Musical Literacy
”Those who cannot read music are musically illiterate.” (Singing Youth, Introductory Article in the First Issue of the Periodical 1941 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Éneklő Ifjúság – Bevezető cikk a folyóirat első számában 1941)
”Our plan is to reduce the extensive musical illiteracy of the youth, educating them to the love of music.” (Interview Given to the Periodical ’The Young’ 1941) (Nyilatkozat a „Fiatalok” című lapban 1941) (Translation by the author of the publication)
”To make musical reading and writing general knowledge, through the school.” (A Hundred-Year Plan 1947) (Százéves terv 1947) (Translation by the author of the publication)
”[...]musical illiteracy must be eliminated [...] Those who don’t hear the music internally while looking at a score, are not musicians.” (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)
”The road to musical proficiency – musical reading and writing – is accessible to everyone. Having mastered it, everyone can be part of great musical experiences. By active involvement in choral singing, one can live intimately with the creations of great spirits, and take them along in life, as eternal companions." (What is a School Music Society for? 1944) (Mire való a zenei önképzőkör? 1944) (Translation by the author of the publication)
”[...]the era of culture [...] passed down by oral tradition is over, and [...] the world has long since entered into the era of a written culture. [...] Without literacy today there can no more be a musical culture than a literary one.” (Kodály’s Preface to Musical Reading and Writing by Erzsébet Szőnyi 1954 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (A zenei írás-olvasás módszertana – Előszó Szőnyi Erzsébet könyvéhez 1954)
”[...]great music, of multiple parts cannot exist without writing. If we want to guide our people to this comprehension, then we need to learn notation. [...] Notation is only a tool, indispensable in order to delve into higher music.” (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)
"Opening the ears to absorb an experience can only be done by reading and writing" (Comments to the New Curriculum 1961) (Megjegyzések az új tantervhez 1961) (Translation by the author of the publication)
”[...]to get the main intervals somewhat correct does not amount to sight-reading; it is merely spelling. Reading must be done comprehensively, taking in at a glance first a single word, then more, entire sentences; taking in the whole before examining the details. We should try to make a habit of understanding a tune by glancing through it quickly from beginning to end, as with a map, and not by building it from the separate notes. We should feel it as a whole before starting to sing it. This will give better results.” (333 Reading Exercises, Preface 1943, Boosey & Hawkes) (A „333 olvasógyakorlat”-hoz 1943)
”An educated, experienced reader grasps an entire verse at a glance. [...] Following the right method, everyone can learn this.” (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)
”As a reading exercise we should always give a somewhat easier task than the child’s current skill level, in order to possibly succeed without mistake. Struggling, getting stuck, there is not much benefit in that.” (Preface to the ”333 Reading Exercises” 1943) (A „333 olvasógyakorlat”-hoz 1943) (Translation by the author of the publication)
”The melodies contain a [...] large number of downward leaps. This is necessary since these have been neglected up to now. We are used to practicing only ascending intervals, but descending ones are more difficult and demand a different mental process.” (Preface to the ”333 Reading Exercises” 1943, Boosey & Hawkes) (A „333 olvasógyakorlat”-hoz 1943)
”Sight-reading must at all times offer fresh material, including some unusual turns of melody and rhythm, but remaining always sound and attractive music, never degenerating into mere mechanical exercises.
