Kindergarten (From age 3 to 6)

”Trying to find where we needed and could do something, I reached further into childhood and eventually arrived at kindergarten.” (Speech on Children’s Day 1951 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Gyermeknapi beszéd 1951)

”[...]music education (has to start) in the kindergarten. Thus the child becomes ingrained with the fundamental elements of music, since developing a good ear can only be achieved with thorough work started early. Music education has an extraordinary significance between the ages of 3 and 7, the most important period in the child’s intellectual and spiritual development.” (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)

”It is in kindergarten [...] that the first laying of foundations, the collecting of the first, decisive musical experiences begin.” (Music in Kindergarten 1941 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Zene az óvodában 1941)

”Obviously, all reasonable pedagogy has to start from the first spontaneous utterances of the child: rhythmic-melodic plays, games with many repeated simple phrases: AAA... slowly evolving to AB or ABC forms, etc. [...] A child between the ages of three and six learns everything much more easily than after six. The lucky child who can take part in singing games has a great advantage over those who never had an opportunity to do so, whether in kindergarten or as free play with other children.” (Kodály’s original English) (The Role of Authentic Folk Song in Music Education – Lecture, 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)

”The pentatonic folk songs are particularly suited to the kindergarten. It is through them that children can achieve correct intonation sooner, for they do not have to bother with semitones.” (Music in Kindergarten 1941 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Zene az óvodában 1941)

”[...]we must begin with the material that the child already has in himself. Each child learns in his family surroundings or kindergarten some little melodies and, what is more important, each child likes to improvise melodies by himself. Sometimes these are very primitive and very simple melodies, consisting almost entirely of repeating short phrases several times. The teacher must grasp this material and try to develop it slowly into broader forms. Thus what we can call the mother tongue of the child is built from these fragments of music and melodies that he hears or from what he incorporated in himself and partly composed by himself, because each child also composes. This material must be put in order and, starting from this, must progress to larger forms. As new material is gradually and carefully added over many years, every child can be brought to understand even the music of Beethoven.” (Kodály’s original English) (The Responsibilities and Opportunities of the Musician-Educator – Interview by Ernő Dániel at the University of California, Santa Barbara 1966 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (A zenei nevelők Santa Barbara-i konferenciája előtt – Nyilatkozat 1966)

 

Music Primary School (From age 6 to 14)

”these are schools that for the first time bring music to its rightful place in general education. Every man is musical – by nature. Only most are not developed.” (Kodály’s original English) (Music Education, Primary Schools with Music – Radio Interview for BBC by William Murphy 1965 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Zenei nevelés, zenei általános iskola – Nyilatkozat 1965)

”On the basis of more than fifty years’ observation I claim that there is no tone-deaf [...] child.” (Music in Kindergarten 1941 – Postscript 1957 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Zene az óvodában 1941 – Utóirat 1957)

”[...]in the curriculum of the music primary schools [...] there are six music classes scheduled weekly. In other words, they sing every day. And, based on our experience, this has a wonderfully stimulating effect. So, in these schools, children achieve better results in other subjects as well.” (Folk Song, Art Song, School Song – Radio Interview 1958) (Népdal, műdal, iskolai dal – Nyilatkozat 1958) (Translation by the author of the publication)

”The liberating influence of music on general intelligence is obvious.” (Educational Bureaucrats! Let the Children Sing! 1956 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Tanügyi bácsik! Engedjétek énekelni a gyermekeket! 1956)

”The goal of the (music) primary school is to set the foundation for a well grounded person. [...] The increased number of music classes is justified by the biological development of the child. [...] one may not obtain a comprehension of music if since the age of six their ears have not been regularly opened and trained (and, playfully, even earlier).” (Educating an Audience 1958) (Közönségnevelés 1958) (Translation by the author of the publication)

”Hungarian educators should strive to gradually transform all of our schools into singing schools (music primary schools).” (Foreword to a New Music Pedagogical Journal 1958) (Egy zenepedagógiai folyóirat megindulásához 1958) (Translation by the author of the publication)

”They learn a lot of songs before they come into the schools, and so the schoolteacher has already some material with which he can work and develop slowly the elementary knowledge of music.” (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)

”It is essential that the material used should be musically attractive. [...] If children [...] don’t feel refreshed and don’t enjoy the music lesson, all labor is lost.” (Kodály’s original English) (The Role of Authentic Folk Song in Music Education – Lecture, 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)

