [...] to be engaged in as diverse practical musical activities as possible. No one will become a good musician without chamber music and choral singing.” (Who Is a Good Musician? – Address Delivered at the Closing Ceremony of the Academic Year in 1953 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Ki a jó zenész? – Beszéd a Zeneművészeti Főiskola 1953. évi tanévzáró ünnepélyén) (Translation by the author of the publication)
”In every country one can see the disproportion between the creative artists, the performing artists, and their audiences. [...] listening means a good deal of inner activity. This is the goal to be reached in our schools[...]” (Kodály’s original English) (Folk Song in Pedagogy – Lecture No. 3 at the Royal Conservatory of Toronto 1966 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Torontói előadások III. – A népdal a pedagógiában 1966)
When to Begin a Child’s Musical Education?
”About sixteen years ago (in 1948) UNESCO dedicated a conference to music education. To the question ’When should music education begin?’ I replied: ’Nine months before the birth of the child.’ Since then, I have changed my opinion. I believe it is more correct this way: ’Nine months before the birth of the mother.’” (At the Paris Congress of Jeunesses Musicales – Lecture 1966) (A Jeunesses Musicales párizsi kongresszusán – Előadás 1966) (Translation by the author of the publication)
”I am sure I would not have gotten as far in music as I have, if during the nine months before my birth, my father had not regularly played string quartets in our home in Kecskemét. My mother also heard these daily.” (Self-Portrait 1965) (Önarckép 1965) (Translation by the author of the publication)
”The first impressions are the most enduring, as even what a child hears up to the age of six cannot be erased later. Consequently, it is too late to start music education in school. A child already stores a large amount of musical impressions before starting school.” (Speech on Children’s Day 1951) (Gyermeknapi beszéd 1951) (Translation by the author of the publication)
”My first and deepest impression of music is that of a piece played by my parents one summer sunset, with the room suffused with red and golden light. I, three or four years old, was lying on the floor at the foot of the piano. It was, as I later understood, the Violin Sonata in F by Mozart. I doubt whether I could have become the musician I am, or a musician at all, if it had been some popular hit.” (Kodály’s original English) (Popularizing Serious Music – Speech Presented at the Meeting of the League of Composers in New York City 1946 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (A komolyzene népszerűsítése – Előadás New Yorkban 1946)
Developing a Musical Taste
”Good taste cannot be inherited, but it can be spoiled at a very young age. That’s why education to good music must already be started in school, or even rather in kindergarten. This is the reason why I have dedicated a significant part of my time over more than twenty years to the improvement of the musical life in schools. I do not regret that time spent, because even if for this reason I was able to compose less works, I did contribute somewhat to the increase of those who understand good music.” (The Role of Folk Song in Russian and Hungarian Music – Lecture 1946) (A népdal szerepe az orosz és magyar zeneművészetben – Előadás 1946) (Translation by the author of the publication)
”Bad taste in adults can hardly ever be improved. Good taste developed early can hardly be corrupted. Attend to the first impressions. They are decisive for life.” (Kodály’s original English) (Popularizing Serious Music – Speech Presented at the Meeting of the League of Composers in New York City 1946 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (A komolyzene népszerűsítése – Előadás New Yorkban 1946)
”[...]bad taste in art is a true illness of the soul, which burns out all its receptivity, blocking it from contact with masterpieces. [...] It should be the task of the school to provide immunity against this disease.” (Children’s Choirs 1929) (Gyermekkarok 1929) (Translation by the author of the publication)
”The prevention is to become acquainted with good music while still in childhood.” (At the Conference of Conservatory Directors in Copenhagen – Lecture 1963) (A konzervatóriumi igazgatók koppenhágai tanácskozásán – Előadás 1963) (Translation by the author of the publication)
”The most important is prevention. [...] The defence, the immunization must be started in kindergarten.” (Music in Kindergarten - Postscript 1941) (Zene az óvodában – Utóirat 1941) (Translation by the author of the publication)
”The raising of general musical taste” (A Hundred-Year Plan 1947) (Százéves terv 1947) (Translation by the author of the publication)
”The title of good musician also implies an educated taste.” (Who Is a Good Musician? – Address Delivered at the Closing Ceremony of the Academic Year in 1953 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Ki a jó zenész? – Beszéd a Zeneművészeti Főiskola 1953. évi tanévzáró ünnepélyén)