Two-part sight-reading without any instrument is the most effective means of making rapid progress and acquiring confidence in both rhythm and intonation. Movable ’Do’ helps the understanding of modulation and the musical significance of each note of a melody. Without this no thorough musicianship is possible.” (77 Two-Part Exercises – Preface 1967 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (77 kétszólamú énekgyakorlat – Előszó 1967)
”At the age of ten or twelve, our children [...] sight-read anything fluently [...] Famous composers have come to observe [...] Shostakovich wrote a melody on the board. The children not only sight-sang it right away, but, after singing it once or twice, they turned their back to the board, and sang it from memory. [...] Starting early, at the age of six, the practice develops the skills of the child and accelerates perception to such an extent that for them this is a game.” (At the Corvin Hungarian Club - Lecture and Discussion in Berkeley, California 1966) (A Corvin Magyar Clubban – Előadás és vita Berkeley-ben 1966) (Translation by the author of the publication)
Relative Solmization, Sense of Tonality
”Finally, I mention relative solmization as an enormous help for music-reading and for achieving pure intonation.” (Towards New Goals 1942) (Új célok felé 1942) (Translation by the author of the publication)
”However, this is not my invention, this was already invented by good Curwen more than hundred years ago. In fact, the principle goes back about a thousand years, to Guido of Arezzo.” (Conversation with Mrs. Mária Kőrösi Nyéki at the Phonothèque Nationale in Paris 1965) (Párizsi beszélgetés, Phonothèque nationale 1965) (Translation by the author of the publication)
”I discovered the great advantage of ’movable do’ in England. Later, I tried to urge its application in Hungary also, adapting it to our needs. We found that we had to start with the most familiar melodic turns of our folk songs, at first avoiding the scale. The scale should only be established later, when the intervallic leaps are already well mastered by the students.” (Music Education, Music Primary Schools – Interview for BBC by William Murphy 1964) (Zenei nevelés, zenei általános iskola – Nyilatkozat a BBC számára, riporter William Murphy 1965) (Translation by the author of the publication)
”Relative solmization also determines the role of each note in the given tonality. This way a possible modulation can be easily identified and analyzed, and a sense of harmony will evolve and develop even while singing in one part. A much richer thinking process will develop from this musical practice.” (At the Conference of Conservatory Directors in Copenhagen – Lecture 1963) (A konzervatóriumi igazgatók koppenhágai tanácskozásán – Előadás 1963) (Translation by the author of the publication)
”Solmization ensures singing in tune for a singer and playing in tune for one who plays an instrument with flexible intonation. But even pianists, although they cannot change the pitch, will touch a key differently if they know the significance of the note in the given tonality.” (A Few Words About Solfège - Speech at the Closing Ceremony of the 1955/56 Academic Year at the Academy of Music 1956 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Néhány szót a szolfézsról – Beszéd a Zeneművészeti Főiskola 1955/56-os tanévzáró ünnepségén 1956)
”The aural concept of syllables is more tangible and more enduring than that of alphabetical letter names. The syllable immediately conveys the tonal function as well, so the sense of function can develop alongside the sense of intervals.” (Let Us Sing Correctly – Preface 1941 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Énekeljünk tisztán! – Előszó 1941)
”By means of solmization [...] functions become conditioned and fixed in our heads and ears[...]” (Hungarian Instrumental Teaching – Lecture at the Academy of Music 1946 – Bulletin of the International Kodály Society 1977/1-2) (Magyar hangszertanítás – Előadás és vita 1946)
”[...]we can playfully lay the foundation for a sense of tonality.” (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)
”Experience shows that in the primary schools, with the method of relative solmization children learn to read music much faster.” (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)
”There is really nothing to prevent six or seven year olds from learning to sing with solfa.” (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)
”The best foundation for musical reading is relative solmization.” (To Music-Loving Youth – Interview for the Hungarian Radio 1950) (A zenekedvelő ifjúsághoz – Rádiónyilatkozat 1950) (Translation by the author of the publication)
”Choral conductors should not be afraid to try, they should consider teaching musical reading their first and foremost duty. For this purpose, relative solmization is an excellent and frequently-proven foundation.” (At the Conducting Course of the Choral Association – Remarks 1942) (A Dalosszövetség karvezetői tanfolyamán – Felszólalás 1942) (Translation by the author of the publication)
”The more diligently we sing with relative solmization at the beginning, the sooner we can then leave it behind later on.” (Comments on the Response of the Critics of the ”So-Mi” Primary School Textbooks 1943) (Megjegyzések a „Szó-Mi” népiskolai énektankönyv bírálóinak viszontválaszára 1943) (Translation by the author of the publication)
The Absolute System