”Those who doubt are astonished at what can be brought out of six-year-olds with six music classes a week, a bit of professional knowledge and the competence of a teacher” (Music in Kindergarten 1941 – Postscript 1957) (Zene az óvodában 1941 – Utóirat 1957) (Translation by the author of the publication)

”[...]the eight primary school years result in the laying down of a complete musical foundation.” (My Path to Music – Five Conversations with Lutz Besch 1964-1966, translated from the original German by Jerry-Louis Jaccard) (Utam a zenéhez – Öt beszélgetés Lutz Besch-sel 1964-1966)

”[...]over the eight years (of primary school) children learn to read music with such fluency that they easily sight-sing even choral works in multiple parts. However, this is not all they become familiar with, but during these eight years they also get to know a lot of good music. They are taken to concerts where they listen to works appropriate to their level of perception. These works are introduced to them; together they sing some of them. This way we already have a little audience, which receives art music with enthusiasm. If the number of these schools could yet increase, then we can be confident that after a few decades we will have a large and good audience.” (Self- Portrait 1965) (Önarckép 1965) (Translation by the author of the publication)

”[...]in every school [...] there are choruses” (Kodály’s original English) (Music Education, Primary Schools with Music – Radio Interview for BBC by William Murphy 1965 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Zenei nevelés, zenei általános iskola – Nyilatkozat 1965)

”We can say that the young people who come from these schools are earnestly interested in serious music and also attend concerts. But the main thing is that they are musically active, too. Many choirs have been established. The children who have been singing during the eight years of their primary school time, also continue in later years.

[...] One may also say that music has a rhythmic and harmonic influence on people, and that because of it these musical children, of whom music is actually a part, are becoming wholly harmonious people.” (My Path to Music – Five Conversations with Lutz Besch 1964-1966, translated from the original German by Jerry-Louis Jaccard) (Utam a zenéhez – Öt beszélgetés Lutz Besch-sel 1964-1966)

”This is the type of school which can best solve the transmission of musical understanding to the broad masses. That’s why those coming from faraway countries, pursuing similar intentions, regulary visit these schools.

[...] It is my conviction that in time all our schools will become such as these, when it will be common experience, that in schools where music is an equal academic subject, children learn more easily and do better in all other subjects.” (Kecskemét Connections 1967) (Kecskeméti kapcsolatok 1967) (Translation by the author of the publication)

”At this moment we have 107 (music primary schools)” (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)

”I think that in Hungary [...] there is enough creativity in our teaching.” (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)

”(Does improvization also play a role in your system?) ”Definitely, within certain boundaries.” (Music Education, Primary Schools with Music – Radio Interview for BBC by William Murphy 1965) (Zenei nevelés, zenei általános iskola – Nyilatkozat 1965) (Translation by the author of the publication)

”Such teaching in all six thousand schools can hardly be achieved in less than a hundred years. This is why I called it the ’Hundred-Year Plan’.” (Speech at the Inauguration of the Cultural Center in Dunapataj 1966) (A dunapataji Művelődési Ház avatásán – Beszéd 1966) (Translation by the author of the publication)

”For these schools I have composed a complete series of two- and three-part little pieces. This took much of my time. But I don’t regret that time at all. [...] I hope that this ideal will eventually be fulfilled, and we can indeed educate an audience, cultured and proficient in music.” (Self-Portrait 1965) (Önarckép 1965) (Translation by the author of the publication)

”[...]some excellent teachers have proved that in primary schools with only two music classes a week it is also possible to provide a foundation of musical culture upon which it can further grow.” (Fifteen Two-Part Exercises – Postscript to the New Edition 1962) (Tizenöt kétszólamú énekgyakorlat 1941 – Utószó az új kiadáshoz 1962) (Translation by the author of the publication)

 

High School (From age 14 to 18)

”By now there exist such secondary schools (music secondary schools) not only in Budapest, but also in some towns in the provinces, where students come from these ‘singing schools’ (music primary schools). Therefore, they possess a certain previous basic musical training, on which the secondary school can continue to build. They become more and more familiar with the world of sophisticated music, and, in addition, also receive instrumental education.” (Self-Portrait 1965) (Önarckép 1965) (Translation by the author of the publication)

 

Choral Singing

”In my career some inborn inclination drove me towards choral singing from an early age.” (Kodály’s original English) (English Vocal Music – Lecture 1960 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Angol vokális zene – Előadás 1960)