”[...]it is recommended to try to sing the same exercise [...] starting from different pitches. However, once the child sings from notation, one should stick to the absolute pitch, as notated in the music (particularly when singing with letter names), otherwise the child’s ear easily gets confused.” (Preface to the ”333 Reading Exercises” 1943) (A „333 olvasógyakorlat”-hoz 1943) (Translation by the author of the publication)
”With the help of relative solmization children grasp the concept of singing with absolute letter names more easily than other children. They switch to the absolute system in a second. They do know the absolute note names and switch over to them very easily.” (Conversation with Mrs. Mária Kőrösi Nyéki at the Phonothèque Nationale in Paris 1965) (Párizsi beszélgetés, Phonothèque nationale 1965) (Translation by the author of the publication)
”Although it is not an aim of the curriculum to develop absolute pitch, or rather the consciousness of pitch, its eradication cannot be an aim either.” (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)
”Children should sing [...] always at the absolute pitch. If they say C, it should be an actual C. This is the way to develop absolute pitch.” (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)
The Teaching of Musicianship
”The systematic teaching of solfège [...] has to be continued persistently up to the highest level of vocal and instrumental teaching, until we read music just as an educated adult reads a book, silently, but with the full imagination of its sound.” (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)
”Only the well-guided teaching of musicianship accelerates the association between sounded music and visual notation to such an extent, that one will immediately evoke the other.” (Who Is a Good Musician? – Address Delivered at the Closing Ceremony of the Academic Year at the Academy of Music in 1953) (Ki a jó zenész? – Beszéd a Zeneművészeti Főiskola 1953. évi tanévzáró ünnepélyén) (Translation by the author of the publication)
”[...]to the superficially informed it often appears that solfège (musicianship) is identical with solmization. [...] No, it is not! Solfège is much more than that!” (At the Naming Ceremony of the Conservatory of Music in Debrecen – Speech 1957) (A Debreceni Zeneművészeti Szakiskola névadó ünnepségén – Beszéd 1957) (Translation by the author of the publication)
”[...]solfège is not only the alphabet of music: it is its grammar, syntax, stylistics, the key to understanding music fully. It includes the aural side of theory (dictation in several parts). Written theory should be taught only when the students can hear what they write without the aid of an instrument. This will be achieved quickly if they get accustomed to harmonic analysis even in unison singing, reinforced by the movable ’do’.” (Is Solfège Necessary at the Academy of Music? 1965 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Kell-e szolfézs a Zeneművészeti Főiskolán? 1965)
”The aural notion of the notes must live freely, independent from all material associations. The way we can obtain this skill is by learning to read music and to sing with solmization before starting to learn an instrument. Without first taking a preparatory course (in musicianship) no one should begin instrumental studies.” (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)
”A child should be given an instrument only after they are able to sing. Inner hearing will only develop if the first aural notions of notes evolve from their own singing, and are not linked to either external, visible (visual) or manual (motoric) notions.” (Foreword to the Recorder School of Lajos Vass 1947) (Előszó Vass Lajos Furulyaiskolájához 1947) (Translation by the author of the publication)
Inner Hearing
”Solfège (musicianship) provides the skill of rapid orientation, because it develops the fine brain-mechanism, by which a sound heard immediately evokes an internal visual notation, and a visual notation transforms internally to a sound. This is the mechanism which makes a complete musician[...]” (A Few Words About Solfège – Speech at the Closing Ceremony of the Academic Year 1955/56 at the Academy of Music 1956) (Néhány szót a szolfézsról – Beszéd a Zeneművészeti Főiskola 1955/56-os tanévzáró ünnepségén 1956) (Translation by the author of the publication)
”[...]those who want to become professional musicians, must acquire such a level of musical reading, which allows music to sound purely in their souls without any visible or audible body-motion, and by which they would also be able to reproduce it out loud, with their own voices, if necessary. [...] one can and should learn such a silent singing, which is just as intense and secure as if it were sung out loud. [...] The highest level is when someone reads a score, a score of multiple parts, without playing it on the piano or on any other instrument. [...] music should live first in the mind, in the soul, in the ear, and from there go to the fingers; that’s how it should be realized [...] this makes it much easier to memorize [...] One can be considered a good musician, if after looking through a piece, one can go to the instrument and play it without looking at the score.” (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 correct way is [...]: the visual notation of score, the internal imagination of the sound, realization of the 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)
Pure Intonation
”Pure intonation in singing depends on the acoustically correct ’natural’ intervals, and not on the tempered system. [...]