”In the course of a number of visits to England since 1927, I observed the highly developed singing in schools. To this I am indebted for much stimulation, which helped me gradually to complete my work for children.” (Choral Method – Preface 1962 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (A karéneklés iskolája – Előszó 1962)

”[...]I got closer and closer to choral music as the only kind of music which could lead the masses, not having received previous musical training, to art music.” (Self-Portrait 1965) (Önarckép 1965) (Translation by the author of the publication)

”So, what is to be done? To provide direct contact for larger masses to true, valuable music. What is the most viable way to pursue this in our day? Through choral singing.” (The Musical Life of a Town in the Provinces – Lecture in Nyíregyháza 1937) (Vidéki város zeneélete – Előadás Nyíregyházán 1937) (Translation by the author of the publication)

”Many people join together to accomplish something that an individual alone, however talented, cannot by themselves accomplish: where everyone’s work is equally important, and a single person’s mistake can ruin everything.” (Children’s Choirs 1929) (Gyermekkarok 1929) (Translation by the author of the publication)

”[...]a choir [...] is one of the best ways to develop musical perception” (Who is a Real Music-Lover? – Lecture Delivered at the Musical Afternoon of the National Council for Peace 1956 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Ki az igazi zeneértő? – Előadás az Országos Béketanács zenedélutánján 1956)

”Perfect artistic effect can be achieved by a quite simple chorus, if they undertake to carry out a suitable task. [...] It needs only an appropriate and enthusiastic leader.” (About Musical Movements in the Provinces – Statement 1933) (A vidéki zenei mozgalmakról – Nyilatkozat 1933) (Translation by the author of the publication)

”[...]sound musicianship cannot be reached without common singing.” (At the Paris Congress of Jeunesses Musicales – Lecture 1966) (A Jeunesses Musicales párizsi kongresszusán – Előadás 1966) (Translation by the author of the publication)

 

 

Choral Works – Repertoire

”only masterpieces!

[...] Nobody is too great to write for the little ones; indeed, one must do one’s best to be great enough for them.” (Children’s Choirs 1929 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Gyermekkarok 1929)

”How I got to the idea of arranging songs for children's choir? This idea was very simply, naturally given, as the songs I arranged for children’s choir are also performed only by children in the villages. There exists, in fact, a completely separate children’s tradition. This primarily includes game-songs sung along with certain games.” (About the Three- Hundred-Year-Old Hungarian Art Songs – Statement 1925) (A háromszázéves magyar műdalokról – Nyilatkozat 1925) (Translation by the author of the publication)

 

About Bartók’s Children’s Choruses

”The Hungarian child does not yet know the lifelong gift received for the Christmas of 1936. But all know who would want to guide the Hungarian child to such a world where the air is cleaner, the sky is bluer, the sun is warmer. Those who, by Bartók joining them, have their long-standing desire fulfilled.

He spoke to the child already several years ago: on the piano, and then, more recently, on the violin. Without these works one can hardly teach piano or violin nowadays, neither in our country, nor abroad. [...]

He does not ’descend’ to the child, he regards the child as an equal, as one is only able to see within whom, even with white hair, a child has remained intact.

[...] It is art of true value, also for adults.” (Béla Bartók’s Children’s Choruses 1936) (Bartók Béla gyermekkarai 1936) (Translation by the author of the publication)

 

The Use of Piano in Chorus Rehearsal

”Does one want to lead a choir to correct intonation with an out-of-tune piano? [...] But even if it was just tuned: of what use are its tempered chords in a cappella singing? [...] the greatest orchestra conductors guide their musicians towards a good performance, to bring a melody to life, by singing the most important parts to them.

[...] Choral conductors will soon see how much time they save if, in each rehearsal, musical reading is practiced for at least ten minutes.” (Giving the Pitch 1937) (A hangadás 1937) (Translation by the author of the publication)

”Continual piano accompaniment [...] deprives the child of the pleasure and profit in independent singing. [...] if we incessantly accompany singing, the sense of the beauty of pure, unison melodies, which ought to be developed above all, will not develop.” (Music in Kindergarten 1941 – Postscript 1957 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Zene az óvodában 1941 – Utóirat 1957)

”It is incorrect, often impossible ’to present’ a choral work on the piano because it creates a completely different acoustic impression, than does singing. [...] That’s exactly what a beginner choral conductor should be taught: how to work without a piano.” (Remarks on the Book Entitled ’Choral Singing I-III’ 1953) (Megjegyzések a „Karének I-III.” című könyvről 1953) (Translation by the author of the publication)

 