The beginners’ first steps in the endless realm of notes should be supported not by any instrument of tempered tuning and dissimilar tone-color, but by another voice. The advantages of singing in two parts can hardly be overestimated, but unfortunately it is often left until far too late. It assists aural development in every way, even in unison singing. In fact, those who always sing in unison never learn to sing in correct pitch. Correct unison singing can, paradoxically, be learned only by singing in two parts: the voices adjust and balance each other.” (Let Us Sing Correctly – Preface 1941 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Énekeljünk tisztán! – Előszó 1941)
”When singing, one will only find the consecutive notes if one also feels their intervallic relationship when sounding together. One will produce a more perfect intonation of a ’do – so’ leap, if in the ear the notion of the simultaneously sounding interval of ’do – so’ is a living reality. If two singers sense when the simultaneously sung ’do – so’ is in tune, (and this can be recognized only if the tempered piano remains silent), then the consecutive ’do – so’ leap will also be in tune. (First one group sings ’do’, and the other one ’so’, then one group sings ’do – so’, while the other one ’so – do’.) Thus the ’do – re’ step will be sung with purest intonation, if, below that, one is able to imagine the ’do – so,’ accompanying part. One can easily imagine this if it has been heard often enough.” (Let Us Sing Correctly – Preface 1941) (Énekeljünk tisztán! – Előszó 1941) (Translation by the author of the publication)
”The ’C-major-scale method’ is the enemy of correct singing. Every interval must be internalized separately, and each in its particular characteristic tonal function, not fitted together as steps of a scale. [...] The scale will sound correct only when its ’pillars’ are established in advance, and these ’pillars’ are [...]: do – re – mi – so – la.” (Let Us Sing Correctly – Preface 1941 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Énekeljünk tisztán! – Előszó 1941)
”It is important to practise two-part singing from the very beginning; at first with hand-signs, then with sol-fa [...], and, as soon as the pupils are reading music, from staff notation.” (77 Two-Part Exercises – Preface 1967 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (77 kétszólamú énekgyakorlat – Előszó 1967)
”The pure intonation [...] also affects the richness and beauty of choral sound. Only a choir which sings in tune will have a true timbre and shine; while from a children’s choir with perfect intonation we can hear such low notes which they are not even capable of singing. [...] The proof and reward of pure intonation is the beautifully resounding sonority of the combination tones, and in the higher range an increased brightness of the partials (overtones). It would be beneficial for our conductors and music teachers to study at least as much acoustics as necessary to understand the phenomena of musical practice.” (Let Us Sing Correctly – Preface 1941) (Énekeljünk tisztán! – Előszó 1941) (Translation by the author of the publication)
”We serve correct intonation by postponing the teaching of the semitone (half step) until the whole step is sufficiently solid.” (Let Us Sing Correctly – Preface 1941) (Énekeljünk tisztán! – Előszó 1941) (Translation by the author of the publication)
Part-Singing, Polyphonic Hearing
”[...]it is not worth much if we sing by ourselves, it is more beautiful if two sing together, followed then by more and more, hundreds, thousands, until the grand Harmony resounds in which we can all join together. Only then can we truly say: Let the whole world rejoice!” (Bicinia Hungarica – Dedication 1937) (Bicinia Hungarica – Ajánlás 1937) (Translation by the author of the publication)
”The transition from one-part to multiple-part singing ought to be gradual and consistent. The practicing of each particular rhythmic element and interval, in fact, creates greater interest, if it happens by two groups switching parts in a playful way [...] canon-singing is the best preparation for compositions in two independent parts. The joy of third- and six-parallels should rather be presented through German, Italian or Slavic folk songs.” (Bicinia Hungarica – Postscript to Volume I 1937) (Bicinia Hungarica – Utószó az I. füzethez 1937) (Translation by the author of the publication)
”It is useful to switch parts frequently. [...] Where the vocal range allows, let’s have the children alternately sing the two parts.” (Bicinia Hungarica – Postscript to Volume I 1937) (Bicinia Hungarica – Utószó az I. füzethez 1937) (Translation by the author of the publication)
(Part-singing begins) “As early as in the second year with simple canons, or a melody with a sustained note for example. One half of the class holds the note and the other half sings the melody. [...] Only when one is satisfied [...] that those holding the pedal tone also hear the melody, that’s when they should alternate and exchange parts, and only then are they able to pass on to two-part songs with agility. They still must also exchange parts and be careful that one group actually hears what the other is singing. Thus they approach part-singing much earlier than with chords played on the piano.