The Decades of the Method’s Realization

”Let us draw from the original sources. Do not become the intellectual colony of any country, but learn from each one what benefits us.” (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)

”We have set folk music as the foundation of music education in schools, and have extracted the method to be followed from the characteristics of those folk songs.” (Two Musical Conferences in Budapest 1964) (Két zenei konferencia Budapesten 1964) (Translation by the author of the publication)

”[...]between the two world wars (in 1934) [...] some enthusiastic educators [...] established the ’Singing Youth’ (a choral movement named ’Éneklő Ifjúság’). [...] All the good phenomena still existing in the field nowadays originates from the traditions of the Singing Youth [...] on one hand, it revealed the wonderful world of folk traditions for urban children, [...] on the other hand, it introduced to the youth all that was accessible of the immortal works by the great masters, and in this way instilled in them the love and need for more sophisticated music.” (A Small Report – Lecture at the Hungarian Musicians’ Association 1962) (Egy kis számadás – Előadás a Magyar Zeneművészek Szövetségében 1962) (Translation by the author of the publication)

”There was a short time between the two wars when, thanks to enthusiastic colleagues, ’Singing Youth’ rose to such a level which abroad was also unprecedented[...]” (Comments on the New Curriculum 1961) (Megjegyzések az új tantervhez 1961) (Translation by the author of the publication)

”Some of my (former) students then founded ’Magyar Kórus’ (’Hungarian Chorus’ publishing company 1931-1938). They issued publications for ’fillérs’ (pennies). [...] That’s how we managed to start the education of the masses, and it became immediately clear what can be achieved with children if one deals with them with competence and love.” (Reflections on the Reform-Plan for Music Education – Remarks at the Session of the Pedagogical Section of the Musicians’ Association 1952) (Reflexiók a zeneoktatás reform-tervezetéhez – Felszólalás a Zeneművész Szövetség Pedagógiai Szakosztályának ülésén 1952) (Translation by the author of the publication)

”’Énekes Ábécé’ (’Singing Alphabet’), the pioneer of the new spirit in many schools. (1938)” (A Hundred-Year Plan 1947 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Százéves terv 1947)

”’Iskolai énekgyűjtemény’ (’Song Collection for Schools’) [...] The first part was published in 1943, the second at the end of 1944, in the midst of bombing.” (A Hundred- Year Plan 1947 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Százéves terv 1947)

(In 1943-44) ”[...]I had already co-published a song collection for schools with György Kerényi, a former student of mine. It is true that it included no references to method, but the sequence of songs was so refined that it unconsciously produced the methodology.” (My Path to Music – Five Conversations with Lutz Besch 1964-1966, translated from the original German by Jerry-Louis Jaccard) (Utam a zenéhez – Öt beszélgetés Lutz Besch-sel 1964-1966)

”The division of the material into grade levels does not represent strict boundaries. The different skills and abilities of the students, the local conditions, the method: all can modify those divisions according to need.” (’Iskolai Énekgyűjtemény’ [Song Collection for Schools] – Preface to Volume I 1943) (Iskolai Énekgyüjtemény – Előszó az I. kötethez 1943) (Translation by the author of the publication)

“Later (in 1944) [...] Jenő Ádám, another student of mine, wrote a methodological textbook, the best one so far.” (My Path to Music – Five Conversations with Lutz Besch 1964-1966, translated from the original German by Jerry-Louis Jaccard) (Utam a zenéhez – Öt beszélgetés Lutz Besch-sel 1964-1966)

Jenő Ádám: Growing in Music with Movable ’Do’ (1944) (New York, Pannonius Central Service 1971) (Ádám Jenő: Módszeres énektanítás a relatív szolmizáció alapján 1944)

 

From Kodály’s Foreword:

”[...]we had to endorse one specific method, and this method could not differ from what the songs themselves seemed to suggest. The reader now holds in his hands a detailed practical description of this method. This book will be a big boon to the cause of music education. The author skillfully combines his musical knowledge, which is of the highest order, with his practical experience in primary school teaching. He knows the thinking patterns, the spirit, and the learning capacity of children. He relies on his practical experience in order to produce thousands of ingenious little tricks and games to make the supposedly difficult material easier for children to absorb.” (Foreword to Jenő Ádám’s Growing in Music with Movable ’Do’ 1944 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Útravaló – Előszó Ádám Jenő „Módszeres énektanítás” című könyvéhez 1944)

”[...]my colleague, Jenő Ádám, and I, at work on the primary school music textbook ’So – Mi’, both considered it possible to proceed to the next step: [...] the method inherent in the basic song material became even clearer.” (Foreword to Jenő Ádám’s Growing in Music with Movable ’Do’ 1944 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Útravaló – Előszó Ádám Jenő „Módszeres énektanítás” című könyvéhez 1944)

”Several textbooks then appeared after 1945, and in 1948 we published, with Ádám, a textbook for all eight grades of the primary schools. Musical harmony is to be taught by fifth grade already.” (My Path to Music – Five Conversations with Lutz Besch 1964-1966, translated from the original German by Jerry-Louis Jaccard) (Utam a zenéhez – Öt beszélgetés Lutz Besch-sel 1964-1966)

(In 1946, in Békéstarhos) ”[...]a visionary, energetic music teacher, György Gulyás succeeded [...] to found an institution, in which primary and secondary school students, living together with the teachers at the boarding school, received daily music education aside from compulsory academic subjects.” (Musical Instruction and Education 1966) (Zenetanítás és nevelés 1966) (Translation by the author of the publication)

”he [...] worked there three or four years. I visited him early and was very impressed by what I saw, and I thought that what he was doing should become a general system for education in the whole country. But unfortunately (in 1954) the school was closed by the government[...]” (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)

”Fortunately, the spirit of Tarhos could not be extinguished, it continues to be alive within many people [...] What is the spirit of Tarhos? In short: music education based on singing.” (Educating an Audience 1958) (Közönségnevelés 1958) (Translation by the author of the publication)

”But finally the seeds were sprouting. The ’singing schools’ came into existence, with singing lessons every day, yielding excellent results not only in singing but in other subjects. When all the schools become ’singing’ ones we shall have real education for everyone.” (333 Reading Exercises – Postscript to the New Edition 1962 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (A „333 olvasógyakorlat”-hoz – Utószó az új kiadáshoz 1962)

1950: Kecskemét – the first music primary school

”By 1950 [...] one of the primary schools in Kecskemét set up an experimental type of first grade class with daily music teaching. This [...] slowly evolved into a 12-grade educational institution, including the secondary school as well.” (Musical Instruction and Education 1966) (Zenetanítás és nevelés 1966) (Translation by the author of the publication)

”[...]this was brought into being alone by the energy of Mrs. Lajos Nemesszeghy” (Kecskemét Connections 1967) (Kecskeméti kapcsolatok 1967) (Translation by the author of the publication)

”[...]there was a very busy lady there whose name was Madame Nemesszeghy (Márta Nemesszeghy) and she worked for many years to improve the teaching of music in the schools. She is a very energetic lady and really accomplished something. You know we can only work with people who are able and willing to do something by themselves, that is, willing to take some initiative. Then, of course, we had to help her in many ways.” (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)

”[...]this is the first school where music is being organically built into general education. [...] Children go out into life from this school with the knowledge that there is no life without music.” (Inauguration of the New Building of the Kecskemét Music Primary School – Speech 1964 – Bulletin of the International Kodály Society 1985/1) (A kecskeméti Ének-Zenei Általános Iskola új épületének felavatásán – Beszéd 1964)

In 1954, in the school of Lórántffy Zsuzsanna utca the first music primary school in Budapest was established by Irma Bors, under the guidance of Kodály. Both Hungarian and international visitors to the school, including world famous musicians, were astonished by the results.

”The singing school in Lórántffy utca is the best of its kind in the capital so far[...]” (It is True, that They Don’t Let the Children Sing! 1956) (Igaz, hogy nem engedik énekelni a gyermekeket! 1956) (Translation by the author of the publication)

”What fascinates foreign visitors most – recently Shostakovich – at the school in Lórántffy Zsuzsanna utca is the reading skills of the children.” (A Small Report – Lecture at the Hungarian Musicians’ Association 1962) (Egy kis számadás – Előadás a Magyar Zeneművészek Szövetségében 1962) (Translation by the author of the publication)

Irma Bors: ”I am still moved thinking of Yehudi Menuhin who, after visiting one of the music classes at the school in Lórántffy utca, said he believed this is the best school in the world and, if he lived in Budapest, this is where he would send his son to study. We couldn’t have received a greater acknowledgement than that.” (Lilla Gábor: In the Footsteps of Kodály’s Pedagogy 1981) (Gábor Lilla: Kodály pedagógiájának nyomában II. 1981) (Translation by the author of the publication)

 