We place a very big emphasis on two-part singing, and I myself arrived at the almost exaggerated-sounding claim that only those who have already correctly sung before in two-parts can sing completely in tune in unison.” (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)
”Part-singing and the abilities of musical hearing and perception, developing simultaneously, open the masterpieces of world literature also for those who do not play an instrument. And the masterpieces fulfill their goal only if they echo in the souls of millions.” (Fifteen Two-Part Exercises – Preface 1941) (Tizenöt kétszólamú énekgyakorlat – Előszó 1941) (Translation by the author of the publication)
”Nothing develops general musical perception more than holding the responsibility of an independent voice on one’s own.” (What is a School Music Society for? 1944 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Mire való a zenei önképzőkör? 1944)
”[...]our ears are capable of fully perceiving music of multiple parts only by learning to sing a part independently, without the aid of an instrument, while listening to another part. This is how we come to understand such music in which the voices do not live by themselves, but rather, helping and complementing one another, form a higher order of unity.
This ability develops slowly, however, practicing it doesn’t fatigue, but in fact rather delights, as the road to the great masterpieces leads through the most beautiful compositions. And those who eventually achieve this feel that the enrichment of their soul would have been worth any effort or sacrifice.” (The Next Step 1949) (A következő lépés 1949) (Translation by the author of the publication)
”We have observed actual examples, that the Hungarian child can also be led to the understanding of 16th century polyphonic masterpieces.” (Bicinia Hungarica – Postscript to Volume I 1937) (Bicinia Hungarica – Utószó az I. füzethez 1937) (Translation by the author of the publication)
Transposition
”(the ’movable do’) is the most effective solution (for transposition) because ’movable do’ is nothing else but transposition in the scale.” (Kodály’s original English) (Roundtable Discussion – Congregation of the Arts, Dartmouth College, Hanover, New Hampshire 1965 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Dartmouth kerekasztalánál – Felszólalások 1965)
”This [...] mainly requires getting used to relative thinking. Those who have learned from the beginning to play their small pieces in other keys will not find it difficult by the time they reach the Wohltemperiertes Klavier.” (Who Is a Good Musician? – Address Delivered at the Closing Ceremony of the Academic Year at the Academy of Music in 1953 – Zoltán Kodály: Selected Writings, Corvina Press 1974 ) (Ki a jó zenész? – Beszéd a Zeneművészeti Főiskola 1953. évi tanévzáró ünnepélyén)
Sense of Rhythm
”Rhythm [...] should be practiced much earlier and much more comprehensively than is customary nowadays, and should also be done in two parts [...] two-part musical practice offers such a developmental tool about which, in unison one cannot even dream. And once kindergarten will also contribute to rhythm training, musical reading in primary school will no longer be an illusion.” (Let Us Sing Correctly – Preface 1941) (Énekeljünk tisztán! – Előszó 1941) (Translation by the author of the publication)
”[...]rhythm should be the real empire of the kindergarten. By the time the singing voice has evolved every child could be developed into a veritable virtuoso of rhythm without any great effort, by means of polyrhythmic games [...] with simple percussion instruments.” (Music in Kindergarten 1941 – Zoltán Kodály: Selected Writings, Corvina Press 1974) (Zene az óvodában 1941)
Music and Movement
”Song is the instinctive, natural language of the child, and the younger they are, the more they like movement to go with it. One of the main problems with the school today is that it does not let the child sing and move enough. The organic connection between music and movement: singing games in the open air, have been some of the main joys in the lives of children since ancient times.
[...] the purely human value of these games is great: they intensify the feeling of community and a zest for life. There is no better medication against the precociousness of today’s child. [...] The longer childhood is, the happier and more harmonious adult life will be.
And let our physical education teachers and dance and movement teachers invent new games to add to the ancient ones, in the same spirit. Let us encourage the children to invent similar ones themselves, with music, if they can manage it.” (Singing Games 1937 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Énekes játékok 1937)
”[...]the primary school first has to recapitulate the material of the kindergarten, [...] the ‘singing games’, rhythmical play connected with physical movement [...] This foundation may be different with different peoples, although if you study [...] children’s games, you will find many international motifs, proving the unity of mankind – at least during childhood. This ’so-la-so-mi’ motif is to be found with nearly every people. But other motifs too. We have to search for the international children-motifs which link people together in spite of many great differences. Because this may be the oldest kind of music of man in general.” (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 ancient connections between music and body movement [...] have significantly loosened in civilization. If we try now to restore it on a higher level, wherever it is possible, we are not moving backward to the ancient state, but rather forward, from civilization to culture.” (Hungarian Physical Education 1943) (Magyar testnevelés 1943) (Translation by the author of the publication)
”(in primary schools with music) [...] singing is often combined with movement. So the rhythm is felt in all the body.” (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)
Extracting Theory from Known Repertoire
”Our aim is to extract theory from songs already known.” (Comments on the Response of the Critics of the ’So-Mi’ Primary School Textbooks 1943) (Megjegyzések a „Szó-Mi” népiskolai énektankönyv bírálóinak viszontválaszára 1943) (Translation by the author of the publication)
”[...]we will extract the theory from the things (songs) they know” (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 technique must be detected from these songs which they already know.” (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)
”As regards difficulty, songs taught by ear in the first years precede the songs which have been made conscious, sung with solmization, and notated.” (Comments on the Response of the Critics of the ”So-Mi” Primary School Textbooks 1943) (Megjegyzések a „Szó-Mi” népiskolai énektankönyv bírálóinak viszontválaszára 1943) (Translation by the author of the publication)
”Those singing with solfa first have a notion about the meaning of the notes and get to know the signs only later. By then the signs will have become much more significant for them.” (24 Little Canons on the Black Keys – Preface 1945 – Zoltán Kodály: Writings on Music Education 2019, published by Liszt Academy) (Huszonnégy kis kánon a fekete billentyűkön – Előszó 1945)
”The aesthetic emotion can come before you analyse and understand all there is to analyse in music. Understanding all this (comes) afterwards. It must be as spontaneous as the singing.” (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)
”[...]we didn’t just simply grab music theory from the air, but built it up exclusively from the foundation of practical work. Nothing is explained that does not already naturally occur in a song mastered by the children. [...] The pedagogical work must be constructed from those songs mastered by the children and they must be inoculated with even more of those kinds of songs. One should really also not pursue theory separately but only slowly draw the attention of young people to that which always exists repetitively and typically in particular songs—’that is the same turn, that is the same phrase’—until they are able to find out all of that by themselves.” (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)
”[...]do not over-explain. The child should not acquire notions and definitions, but musical treasures. Summarizing, surveying, and organizing these treasures can wait.” (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)
”They benefit more from live music than from etudes.” (Folk Song, Art Song, School Song – Radio Interview 1958) (Népdal, műdal, iskolai dal – Nyilatkozat 1958) (Translation by the author of the publication)