Instrumental Studies

”All people should sing before playing an instrument [...]. Free singing without instruments is the school of true and deep musicality. We should make musicians before we make instrumentalists, and then all would be better.” (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)

”No one should be accepted for instrumental studies without having successfully completed a one-year preparatory course (in musicianship).” (Reflections on the Reform-Plan for Music Education – Remarks at the Session of the Pedagogical Section of the Musicians’ Association 1952) (Reflexiók a zeneoktatás reform-tervezetéhez – Felszólalás a Zeneművész Szövetség Pedagógiai Szakosztályának ülésén 1952) (Translation by the author of the publication)

”[...]we must strive to guide our instrumentalists also to make music upon the foundation of singing; performance based upon a singing approach should be their objective.” (Comment to the Question of Music Education in High School 1953) (Hozzászólás a középiskolai énekoktatás kérdéséhez 1953) (Translation by the author of the publication)

”Singing is the soul of music-making on an instrument also. Many great musicians have emphasized this already.” (At the Inauguration of the Music Pavilion in Békéstarhos – Speech 1953) (A békéstarhosi zenepavilon felavatásán – Beszéd 1953) (Translation by the author of the publication)

”I have to remind the pianists of the saying of Bülow: ’Wer nicht singen kann (mit schöner oder unschöner Stimme), sollte nicht Klavier spielen’. [’Those who cannot sing, whether with a beautiful or unbeautiful voice, should not play piano either.’] Through singing the student acquires reading skills, and by that has easier access to the creations of great spirits and can become familiar with more works in a shorter time, than by arduously working through the music note by note.” (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)

”[...]simple flute (recorder) playing is already introduced from the second class” (Kodály’s original English) (Music Education, Primary Schools with Music – Radio Interview for BBC by William Murphy 1965 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Zenei nevelés, zenei általános iskola – Nyilatkozat 1965)

”when playing the recorder [...] there is already an increasing need of the leading role of inner hearing.” (Foreword to the Recorder School of Lajos Vass 1947) (Előszó Vass Lajos Furulyaiskolájához 1947) (Translation by the author of the publication)

”Let those with a special predisposition take an instrument suitable for them. [...] And then, they can expand their peers' musical scope by presenting instrumental works to them.” (What is a School Music Society for? 1944) (Mire való a zenei önképzőkör? 1944) (Translation by the author of the publication)

”What should be given to the child to play? After some familiar melodies played by ear, small pieces on the same level of difficulty are needed. [...] When I published the 24 Little Canons, I wanted to draw attention to one idea only, namely that the development of polyphonic hearing must be started already at this stage. [...] This abiliy must be developed early. I tried out through these little canons how early this can be started. I think even simpler canons than these can be written. Playing canons on the piano assumes that one has previously sung canons. Canons cannot be sung alone: this is joint music-making. [...] Two-part singing should already be included in beginning stages of musical studies. In this, canons play an important role; first they are sung, and only after that, they may be played on the piano. This has various forms. First, two children can play the canon, one on one part, the other one on the other part. Next, one sings a part, while the other plays the second part on the piano. Then the child plays both parts of the canon on the piano. It is only one step more difficult to sing one part and play the other on the piano.” (Hungarian Instrumental Teaching – Lecture at the Academy of Music 1946) (Magyar hangszertanítás – Előadás és vita 1946) (Translation by the author of the publication)

”It is more challenging mentally if a two-part canon is played from one stave. When it is written in two staves, children are not always aware that the two hands play the same. It is very useful to sing one part and play the other.” (24 Little Canons on the Black Keys – Preface 1946 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Huszonnégy kis kánon a fekete billentyűkön – Előszó 1946)

”Piano studies should begin on the black keys. Pentatony appears on the black keys as a separate, self-contained system; it does not have to be derived from heptatony (seven note scale) as a kind of gap-toothed imperfection.” (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)

”To explain pentatony as an incomplete scale to children is incorrect, since it is a perfectly self-contained scale.” (Hungarian Instrumental Teaching – Lecture at the Academy of Music 1946) (Magyar hangszertanítás – Előadás és vita 1946) (Translation by the author of the publication)

(’Children’s Dances’) [’Gyermektáncok’] ”[...]it moves only on the black keys, since I have tried to persuade piano teachers for a long time to focus more on the black keys at the beginning stages, from which I see not only intellectual, but also manual benefits.” (Radio Interview in London by Mátyás Seiber 1946) (Londoni rádiónyilatkozat – Riporter: Seiber Mátyás 1946) (Translation by the author of the publication)

”[...]about the teaching of violin [...] we name each of the four strings as ’do’, and above them there is a ‘re’ and a ‘mi’. [...] Once we are beyond that stage, there are no less than three pentatonic scales available across the four strings. Several hundred Hungarian folk songs can be played in this way. [...] This is unlimited material. It has many other advantages as well, because playing across two strings is introduced earlier than in most schools, and in this way also the wrist facility develops sooner.” (Hungarian Instrumental Teaching – Lecture at the Academy of Music 1946) (Magyar hangszertanítás – Előadás és vita 1946) (Translation by the author of the publication)

”What a boon this would be for violinists! They could move on the E string without the mysteries of four sharps;” (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)

”The road to true music-making: it starts off from the mind and the heart, which guide the fingers, the larynx, or any instrument.” (After the First Solfège Competion 1949) (Az I. szolfézs-verseny után 1949) (Translation by the author of the publication)

”Where the mind takes the lead, the fingers will easily follow.” (On the Successful Study of Music – Statement 1957 – Bulletin of the International Kodály Society 1985/1) (Az eredményes zenetanulásról – Nyilatkozat 1957)

”[...]the characteristics of a good musician can be summarized as follows: 1. a well-trained ear 2. a well-trained intelligence 3. a well-trained heart 4. a well-trained hand. All four must develop together, in constant equilibrium. As soon as one lags behind or rushes ahead, there is something wrong.” (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)

”Professional preparation must, in the beginning, be exactly the same, because no professional musician can be built from nothing — and first they must sing. [...] the professional music training begins chiefly with instrument playing [...] within a few years it can be seen which of the children will be able to become professional musicians. Professional musicians should start from the same background. Regardless of career, the early music training of everyone should be the same. [...] with instrumentalists, by about age ten it is already possible to see which ones can and should become professional, because by that time the manual, physical and aural gifts are becoming clear. And then after age fourteen they should go to a special music school to be trained as professionals, that is, to a conservatory. But up to age fourteen everybody should be at the same level.” (Kodály’s original English) (The Responsibilities and Opportunities of the Musician-Educator – Interview by Ernő Dániel at the University of California, Santa Barbara 1966 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (A zenei nevelők Santa Barbara-i konferenciája előtt – Nyilatkozat 1966)

 

Teacher Training

”tuition by qualified teachers in every school [...] up to the final grade of secondary school” (Children’s Choirs 1929 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Gyermekkarok 1929)

”To get good teaching in schools, we must educate good teachers. We have good teachers for instruments, but very few for ear-training and general musical culture. This work needs a new type of teacher” (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)

”We should urgently train adequate teachers to introduce six music lessons a week in as many schools as possible. The results will show everywhere.” (Educational Bureaucrats! Let the Children Sing! 1956) (Tanügyi bácsik! Engedjétek énekelni a gyermekeket! 1956) (Translation by the author of the publication)

”In the nearest future we have to guide millions to music, and for that we need hundreds, if not thousands, of good musicians and teachers.” (Opening Speech at the Soviet Book and Music Exhibition of Music Pedagogy and Music Literature 1953) (Megnyitó beszéd a szovjet zenepedagógiai és zeneirodalmi könyv- és kottakiállításon 1953) (Translation by the author of the publication)

”A complete transformation of our professional musical education is needed.” (About the Reform of our Music Education – Speech at the Solfège Competition of the Miskolc Conservatory of Music 1954) (Zenei nevelésünk reformjáról – Beszéd a Miskolci Zeneművészeti Szakiskola szolfézs-versenyén 1954) (Translation by the author of the publication)

”the most urgent task is [...] the training of professional music teachers.” (Comments on the New Curriculum 1961) (Megjegyzések az új tantervhez 1961) (Translation by the author of the publication)

”Training new music teachers, and further training of the active music teachers.” (The Present Tasks of the Hungarian School – Statement 1947) (A magyar iskola mai feladatairól – Nyilatkozat 1947) (Translation by the author of the publication)

”It is much more important who the singing teacher in Kisvárda is than who the director of the Opera House is [...] a bad teacher destroys the love of music over thirty years from thirty grade-levels of children." (Children’s Choirs 1929) (Gyermekkarok 1929) (Translation by the author of the publication)

”Once the number of good teachers has increased, our musical life will flourish as never before imagined, and the education of professional musicians will improve.” (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)

”The lion's share of work remains for primary school music teachers. They should be valued accordingly.
If we ever live to see the new Hungary, where there will no longer be one who

”[hath no music...] in himself,
Nor is not moved with concord of sweet sounds,
Is fit for treasons, stratagems and spoils.
The motions of his spirit are dull as night
And his affections dark as Erebus.
Let no such man be trusted.”

Shakespeare: The Merchant of Venice (Act 5 Scene 1)

that will be mostly their merit.” (It is True, that They Don’t Let the Children Sing! 1956) (Igaz, hogy nem engedik énekelni a gyermekeket! 1956) (Translation by the author of the publication)

”[...]the growing demand for the training of kindergarten teachers” (Music in Kindergarten – Radio Speech 1941) (Zene az óvodában – Rádióelőadás 1941) (Translation by the author of the publication)

”[...]the high-level, complex work of a kindergarten teacher [...] requires several years of multi-faceted studies and an educated taste. Wherever such a teacher can be found, they can do wonders with little ones, also in music. If someone knows how to teach them, a child will learn everything. (Music in Kindergarten 1941 – Postscript 1957) (Zene az óvodában 1941 – Utóirat 1957) (Translation by the author of the publication)

”I know and highly value their heroic work. Among all types of teaching, educating professions on all levels, this is the most important and most difficult one, because it leaves a first and indelible impression upon the soul.” (Music in Kindergarten – Postscript 1941) (Zene az óvodában – Utóirat 1941) (Translation by the author of the publication)

 

Kodály’s Music Pedagogical Exercises

”I [...] started to write easy and even easier pieces only later – finally, songs for kindergarten. However, all this is just a preparatory exercise: a path to the great masters of Renaissance polyphony, Palestrina, Purcell and others.” (Music Education, Primary Schools with Music – Radio Interview for BBC by William Murphy 1965) (Zenei nevelés, zenei általános iskola – Nyilatkozat 1965) (Translation by the author of the publication)

”[...]these exercises will serve as an introduction to the style of the greatest epoch of choral singing.” (Fifteen Two-Part Exercises – Preface to the English Edition 1961 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Tizenöt kétszólamú énekgyakorlat – Előszó az angol kiadáshoz 1961)

”I think it is not useless to write a dozen easy two-part exercises. It actually means much more than to write a symphony. [...] They should first learn to sing some easy two-part exercises and then, when the final goal is achieved, the symphony will be more meaningful to a great many more people. [...] I think of each of these little exercises as a composition and I really hope they are a little different from the dry exercises which were written formerly for the schools by teachers.” (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)

 

”Who Is a Good Musician?” (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)

”A hundred years ago Schumann told us in a few apt sentences who a good musician is. [...] Let us look at some of the ’home and life rules’ of the ’Jugend-Album’.”

”Developing the ear is the most important.”

”Learn early the basic principles of harmony.”

”Rather play an easy piece well and beautifully than a difficult one in a mediocre manner.”

”Your instrument should always be correctly tuned.”

”Your pieces must not be in your ten fingers only: you must also be able to hum them without a piano. Train your imagination until you are able to retain not only the melody but also its corresponding harmony.”

”Try to sing from written music without the aid of an instrument, however small your voice is. This will sharpen your ear. But if you have a fine, sonorous voice, do not hesitate to train it; consider it the most beautiful gift of heaven.”

”If you are given an unknown piece of music, first read it through, and play it only afterwards. (This assures that you will have understood it while reading.)”

”Do not miss any opportunity to play with others. Thus will your playing become fluent and spirited. Also accompany singers.”

”Diligently play the fugues of good masters, first and foremost those of Bach. The Wohltemperiertes Klavier should be your daily bread. Then you will surely become a good musician.”

”Sing often in choirs, particularly the middle parts. From this you become a better and better musician.”

”So who is a good musician? [...] you are, [...] if music lives not only in your fingers, but also in your mind and your heart.”

”Listen to all folk songs attentively, for they are the treasure trove of the most beautiful melodies, and through them you get to know the character of peoples.”

”Begin to practise early the reading of old clefs. Without them many of the treasures of the past will remain inaccessible to you.”

”Do not judge at first hearing. What one likes at first hearing is not always the best.”

”Look into all aspects of life, other arts and sciences too.”

”A perfect musician [...] is able to see any complex orchestral work in his mind’s eye, as though it were in a score. This is the highest level one can reach.”

”[...]Schumann’s last sentence is [...] encouraging:

’Es ist des Lernens kein Ende.’
There is no end to learning.”